Showing 1131 - 1140 of 1301 annotations tagged with the keyword "Family Relationships"
The Ramsay family are spending the summer in their holiday house on the Isle of Skye. Mr. Ramsay, a mathematician, and his wife, who runs the home, have eight children, including the beautiful Prue, who is likely to be married soon, and James, the youngest, still fiercely attached to his mother. There are also assorted guests, including Charles Tansley, one of Mr. Ramsay's students; Lily Briscoe, a keenly observant painter; and Mr. Carmichael, an opium-addicted poet.
James wants to be taken by boat to visit the lighthouse and his mother encourages him, but his father, enraging James, says it'll be impossible because of the weather. That night Mrs. Ramsay gives a dinner party where she orchestrates the complex dynamics of the family and their guests into a perfect social unit, which is presented as a kind of work of art.
This is followed by a short interlude, "Time Passes," which marks a shift in scale from the human to a wider view, where encroaching darkness and dissolution threaten the house and the lives connected to it. During this period, Mrs. Ramsay dies, Prue marries and then dies in childbirth, and a War takes place in which Andrew, another son, is killed.
All these events are diminished by the universal context of time and change against which Woolf places them. The final part of the novel returns to the human scale. About ten years later, the surviving characters are back at the house and Mrs. Ramsay, though dead, continues to be the central figure, motivating much of what occurs. Mr. Ramsay now takes the still-angry James to the lighthouse, and Lily Briscoe, inspired by her memory of Mrs. Ramsay, is at last able to complete the painting she began years before.
Medea killed her brother and left her father in order to follow Jason and his captured Golden Fleece to Corinth. They marry and have two sons. As the play opens, Medea is distraught with jealousy because Jason has repudiated her to marry the daughter of Creon, King of Corinth. He insists that his new status will be for her own good and that of her children.
Medea and her sons are to be banished, but she begs a day's reprieve. She contrives to poison the princess bride with gifts that catch fire, consuming her and her father too when he tries to save her. In her madness, Medea "reasons" that she must kill her beloved children in order to avenge herself upon her husband.
The boys' cries can be heard from off stage as she slays them with a sword. The grieving Jason wishes that he had never begotten his sons, just as Medea wishes that she had never followed him out of her home.
A strange Irish girl is "away" ever since she lay beside a drowned man. A teacher marries her, providing stability if not sanity, but the 1840s famines begin and the couple flee Ireland with their child Liam. They establish a homestead in a remote part of Ontario where a baby girl, Eileen, is born.
Not long after, the mother disappears and is not seen again for years until she is brought home dead. The son learns that she had been living by a lake immersed in her fantasies of the long dead lover. Eventually, Liam is left to care for his sister alone; they travel to a small port town where he realizes that Eileen has become an attractive young woman with desires of her own. She too goes "away" following a lover, but returns to Liam and his wife to live out her long and lonely life.
Subtitled, A Memoir of an Alaskan Childhood, this spare, compelling work recalls young Julia's difficult and unusual life in a splintered family living "at the edge of the world." When Julia was born in 1929 the family had just moved to Seattle and entered an economic crisis--"somehow, my father had been bilked out of their money." (17) The marriage went downhill as poverty and the father's serious illness compounded an underlying conjugal incompatibility.
Julia was only seven years old when she and her older sister Lillian found their father dead--a suicide. "Nothing is said about how my father died, or even, in fact, that he is dead." (8) Not long thereafter Julia's mother, Rose, without any explanation or advance warning, left the girls at the Pacific Hebrew Orphan Asylum; there they remained for two years. Rose went to Nome, Alaska to try to find work. "Meanwhile, I strive to be a model orphan. I do all my chores . . . I'm quiet, do well in school, am extremely polite. And most of the time, I'm afraid." (33)
There follows another stay in a different orphanage. Here "I never hear my name . . . No one ever touches me. And, in my memory of that time, that place, I am always alone." (72) Finally, they join their mother again in a remote mining outpost of Alaska where Rose operates a roadhouse. Moving with the seasons back and forth between the outpost and the city of Nome, Julia's life takes on a semblance of normalcy. The environment is strange but interesting, the men who frequent the roadhouse are rough but friendly--there is a sense of camaraderie.
As Julia reaches puberty she becomes subliminally aware of a relationship between her mother and the owner of the Nome liquor store, Cappy. Cappy is married--his family is back in Seattle. There is never any open display of affection between Cappy and Rose, but he eats his meals with them and is almost a surrogate father to Julia and her sister. Suddenly Rose decides to move the family to Fairbanks. Here there is a "secret scenario" that Julia only pieces together many years later. As the events unfold in Fairbanks, Julia knows only that her mother is "distracted, not there." And that a man "carrying a small black satchel" comes to the house and leaves her mother moaning in bed.
Once more, Rose leaves her now teenaged children behind as she returns to Nome. It is wartime and Lillian and Julia find jobs at the military base in Fairbanks. As suddenly as they came to Fairbanks, they are summoned back to Nome--no questions asked, no explanations given. Cappy's son is missing in action. Once again, Julia cannot understand the silence, the absence of grief displayed--"Isn't anybody sad? Isn't anybody upset?" (181) Rose's relationship with Cappy quietly ends.
As Julia finishes high school she fantasizes about leaving Nome, going to college, becoming a journalist--fantasies inspired by Rosalind Russell's role in the film, His Girl Friday, and by Sinclair Lewis's critique of small town life in the novel, Main Street. "I begin to discern, vaguely, tentatively, that somewhere there exists a world where the accepted language is the one that Sinclair Lewis speaks--a language of ideas and, even, of feelings." (212) Indeed, as the book jacket notes, the author graduated from Stanford and became a magazine editor; she lives in Manhattan.
This is the most detailed and comprehensive biography of Anton P. Chekhov written to date. Rayfield is a Chekhov scholar who published an earlier biography of the writer in 1975. There are numerous biographies of Chekhov available. In the Preface to this book, Rayfield explains why he wrote it. Chekhov's life is documented by a vast amount of archival material, much of which was unavailable to Western scholars in the past. Russian scholars have studied these sources extensively, but the studies they have published use only a small part of the material. Rayfield's own study convinced him that by drawing liberally from these archives he could write a new biography that would increase our understanding of Chekhov's life and character.
Rayfield's approach is strictly chronological. The book consists of 84 short chapters, each one named and subtitled with the period covered (e.g. July - August 1894). Rayfield sticks closely to the texts, developing a rather staccato style that is heavy on factual statements and light on his own interpretations. He also chooses not to discuss Chekhov's writings as such, except to present brief summaries of the plays and some of the more important stories, and to indicate relationships between Chekhov's life and his art.
The new material gives us a much better view of the day-to-day texture of Chekhov's life, his interactions with family and friends, and his interesting and enigmatic relationships with women. The book also includes a helpful diagram of the Chekhov family tree, two maps of Chekhov's country, and many photographs.
Follows the last few months in the life of Wendal Bailey, an African-American bisexual male in his early 30's. Examined in this drama are Wendal's two worlds; one which revolves around his lovers, the other based in the home of his extended family - his mother, father, "aunt", brother and 12-year-old son. After nearly dying of AIDS, Wendal comes home to regain his strength and find comfort, but a festive evening celebrating his return turns into a disaster. Shortly after this debacle, the only support and love he finds as he lies in his death- bed comes from an unexpected source - his previously stern, disapproving and homophobic father.
Summary:The narrator, William, is the younger brother of Clive, an enigmatic high school "hippie" who also is a mathematical genius. Most of the story deals with their relationship within a peace activist family living in an affluent Cleveland suburb in the early 1970’s. Two of Clive’s friends, Sandra (presumably his lover) and Elliot, figure prominently in the story. In fact, it is from a secret language which Clive and Elliot share that the title is derived. They also share a sexual relationship and are "discovered" by Clive’s father. This event sends this affable story into a hyperspeed tragic ending, placing William fifteen years later at the bedside of his brother who is dying from complications of AIDS.
The apparent "subject" of Reynolds Price's novel, The Promise of Rest, is HIV/AIDS, yet it is also a novel of family, marriage, father-son relationships, and friendship between men--in addition to one of caring, suffering, and the unspeakable pain of parents watching their child die. The novel opens with Wade Mayfield, a thirty-two year-old gay, white architect infected with AIDS reluctantly returning from New York City to his family home in North Carolina to live out his final months. Almost blind, unable to manage even with daily visits from caregivers, he allows his father Hutch to come to New York to close the apartment that he shared with his African-American lover, Wyatt, who infected Wade and committed suicide ten weeks prior to Wade's leaving.
Once home, the story becomes a long conversation between Wade and Hutch. Interspersed in that most loving, painful, sometimes joyful, intense conversation on the way to Wade's death is emotional haggling between Hutch and Ann, Wade's mother and Hutch's ex-wife, who feels denied a role in the care of her only child; the continuing conversation between Hutch and Straw, his best and oldest friend with whom he had a physically intimate relationship years before and with whom he is still strongly connected; the dailiness of students (Hutch is a literature professor); finding help with the caregiving; and trying to understand the story of Wade's life before he returned home that has potentially great bearing on the Mayfield family even after Wade's death. The novel closes with Wade's death and the days thereafter, a death that fulfilled Wade's "undaunted determination to die as himself."
Second Son chronicles the changes in family relationships that follow disclosure of a son's AIDS. The father's initial response reveals unexamined attitudes that complicate the supportive response he'd like to give. Father and son are brought into unfamiliar and unwelcome intimacy, the former wanting to "fight it," the latter wanting to turn inward, accept his condition and decide how to live out his life.
Father and son find that they handle sickness in much the same way they have handled the other aspects of their divergent lives. A new lover, who also has AIDS, finally provides what the family, tragically, cannot. The story highlights confusions about what family members owe one another and makes clear how the families of the sick need to be healed if they are to become healing communities.
Summary:This book is a collection of photographs of patients and their family members, caregivers, administrators, and others in an Oregon nursing home. Photographs are accompanied by commentaries by the subjects, who talk about their lives, their suffering, their work, their survival.