Showing 111 - 120 of 267 annotations tagged with the keyword "Father-Son Relationship"
This novel of a commercial fisherman's family centers on the son, Neil Kruger, as he struggles to survive on a life raft after a comber, a huge wave, sinks his boat. The book combines his memories of growing up at Half Moon Bay south of San Francisco--the harsh lessons of the sea, his laconic father Ernie, and a disintegrating family--with the story of the illegal activities that led to this last run and his efforts to live.
Death is ever-present for fishermen. Throughout the book, the intimate killing of fish caught one by one is juxtaposed with the constant threat of human loss due to wind, storm, fog, rock, cold and waves. It is a hard-scrabble existence, as over-fishing, pollution, and price control by a few influential merchants combine to depress the fishing business.
As a boy, Neil is told by his mother not to become a fisherman. But then it is she who commands him to join his father one night. This conflict of loyalties, to the land and the sea, to his mother and his father, to religion with its hope of divine intervention and nature with its insensate brutality, cause a tension in Neil that leads him to reflect on his roles as dutiful son, eldest brother and future fisherman.
Neil's memories contain many traumatic events: the rescue of survivors from a hospital ship sunk in a collision with a tanker, the immigration tales of the tightly knit group of Half Moon Bay fishermen, the attempted rescue of one of these men during a storm, and the misadventure during a fishing escapade with his friends, including a wheelchair bound boy with polio. In addition, Neil recalls his father's worsening debility and subsequent post-operative and post-anesthetic problems. By the end of the book, the time frame of Neil's memories converges with his current crisis and time itself becomes as vast and unknowable as the sea.
This partly autobiographical collection of linked stories could, as the author notes at his web site, be considered a novel as much as a collection. There is a single first-person (unnamed) narrator throughout, a circumscribed cast of characters, a timeline of almost 30 years, and "individual stories [that speak] to each other and [gather] force as they go forward" (see interview at the author's web site). At the center of these reflections and of the narrator's life is his enigmatic, beautiful mother, "Our Mother of the Sighs and Heartaches . . . Our Mother of the Mixed Messages," "Our Mother whom I adored and whom, in adoring, I ran from, knowing it 'wrong' for a son to wish to be like his mother" (17). The book also delves significantly into the relationship between the narrator and his older brother, and to a lesser extent concerns the narrator's relationship with his father, who dies when the narrator is 11 years old. Interwoven throughout is the narrator's growing awareness and suppression of his own homosexuality.
All the stories are refracted through memory, back to when the narrator was nine years old, living with his brother, mother, and father in post-World War II Silver Spring, Maryland, a suburb of Washington, DC. The stories progress through a roaming young adulthood of lies and random sexual encounters; and move into adulthood, committed relationships, and accumulating personal losses. In addition to the mother, of almost equal importance is the narrator's ambivalent relationship to his brother, Davis, who is sometimes an ally and sometimes a competitor or antagonist. Initially contemptuous of the narrator's identification with his mother, Davis later leads a defiant, drug dependent, and openly homosexual life while the narrator himself remains closeted to his parents and to many others. The narrator depicts himself and his brother as Cain and Abel, only "I was Cain and Abel both, as was my brother" (158).
Particularly striking are "My Mother's Clothes: The School of Beauty and Shame," "The Diarist," and "My Brother in the Basement." In "My Mother's Clothes" McCann develops themes of the narrator's infatuation with his mother, his guilt about that, his uncomfortable relationship with his father, and renunciation -- of his friendship with another boy. "The Diarist" focuses on the narrator's difficult interaction with his father, who expects masculine behavior from him, and with brother Davis, who seems to have no trouble fitting into the role expected of him. "My Brother in the Basement" moves forward into young adulthood and the shocking outcome of Davis's life, and the narrator's retrospective and revisionist analysis of that time.
Summary:After living with various foster families, nine-year-old Gabe is taken to live with his aging Uncle Vernon in West Virginia. The relationship with his mother's gruff and distant older brother, a Vietnam vet, is distant at first, but warms up over time. But after his first day in 6th grade, Gabe comes home to find his uncle dead on the floor.
Summary:This 2002 DVD, copyrighted by WHYY in Philadelphia and narrated by Blythe Danner, consists of a one-hour documentary about Philadelphia-born painter, photographer, and sculptor Thomas Eakins (1844-1916) and eight short films about different facets of his life and work. Photographs by and of Eakins, his paintings, letters, and sketches are interspersed with commentary by his biographer Elizabeth Johns, and by art historians and historians. The DVD describes Eakins’s training, art production, and aspects of his personal life.
This documentary film is narrated by Dustin Hoffman; all other characters play themselves. Five stories (pathographies) introduced as panels from the 14-acre AIDS quilt are interwoven with each other, together with personal photos, newsreels and radio reports to recount the history of the first decade of AIDS in the United States.
Tom was a highly educated and athletic, gay man whose story is told by his lesbian friend and co-parent of his adored little daughter. Rob was a married Afro-American, I.V.-drug-user whose loving wife recounts his battle with drugs as well as his disease and who views her own HIV seropositivity as "God’s will." Jeff’s story is told by his grieving male lover over images of his once golden health.
The parents of twelve-year-old hemophiliac, David, tell the story of his entire life as a rush to consume, from his babyhood forward until the sadness of his last Christmas. The shy, handsome architect, David, is mourned by his bisexual lover, a naval officer at the Pentagon, who now lies dying with the lesions of Kaposi’s sarcoma quite visible on his face.
The narrators describe solace they derived from quilting memorial panels for their loved ones. In the final scene, the AIDS quilt lies on the Mall in Washington as names of hundreds of loved ones are read by grieving families and friends.
Living in Bombay, India, Sera (Souad Faress) and Sam (Khodas Wadia), a beautiful Parsee couple who adore dancing, have a son (Firdaus Kanga) who will never grow and never walk because he has osteogenesis imperfecta (brittle bone disease). They name him Brit, for his bones. As narrator, Brit says that Sera suffers from the "Parsee disease of anglophilia." But she accepts Brit’s disability.
His father, however, does not; and he continuously appeals to magic, folklore, and religious healers, hoping to find a cure. He professes love for his son, but is never able to forge a confident bond. Brit does not fail to criticize. Sam’s quest leads to a woman scholar who nurtures the boy’s intelligence and encourages him to write a diary and short stories.
Brit’s older sister is his staunchest ally and best friend, but she eventually must leave for a marriage in America. Sam escorts his daughter to America, where he commits suicide on Fifth Avenue. Brit and his mother come to rely heavily on a widow friend and her deaf daughter, "promised" to Brit in childhood.
But the girl is soon spirited away on a wave of romanticism into a life of prostitution. They take a boarder, Cyrus, a gifted and handsome law student who offers Brit a new world of night life, action, dancing, and physical affection; his love leads Brit to like and accept his own body. When his mother dies, Brit becomes a writer and finds a new life and a new lover.
In the poem, persimmons are a symbol of several elements that have figured importantly in this Chinese narrator's life: they stand for painful memories of cultural barriers imposed by language and custom, and for a present-day loving connection to an elderly, blind father. The poet begins with a schoolboy incident in which he was punished for not knowing the difference between "persimmon" and "precision" and makes a play on other words which sound similar and "that got [him] into trouble." He takes revenge later, when the teacher brings to class a persimmon that only the narrator knows is unripe, as he "watched the . . . faces" without participating. Persimmons remind him of an adult sensual relationship with Donna, a Caucasian woman, and of his attempts to teach her Chinese words which he himself can no longer remember.
The second part of the poem describes the role persimmons have played in his father's life and in their relationship. To comfort his father, gone blind, the narrator gives him a sweet, ripe persimmon, so full and redolent with flavor that it will surely stimulate the senses remaining. Later yet again, the father and he "feel" a silk painting of persimmons, "painted blind / Some things never leave a person."
This strong, powerful poem of grief for the death of an infant son in an intensive care unit is written by a poet who lost two of his five children. The rhythm of the poem is jazz, pulsing and pulsating, with well-controlled rests. Some words are run together: " . . . mamaborn, sweetsonchild / gonedowntown into researchtestingwarehousebatteryacid" which evokes (among other things) the frenzied atmosphere of a neonatal intensive care unit and the seemingly inevitable rush towards death.
Much of the poem deals with the distrust of the medical community, which is emphasized by the divide of race: the white doctors and nurses in white uniforms versus the African-American patient and family. The frustration of dependence on others is painful for the father during the nightmare of his baby’s dying. However, the poet reaches a higher level of understanding about his pain and grief; he acknowledges that the baby did receive all that medicine had to offer and he recognizes the complicated responsibilities one acquires by experiencing a loss.
The narrator, painlessly removing a splinter from his wife's hand, recalls the scene when he was a boy of seven and his father removed an "iron sliver" splinter from his palm. The father had skillfully distracted his son by telling a story in a voice reassuring and low: "a well / of dark water, a prayer."
Darker themes are alluded to--his father's hands were used not just to give love and protection, but also discipline. The narrator notes that as a boy he did not over-dramatize the scene. Rather, something precious was exchanged between father and son. In fact, it could have appeared to the onlooker that the father was "planting" (rather than removing) "a silver tear, a tiny flame" on his son's palm. The poem ends with the boy holding the removed splinter and kissing his father.