Showing 131 - 140 of 157 annotations tagged with the keyword "Child Abuse"
Alice Goodwin is the wife of Howard, a midwestern dairy farmer, the mother of two daughters aged five and three, and the nurse at a local elementary school. She and her friend, Theresa Collins, a family therapist who lives in the nearby suburbs, take turns watching each other's children. One morning, while Alice is momentarily distracted, Theresa's two-year-old daughter, Lizzy, falls into the pond on the Goodwin farm. Despite Alice's attempts to resuscitate her, she dies after three days in the hospital.
Not long after, while she is severely depressed, Alice is arrested on (false) charges of sexually abusing some of the schoolchildren in her care. Confused, and thinking only of Lizzy's drowning, Alice says to the police, "I hurt everybody." They take this to be a confession.
She spends three months in prison awaiting trial, until Howard sells the farm to pay her bond. The novel gives us both Alice's experiences in prison--in a world she had hardly imagined--and Howard's struggle to take care of their children. Theresa, who seems never to have blamed Alice for her child's death, helps him and they develop a powerful bond. The novel ends with the trial, in which Alice is exonerated, and their family's tentative beginning of a new, urban life.
In short chapters that alternate between remembered scenes of abuse, reflections upon those scenes, and tributes to the natural beauties and human kindnesses that tempered years of domestic violence, the author provides a galling, but not sensationalistic, record of what child abuse looks and feels like. Only when she was older and mostly beyond the reach of a father who routinely beat and sexually abused her and her siblings did the author find out that her father had been dismissed from a police force for gratuitous violence and had subsequently submitted to electroshock treatments for mental illness.
The title describes the nature of the narrative; in its deliberate discontinuities it testifies to the stated fact that there are places where memory has left a blank. Much of the telling is an attempt to piece together a story of recurrent violence, felt danger, and arbitrary rage that seemed at the time both regular and unpredictable.
The sanity of the narrative testifies to the possibility of healing. The writer makes no large claims for final or complete release from the effects of trauma, but does strongly testify to the possibility of a loving, happy, functional adult life as healing continues.
When at last the authorities came / to lead away her children, she turns around and retreats "inward to the recesses of her mind." This woman doesn't care what happens to the children because she has lived in her own world for a long time, but nobody noticed. The neighbors saw her trash stack up, they smelled "the stench of fetid scraps" in her house, but they continued along their merry way, oblivious to what was happening. [30 lines]
Laurie lives with her mother, stepfather, and two stepsiblings. Her stepfather is often gone on business trips. When he's home, he's generally kind, but oblivious to the fact that Laurie's mother abuses her. She's kept this secret ever since her birth father left when she was three.
When her mother gets angry she takes it out on Laurie, beating her and confining her. In front of other people they both pretend it didn't happen, and they never talk about it. Her mother explains her bruises and scars and frequent trips to the emergency room as a result of Laurie's clumsiness. She has moved frequently, and keeps Laurie from developing friendships.
But Laurie does find friends, first in a new next-door neighbor, a boy with a hospital record of his own who walks on crutches, and then in her stepbrother, who begins to realize what's happening and conspires with her to get help. Eventually she is released from the cycle of abuse when her mother is hurt in an accident and the three children seek refuge with the stepsibling's grandmother. Laurie's stepfather apologizes for his inattention and promises her the safety of the grandmother's home for the summer and their home again when her mother has had treatment for her abusive behavior.
15-year-old Alexandra is envied by her friends for dating Cliff, a popular, athletic senior. But his attentiveness, which she at first finds reassuring, gradually becomes a jealous possessiveness that separates her from other friends. She finds she is afraid to make choices without consulting him, or to do anything social without him. Her behavior is not unlike her mother's, who goes to great lengths to avoid displeasing her father who is quick to anger and insistent upon control and order.
Cliff's anger over apparently small differences becomes increasingly violent as time goes on. He forces sex on her and eventually hits her, after which he apologizes profusely with flowers and promises. By the time this cycle has repeated itself a few times, Alexandra realizes she has to escape. Afraid to do so on her own, she ultimately needs the help of both friends and the police.
Editors Angela Belli, professor of English at St. John’s University in New York, and Jack Coulehan, physician-poet and director of the Institute for Medicine in Contemporary Society at the State University of New York at Stony Brook, have selected 100 poems by 32 contemporary physician-poets for this succinct yet meaty anthology. The book is subdivided into four sections, each of which is prefaced by an informative description and highlights of the poems to follow.
Section headings take their names from excerpts of the poems contained therein. There are poems that describe individuals--patients, family members ("from patient one to next"), poems that consider the interface between personal and professional life ("a different picture of me"), poems that "celebrate the learning process" ("in ways that help them see"), and poems in which the poet’s medical training is brought to bear on larger societal issues ("this was the music of our lives").
Several of the poems have been annotated in this database: Abse’s Pathology of Colours (9); Campo’s Towards Curing AIDS (13) and What the Body Told (94); Coulehan’s Anatomy Lesson (97), I’m Gonna Slap Those Doctors (21), The Dynamizer and the Oscilloclast: in memory of Albert Abrams, an American quack (129); Moolten’s Motorcycle Ward (105); Mukand’s Lullaby (33); Stone’s Talking to the Family (79) and Gaudeamus Igitur (109).
Other wonderful poems by these authors are also included in the anthology, e.g. Her Final Show by Rafael Campo, in which the physician tends to a dying drag queen, finally "pronouncing her to no applause" (11); "Lovesickness: a Medieval Text" by Jack Coulehan, wherein the ultimate prescription for this malady is to "prescribe sexual relations, / following which a cure will usually occur" (131); "Madame Butterfly" by David N. Moolten, in which the passengers in a trolley car are jolted out of their cocoons by a deranged screaming woman (142).
Space prohibits descriptions of all 100 poems, but each should be read and savored. Some others are particularly memorable. "Carmelita" by D. A. Feinfeld tells of the physician’s encounter with a feisty tattooed prisoner, who ends up with "a six-inch steel shank" through his chest as the physician labors futiley to save him (23). In "Candor" physician-poet John Graham-Pole struggles with having to tell an eight-year old that he will die from cancer (27). Audrey Shafer writes of a Monday Morning when she makes the transition from the "just-awakened warmth" of her naked little son to tend to the patient whom she will anesthetize "naked under hospital issue / ready to sleep" (72).
In "The Log of Pi" Marc J. Straus muses about being asked "the question / I never knew" that he "pretend[s] not to hear" whose "answer floats on angel’s lips / and is whispered in our ear just once" (113). Richard Donze wants to know why "Vermont Has a Suicide Rate" (132). Vernon Rowe remembers the "hulk of a man" who shriveled away from an abdominal wound and begged, " ’Let me go, Doc,’ / and I did" (44).
Katie, the twelve-year-old protagonist and narrator, lives with her sister, Diane, and their father, a military man with a violent temper, on a military base in Texas. She remembers their mother, now dead, as a kind, gentle presence, able to temper their father's violence, though Katie begins to realize that the mother had also lived in apprehension of his outbreaks.
The story develops Katie's strategies for coming to terms with the loss of her mother, the fact that her mother never succeeded in protecting her from her father's violence, and eventually the loss of her sister who runs away. She begins to learn how to negotiate with her father and seek and receive nurture both from others and from herself.
Most of the thirteen stories in this collection portray interactions among pension guests in a German spa town; a few represent the lives of the town's permanent residents. The minor health problems (mostly digestive ailments, or unspecified "internal complaints") of the guests are not the crux of the plot but rather what gives it its texture. Talk about eating, "internal complaints," sexuality, body image, and pregnancy is the vehicle through which people try to relate.
Most of the stories are about failed communications: between men and women, for example, or between German and English people. Several stories are narrated in the first person by a young Englishwoman whose bodily and marital status (ill? pregnant? married or not?) are pointedly ambiguous.
Two stories represent childbirth from "outsider" perspectives. In "At Lehman's," a virginal serving girl sees her mistress's pregnancy as an "ugly, ugly, ugly" state; later, her sexual explorations with a young man are interrupted by her mistress's screams in labor. In "A Birthday," a man waiting for his wife to give birth focuses on his own suffering rather than hers. "The Child-Who-Was-Tired" follows a child-servant through a day of repeated abuses to body and spirit that culminates in infanticide.
To escape accusations of plagiarism, Swedish neurosurgeon Stig Helmer (Ernst Hugo Jaregard) has come to work at The Kingdom, a large Copenhagen hospital. He is a surgical butcher with lamentable bedside manners and utter contempt for Denmark, but he resembles his colleagues in his medical positivism and abhorrence of spiritualism. His inadequacies are easily perceived by the hospital staff and resident Dr. Hook (Soren Pilmark), but his fellow consultants celebrate his arrival and make him a member of their lodge.
The malingering spiritualist Mrs. Drusse (Kirsten Rolffes), admitted for a variety of fictitious ailments, discovers The Kingdom is haunted by a little girl murdered there a century ago by her scientist stepfather. Drusse engages the help of her son, who is an orderly, to trace the child's secret.
Tangents to the main plot involve a pathologist, who is so obsessed with obtaining research tissue that he has a cancerous liver transplanted into himself, and the psychopathic medical student son of the hospital director, whose sick sense of humor leads him to mutilate corpses in the hospital morgue. The ending is pure horror.
In Roddy Doyle's novel, Paddy Clarke Ha Ha Ha, young Patrick is so distressed over his parents' fighting with each other that he stays up all night trying to prevent their quarrels. Like many children whose parents break up, Patrick thinks he is somehow responsible, but he does not understand what is going wrong or why. He loves both of them, especially his mother.
He acts out his anxiety over the discord between his parents by often getting into fights and by being mean and abusive to his younger brother. For awhile he thinks that if he were to run away, his parents would stay together. He thinks of questions to ask them so they will talk to him and not fight with each other. But his father leaves for good, and Paddy is left with the teasing chant of his schoolmates: "Paddy Clarke, Paddy Clarke, Lost his Da, Ha, Ha, Ha."