Showing 1251 - 1260 of 1295 annotations tagged with the keyword "Family Relationships"
Frank Gresham is the squire of Greshambury Manor in the fictional county of East Basetshire. His wife is the aristocratic Lady Arabella, daughter of Earl de Courcy. Because Lady Arabella's and her husband's tastes are more expensive than their means, Gresham goes heavily into debt and has to sell part of his property to the uncouth, but extremely wealthy, Sir Roger Scatcherd.
Thus, it is determined by Lady Arabella that their son, Frank Gresham Jr., must marry an heiress to restore the family fortunes. Doctor Thomas Thorne is the senior Gresham's close friend and advisor. Doctor Thorne is a bachelor who has raised his niece Mary as if she were his own daughter. In reality, she is the illegitimate daughter of Sir Roger's sister and the Doctor's brother. (Sir Roger had killed Henry Thorne in a fit of passion over his sister's shame; the Doctor sent Scatcherd's sister to America; and Scatcherd served time in prison before going from rags to riches in the railroad contracting business.)
The novel tells the story of the apparently hopeless romance between Mary Thorne and Frank Gresham; and Gresham's mother's attempts to have him marry into a wealthy family. Ultimately, both Sir Roger and his reprobate son, Sir Louis, die of complications of alcoholism. It then turns out that Mary Thorne is sole heir (as the "eldest child" of his sister) to Sir Roger's fabulous fortune. Eventually, Frank and Mary marry and establish their home at Boxall Hill, which is actually built on the land that Gresham had sold to Scatcherd.
The Stone Diaries is the story of Daisy Stone Goodwill, an ordinary woman born in 1905 in Manitoba, who arrives in this world at the same time her mother leaves it, and who moves through the world as child, daughter, young wife, widow, mother, friend, grandmother, and old woman. What makes The Stone Diaries extraordinary, in addition to the quiet lyrical quality of Shields's writing, is the book's autobiographical form: Daisy tries to tell the story of her life by becoming a witness to her life in ways quite impossible in a traditional autobiographical format (e.g. she witnesses her own birth).
Woven throughout the book is Daisy's sense of never quite being in control, of never being the subject of her own life but rather being pulled along by forces beyond her control. Only during the last dreaming weeks as she lies dying, contemplating her own life and death, does she realize that she's never constructed the story of her life, which she is finally able to do as she "returns to currency all that's been sampled and stored and dreamed into being."
Summary:This poem is one of several by Stephen Dunn in which the dynamics of married life are examined. The speaker begins by saying that in marriage "anything that can happen between two people" eventually will, including things that cause incredible hurt and pain. The couple portrayed in the poem stays together through tacit agreement; whatever the hurtful event, neither refers to it. Instead, conversation centers on harmless subjects such as the garden, work, and little aches. While living together in the same house, the couple remains separate because forgiveness is not forthcoming for the spouse who trespassed.
The "four voices" of this collection are Lila, her grown daughters Jennie and Sarah, and Jennie's daughter, Kate, whom Sarah has raised as her own. Sarah is a potter, and she gathers the women of the family together each year for the "vigil" of the wood-kiln firing of the pots she and her assistants have made during the year.
What the voices reveal is the story of, in Gibson's words, "three generations in a family shaped by alcoholism"--that is, the alcoholism of Jennie and Sarah's father, who is now dying in a hospice. Each woman holds secrets, and they reveal the secrets to the reader and, slowly, to each other as the story unfolds--secrets about the death of Jennie and Sarah's brother, about Jennie and Sarah's relationship to Kate, and about Kate's pregnancy.
Summary:This is a generous and good-natured pastiche of a narrative poem evoking a "typical" Chekhov story and crowded with many of Chekhov's favorite images, settings, and situations. It begins: "Sunset clings to the samovar, abandoning the veranda, / but the tea has gone cold, or is finished . . . . " In the country house, Varvara Andreevna, Maximov, Dunia, Erlich, Kartahov, and Prigozhin (the doctor) carry on their ordinary business in the "oppressive midsummer twilight . . . . " Does Varvara Andreevna love the doctor? Does Erlich love Natalia Fiodorovna? Is anything going to happen? The poem ends: "In the provinces, too, nobody's getting laid, / as throughout the galaxy."
The title of this volume is taken from William Carlos Williams's Patterson, where the spray over the falls on the Patterson River "brings in the rumors of separate worlds." In the Introduction Coles evokes his friendship with Williams and Williams's vision as the stimulus for this poetry.
The first section consists of poems evoking incidents and people from the author's childhood. The second section includes a number of militant poems from Coles's 1960's work with black children in the South, and later poems dealing with Nicaragua and Northern Ireland. The final section, entitled "On the Day Jesus Christ Was Born," is a set of Christmas poems evoking various times and places in the poet's life.
Summary:A long story (35 pages) within a book of stories about the author's family, "The House of the Future" movingly describes from the perspective of a precocious 12 year old the death from cancer of his older brother, age 17. The story, subtitled "a reminiscence," conveys in a remarkable way the hopes and fears, the habits and idiosyncrasies of this ordinary and outlandish family. The belief in the clarity of architecture which sustained the younger brother through the year of his older brother's dying, collapses in the end, leaving him to enter a new house, a new ambiguous space, for making sense of his loss.
Summary:The poet addresses Jerina, a friend and confidant who knows the narrator’s story of childhood sexual abuse at the hands--"the silent fingers in the dark"--of her own father. The poet states matter-of-factly that she long ago realized there could be no safety anywhere if there was none at home. As an adult she took refuge in her work and neglected her personal life, but now "the girl [of whom she had been ashamed] is rising in me" and she intends to "have what she / has earned, / sweet sighs, safe houses, / hands she can trust."
Jerry, a basketball player, is going with Sheila, who hates Bonnie, who volunteers at the hospital. After bouts of intense, unfamiliar pain, Sheila learns that she has cancer of the ovaries and intestines. Sheila lives with an alcoholic grandmother; Jerry, with a single working mother and sister. The story treats Jerry's desire for sex, his friends' avoidance, and the dilemmas he faces as taking care of Sheila cuts into school and team commitments.
He wonders whom to tell, what to say to Sheila, and how to stick with a girl through defacing illness. He finds he's not in love with her. He's unsure how to handle his own family obligations as he realizes that he's the only "family" Sheila can count on. But he stays with her until the end.
His fidelity has little to do with romantic love, but rather with a larger kind of love he's learning. Sheila's death is partly a relief. Jerry needs to regroup and go on with his life after this cataclysmic hiatus. The going on, it seems, will involve Bonnie, the hospital volunteer whom neither Jerry nor Sheila appreciated until her unseasonable maturity helped them in time of need.
Dunn's poem describes the choreography of married couples after an argument. The narrative voice considers how silence is imposed, then broken and how two people eventually come together after an unpleasant exchange of words. There are, according to the speaker, unspoken rules and rituals. First, a long silence permeates: after all, "whoever spoke first would lose something." In this household drama there is meaning to the clanging of dishes, sleeping arrangements, and accidental touching.
Eventually, one or the other is careless, spontaneously and shamelessly breaking the Yalta-like stalemate with an observation about something ordinary such as a "cardinal on the bird seeder." An accidental comment secures a truce, bringing the couple together in sex, a "knot untying itself."