Showing 131 - 140 of 361 annotations tagged with the keyword "Abandonment"
Set in Sweden in the late 1950’s, around the time of Ingemar Johansson’s world heavyweight boxing championship, "My Life as a Dog" tells the involving story of a precocious boy, Ingemar (Anton Glanzelius), who gets into trouble, entertains his mother (Anki Lidén) with his antics and plays with his dog, Sickan. As his mother becomes increasingly sick with a terminal illness (almost certainly tuberculosis), he is sent to live with relations for the summer in a small rural community. After an eventful vacation, he returns to his mother but she soon dies. He stays with family friends who, unable to cope with him or his behavior, send him back to his relations, where he is again welcomed, but somewhat less enthusiastically.
Throughout this, Ingemar maintains his sense of perspective by comparing his own situation to the tragedies he reads in the newspaper. In particular, he returns to the story of Laika, the Russian dog launched into space. Laika was sent into orbit in a capsule with no expectation that she would return, and it was believed that she eventually starved to death or ran out of oxygen (although recent reports, decades after Laika’s death and several years after the film was made, have acknowledged that she probably died within a few hours of launching from overheating and stress).
In this film based on a true story, Ramón Sampedro (Javier Barden), a young fisherman from the northwest coast of Spain, is injured in a diving accident that leaves him paralyzed from the neck down and completely dependent for his care on his older brother and his sister-in-law, who make numerous sacrifices in order to care for him. Twenty-seven years later, in his 50's, Ramón is weary of his life, which he feels is without dignity, and he tries to get legal permission to end it.
His brother is adamantly opposed to euthanasia, but Ramón is comforted and aided in his quest by two women who are drawn into his circle. Julia (Bélen Rueda), a lawyer suffering from a degenerative disease, begins to design a legal case for Ramón but soon falls in love with him (although she seems happily married), and he with her. In a particularly moving scene, Ramón-who of course cannot move--tells Julia that her smell is the beginning of his erotic fantasies about her.
Julia helps him edit and publish a book of his poetry, but then, having agreed to a joint suicide, she mysteriously backs out. Rosa (Lola Dueñas), a young single mother who works in a fish-packing factory and who has had a hard life, also falls in love with Ramón. For some time she tries to change his mind, arguing that his example has inspired her and saved her from a life of despair. Ramón challenges her: "The person who truly loves me will be the one who helps me [commit suicide]."
When Ramón's legal appeal (for the same rights the nondisabled have to end their lives) is lost on a technicality, he seems to have nowhere to turn, but Rosa, converted by her love for Ramón, finally agrees to help him die. He achieves his goal in a videotaped end in which he argues that what he is doing is his right and that no others should be blamed or prosecuted for it, sips poison through a straw, and dies.
Summary:Nate, 14, comes home to his family's Montana farm one day to see police cars. His father, whose head is bloodied from a gunshot wound, is taken away in an ambulance. He and his 7-year-old sister are whisked into the house and cared for by an aunt until their mother, shocked and withdrawn, returns home. In the weeks following Nate finds it hard to get any adults to level with him about what happened, though he overhears conversations that make it fairly clear it was a suicide attempt. The kids at school withdraw from him and his sister; parents in the area tell their children not to play with them, as they always suspected there was something strange about the family. Only one girl, herself something of an outcast because of her father's aggressive fundamentalist preaching, befriends him, and becomes his partner in a science project.
Summary:Sophie, who has lived with her aunt in Haiti for the 12 years since her birth is being sent to live with her mother in New York. She leaves her aunt and grandmother amid a riot at the airport, and arrives in New York to meet her mother and her mother's long-term lover. Her mother has frequent nightmares, related, as it turns out, to the rape that eventuated in the birth of Sophie. Sophie's mother insists that the only road out of poverty is to study hard; she wants Sophie to become a doctor, and jealously oversees her work and protects her virginity, frequently testing her to make sure she has not been sexually active.
Summary:Summary: All thirteen short stories in this collection draw readers into the quietly compelling lives of disparate and very ordinary characters who function and suffer in unsettling ways. We are like them and not like them, but their circumstances, while sometimes disturbing, are familiar--and strangely magnetic. The opening lines of "The Lapse" illustrate this power of attraction:
This memoir chronicles the pre-adolescent and adolescent years of the author, the son of an alcoholic, abusive mathematics professor father and a psychotic Anne Sexton-wannabe confessional poet mother. The only family member who does not abuse the boy in any way is estranged--an older brother with Asperger’s syndrome. Meanwhile, the amount of trauma to which young Burroughs is subjected boggles the mind. Just when one thinks it couldn’t get any worse, it does.
Burroughs, who loves bright, shiny, orderly things, also likes doctors--paragons of cleanliness, virtue and wealth. Unfortunately, his mother’s psychiatrist, Dr. Finch, described as a charismatic Santa Claus-look-alike, is unethical, bizarre and squalid. As Mrs. Burroughs becomes more and more dependent on Finch, she allows her son to be adopted into the crazy Finch household.
This family includes wife Agnes, who copes with her husband’s infidelity by sweeping madly; son Jeff, daughters Kate, Anne, Vickie, Hope and Natalie; grandson Poo; and adopted son, Neil Bookman, who is twenty years older than Burroughs and homosexual. When Burroughs is thirteen, and has told Bookman that he, too, is gay, Bookman forces the boy to have oral sex. They become lovers.
The Finches, meanwhile, exhibit their quirks and weird tendencies in multiple ways. "Bible-dipping" is popular to read the future, as is prophesying by examining Dr. Finch’s turds. A patient with agoraphobia, Joranne, lives in one of the rooms--in fact, she has not left the room in two years. Young Burroughs is allowed to smoke and drink. When Burroughs says he doesn’t want to return to school, Dr. Finch facilitates this desire by giving Burroughs alcohol and pills to fake a suicide gesture, then hospitalizes the boy.
Yet Burroughs manages to befriend a couple of the Finch daughters, and to survive his childhood. The book closes with his departure for New York City and with an epilogue outlining various people’s outcomes. Finch lost his license due to insurance fraud.
This is a short piece, a scant twelve pages, in which Williams remembers Alan, an uncle who had mental deficits. During his breech birth, Alan’s brain was starved of oxygen. In the dominant American culture, Alan is called “retarded, handicapped, mentally disabled or challenged.” Williams concludes, “We see them for who they are not, rather than for who they are.” (p. 29) The title of the work refers to an Alaskan totem pole figure whose expression reminds her of Alan. In Tlingit culture, there’s a story of a kidnapped boy who lived with the Salmon People. When he returned twenty years later, he was seen as a holy man, not an “abnormal.”
To the young Terry Tempest, Alan demonstrated enthusiasm and spontaneity, for example bowling with reckless glee, regardless of where the ball went. When she asked him how he was feeling, he said, “very happy and very sad,” explaining that “both require each other’s company.” (p. 31) She liked his direct answers, those of a person we sometimes call a wise fool. Later, he lived in a “training school,” a joyless, ugly, and smelly place where abnormal children in Utah were sent and warehoused. Suffering from epilepsy, he wore a football helmet to protect him from sudden falls.
At age 22, Alan made the choice to be baptized into the Church of Jesus Christ of Latter-Day Saints. Williams describes the ceremony and how the family supported him through it (including yet another violent epileptic episode). When Alan died at age 28, Williams was 18. Looking at the totem pole, she remembers Alan, seeing him for who he truly was.
Summary:Jordy, 17, gay, abused by his parents, has taken refuge in a New York basement from where, one night, he witnesses the brutal gang rape of a young 18-year-old. After his shouted threats scare off the attackers, the girl slips through the window into what turn out to be shared quarters. The two begin to take care of each other; she insists on his getting treatment for head wounds at a public clinic (where care is distiinctly substandard) and he becomes guardian to this young woman whose history of abuse has left her in a curious state of social alienation and innocence about what is normal. The story becomes a kind of vision quest when, faced with "Chloe's" (a name she gives herself by way of starting over) inclination to put herself in harm's way, and to flirt with suicide, Jordy decides to prove to her that the world is more beautiful than it is threatening and ugly.
Summary:Author Diedrich investigates ("treats") mid-late 20th century memoirs about illness (illness narratives) from an interdisciplinary perspective drawing on the disciplines of literature, social sciences, and philosophy. Her analysis uses the theoretical frameworks of poststructuralism, phenomenology, and psychoanalysis to consider "what sort of subject is formed in the practice of writing . . . illness narratives," the kind of knowledges articulated by such writing, whether and how such writing can transform "expert medical knowledges," how language operates in these memoirs, and "what sort of ethics emerges out of such scenes of loss and the attempts to capture them in writing" (viii).
Summary:Serving as a summer hospital volunteer, fifteen-year-old Teri d'Angelo meets Valerie Ross, a girl her age who has damaged a nerve in a fall, and lost the use of one leg. Valerie's anguish over her partial paralysis takes the form of anger; she manages to keep most of those who try to help her at a distance. But Teri finds her intriguing, and Valerie's condition evokes a kind of sympathy and interest in her that overcomes even the patient's most strenuous rebuffs. Gradually, and with much caution on Valerie's part, they become friends. Valerie finds herself welcomed into Teri's large, warm Italian-American family. Teri's compassion for Valerie grows as she recognizes her loneliness; Valerie's parents are divorced, her father rarely visits, and her mother keeps up a hectic work schedule.