Showing 111 - 120 of 238 annotations tagged with the keyword "Father-Daughter Relationship"
Fraser’s subtitle is accurate; this book tells about a middle-aged woman rediscovering her difficult past of incest from her father and abuse, as a child, from another man. She tells her life story of growing up in a working-class neighborhood in Hamilton, Ontario, Canada, going to university, marrying, and becoming a journalist. All the while, anger and rage fuel her, but it is only after surgery (for fibroids) and psychotherapy that she can recall the abuse and has it corroborated by others. Fraser understands that her personality split into three personae; she uses her dreams, her writing (including six novels), and her childhood drawings to understand what happened to her. Finally she is able to forgive her father (although after his death) and continue with her successful career as a writer.
Cosima Nolinas (Codi) trained as a physician, but decided during her residency to give up medicine. As the novel opens, she is returning to her hometown, Grace, Arizona, to teach high school biology and care for her physician father, Doc Homero, who is suffering from Alzheimer's disease. Her younger sister, Hallie, has just left for Nicaragua to help with agricultural development. Codi's journey back to where she grew up reinforces a sense of aimlessness which she attributes to the death of her mother when she was three years old, to the miscarriage of an unwanted pregnancy when she was fifteen, and to her father's remoteness. She intends her stay to be temporary.
But gradually she is drawn into the community. She restarts a relationship with Loyd [sic] Peregrina, the Native-American father--though she never told him--of the child she lost in high school. She joins the town's struggle against a mining company that has polluted the town's water supply and now plans to dam the river. As her father's condition deteriorates, she learns more about the history of his connection with the town and, by examining the results of a life-long study he has done on a genetic anomaly affecting children born to second-generation inhabitants of Grace, she learns that her own hereditary background is far more deeply rooted in the town than she had known.
Codi's narrative is interspersed with her father's confused but illuminating memories of her childhood, and with the letters she receives from Hallie, who has always been the motivated and determined sister. When Hallie is kidnapped and then murdered by the contras, Codi's first response is to run away once more, but in laying her sister to rest and telling Loyd about their lost child, she realizes that she has found her home and--in her fierce and practical education of the new generation of Grace adolescents--her purpose.
David Lurie is a scholar of the English Romantic poets, now professor of communications in Cape Town in newly post-apartheid South Africa. He is fired in disgrace for sexual harassment after having an affair with one of his students, Melanie Isaacs, or raping her (our definition of the act is deliberately blurred until later). He goes to stay with his daughter, Lucy, who kennels dogs and grows flowers on a smallholding in the Eastern Cape, and he passes his time helping Lucy's friend, Bev, in the euthanasia and disposal of sick and unwanted dogs.
Then he and Lucy are attacked by three black men who arrive at the farm. They pour lighter fluid over him and set him on fire, and they gang-rape Lucy. One of the attackers is a relative of Lucy's neighbour, a black man named Petrus, and protected by him. Lucy refuses to press charges or to leave, but Lurie drives back to Cape Town.
On the way, he stops at the home of Melanie Isaacs and meets her father, who invites him to stay for dinner. He apologizes to her father, who asks him some difficult questions about forgiveness and about being in disgrace. There are parallels between him and Mr. Isaacs in relation to their respective raped daughters. In Cape Town Lurie finds that his house has been broken into and everything stolen.
When Bev calls him to say that Lucy is not well he goes back to the farm, where he discovers that she is pregnant as a result of the rape, has decided to keep the child, and intends to agree to Petrus's offer of marriage: if she becomes one of his wives, in name only, she will be allowed to stay on the farm (which he will now own) under his protection.
She resists all her father's objections. He finds a room in the town near her farm, continues to help Bev killing the dogs, and, while he awaits the birth of his grandchild, works on an opera he is writing, about the abandoned mistress of the poet Byron, who yearns for a time that is past.
Southern Baptist missionary Nathan Price brings his wife Orleanna and his four young daughters to the Belgian Congo in 1959, just before its turbulent passage into independence as the state of Zaire. The Prices’ stay in the tiny village of Kilanga occasions escalating conflicts of cultures and values. The differences between the social, religious, and political habits of the United States and Africa are a source of both wonder and strife.
Orleanna and most of her daughters develop bonds with the people of Kilanga whose dimensions are much deeper than they first realize. At the same time, the family finds itself increasingly at odds with each other. All the women are engaged in a passage to personal identity and independence from Nathan: Orleanna, the dutiful minister’s wife; materialistic teenager Rachel; fervent, idealistic Leah, who emulates her father until it’s impossible to continue; her brilliant twin sister Adah, who walks with a limp and perceives the world in palindromes; and adventurous five-year-old Ruth May.
While all the women are changed by Africa, Nathan becomes more and more zealous in his refusal to change. The novel draws Nathan as a man whose identity has been definitively shaped by a World War II trauma that launches him on a downward psychological spiral from which there is no exit.
The novel is broken into seven books, all but the seventh bearing the titles and epigraphs from books of the Hebrew Bible and Apocrypha. Within the sections, the story is told as a round robin, with the Price women contributing alternating first-person narrative.
The daughters’ stories begin in 1959 in Africa and record events as they happen, gradually working their way forward to the 1990s. Their mother, in contrast, tells her story retrospectively, writing from Sanderling Island, Georgia, long after her return from Africa. Nathan is the only family member who never narrates.
This film, like Nair’s earlier films (Salaam Bombay!, Mississippi Masala) presents serious social issues for viewers to consider, but the story this time, is set in a happier context. As the title reveals, a wedding is central. Monsoon is added to account for two kinds of turbulence: the weather on the day of the wedding and discomforting family factors such as pedophilia, secret trysts, and class distinctions. For the Punjabi Verma family, it is Father of the Bride with the universal tension, stress, and chaos associated with such happy events, but also with distressing twists that are sorted out or washed away symbolically by the monsoon’s arrival.
Like Jane Eyre, a novel to which it is often compared, Olive is a female bildungsroman: a young girl's coming of age story. In Craik's novel, however, the heroine is much more physically distinctive than the "plain" Jane Eyre. Olive Rothesay is born prematurely to a young, lovely mother who continues to entertain guests through her pregnancy in an effort to entertain herself during her husband's long absence. When the doctor pronounces the baby "deformed," the dismayed mother hides the truth from her husband until his return a few years later.
Combined with Colonel Rothesay's own secrets, Mrs. Rothesay's deception produces a permanent rift in the marriage. Upon her father's sudden death, Olive is both a moral and financial support to her frail mother, becoming a successful painter under the tutelage of a brilliant but misogynistic artist whose marriage proposal she rejects. When Mrs. Rothesay loses her eyesight, she and Olive develop a substantial bond that repairs the mother's early rejection of her disabled daughter.
After Mrs. Rothesay dies, Olive falls in love with Harold Gwynne, the widower of her best friend Sara. In a sensational subplot, Colonel Rothesay's illegitimate, mixed-race, emotionally troubled daughter briefly threatens Olive's happiness, but Olive finally marries Gwynne, helps him with his crisis of faith, and becomes the adoptive mother of his and Sara's child.
Lenny's development from childhood to adolescence concurs with India's independence from Britain and the partitioning of India into India and Pakistan. The interwoven plots give each other substantial meaning. Partly because Lenny's family are Parsees, a religious and ethnic minority that remained relatively neutral in post-Partition religious conflicts, she has access to people of all ethnicities and religions, both within Lahore and in other locales. More significantly, she has access to a wide variety of viewpoints both pre-and post-Partition through her Ayah, a beautiful woman whose suitors are ethnically and religiously diverse.
Lenny's passionate love of Ayah and the loss of innocence that accompanies their changing relationship through the Partition is an energetic center to the plot. Lenny's relationships with her mother, her powerful godmother, and her sexually invasive cousin are also important to the novel. Lenny's polio forms a significant early narrative thread. Other minor but compelling subplots include Lenny's parents' changing relationship, the murder of a British official, and the child marriage of the much-abused daughter of one of Lenny's family's servants.
The speaker is en route by plane from San Antonio to Mexico City to visit Mexican relatives on her father's side of the family. At the airport she had remembered that "in Mexico they don't like hair / under your arms . . . " and is struggling, before landing, to deal with this in the tiny bathroom, with a disposable razor hastily purchased at the airport.
Also before landing she has to negotiate a mix up over declaration forms--"the stewardess . . . has given me the wrong / one assuming I'm Mexican but I am! / and I have to run up the aisle and ask / for a U.S. citizen form instead because / I'm well how do I explain?" When she arrives in Mexico City she is ready for her relatives, "armpits clean as a newborn's soul" and presents herself "like the good girl my father would have them believe I am."
The year is 1954, the place a construction camp in the interior of Tasmania. One evening Maria Buloh, a young immigrant from Slovenia, walks out of her home and into the snowy forest, disappearing forever. She leaves behind her husband, Bojan, and Sonja, their three-year-old daughter. Sonja's childhood evolves into a harsh series of foster homes, followed by adolescence taking care of her drunken, abusive father. She escapes at the age of 16. Flash forward to 1989, when Sonja Buloh pays her first visit to Tasmania and to her father in more than 20 years.
What is Sonja looking for? What does she expect to find? She and her father are both damaged people. Their spirits are scarred and deeply hidden--his in alcohol and an obstinate lack of ambition, hers in wariness and distance. We soon learn that Sonja is pregnant and plans to have an abortion as soon as she returns to Sydney. While staying with some old friends, she has an epiphany--she decides to remain in Tasmania and carry the pregnancy to term.
During the months of her pregnancy, Sonja and her father gradually grow closer. Sonja finally learns the truth about what happened to her mother. Father and daughter are transformed. To quote the book's blurb, "the shadows of the past begin to intrude ever more forcefully into the present-- changing forever his living death and her ordered life."
This novel recounts the fictional life of Syms Covington, an historical character who was Charles Darwin's servant during the voyage of the Beagle (1831-1836) and for two years thereafter in England. Covington then moved to New South Wales, but remained in correspondence with Darwin for the rest of his life. (He died in February 1861.)
MacDonald expands on these facts to create the engrossing story of an "elderly" Covington--he would have been in his mid-40's at the time--who befriends a young American physician in New South Wales. Covington develops appendicitis and MacCracken, the young doctor, saves his life. They become friends and during the next two years Covington gradually reveals his story.
The book flashes back to the voyage of the Beagle and reveals the development of Covington's prickly but worshipful relationship with Darwin. In 1860 Covington, who has become a wealthy landowner in New South Wales, anxiously awaits his copy of The Origin of Species. After enduring the agony and adventure, after studying thousands and thousands of specimens, how will Darwin bring it all together? The theory of evolution rocks Covington to the core. Has his work played a part in helping Darwin to develop this godless theory?