Showing 141 - 150 of 240 annotations tagged with the keyword "Father-Daughter Relationship"
Cookson Selway has had a problematic childhood (his mother dressed him as a girl and his father was a murderer) and a complex youth (after dealing cocaine and becoming an alcoholic, he went into the restaurant business, made a fortune and retired at thirty-nine). Now 44, he is settled into wealthy middle age, living in Massachusetts with his wife, Ellen, a mystery writer, and his teenage daughter, Jordan. When Jordan goes away to boarding school, Cook and Ellen move to London so that Ellen can research a new novel.
Cook, always unconventional, sometimes sees things no-one else can, and in England, his condition, whatever it is, becomes worse. He begins to believe that the Willerton, the old hotel he and Ellen stay in, is haunted. He encounters three "ghosts," a small boy, an adolescent girl, and a man about his own age who is always drunk and repulsively lascivious. He learns that, years before, a girl died after jumping or falling from an upstairs window. It is rumored that she had been sexually abused by her drunk uncle. The only other person who seems aware of the ghosts is Pascal, the French bellboy, who soon becomes Cook’s ally.
Cook begins acting increasingly strangely, and his wife and the people she befriends (in particular the Sho-pans, an elderly Chinese couple) are convinced that Cook has started drinking again or is having some kind of mental breakdown. The reader is never given a final explanation for what happens; the "ghosts" certainly seem to reenact events from the hotel’s history, but they are also deeply linked to Cook’s own obsessions. They are all, perhaps, aspects of himself. Both fascinated and horrified, he is unable to reject them, even as his obsession estranges his wife. Only when it causes the death of Pascal is he able to leave the hotel and, perhaps, the ghosts. The couple return to America, and tentatively begin to recover.
This extraordinary anthology of 65 poems examines the relationship of parents to their grown children from the parents’ point of view. The poets are well known (among these, Grace Paley, Ruth Stone, Kumin, Maxine , Marilyn Hacker, Alicia Suskin Ostriker, Linda Pastan), and lesser known, female and male ( Dick Allen, Raymond Carver, Hayden Carruth, and Robert Creeley), but all poems deal head on with situations that often confront parents.
Situations examined are: the addiction of grown children ("To My Daughter"), their illnesses ("Pittsburgh," "Anorexia"), their own visible aging ("The Ways of Our Daughters"), the frustration of poor communication ("Lowater Bridge," "Harmonies for the Alienation of My Daughter," "Listen," "Potentially Fatal Toes," "Letter to a Son I Once Knew"), the way parents aren’t really the people their children think they are ("The Children"), and the joy when, even for a moment, love and safety reign ("Time, Place, and Parenthood," "Visual Ritual").
In these poems parents stand at the doorway and watch their children caring for their own children ("Sometimes," "Practicing") and they invoke family histories ("The Blessing," "Girl Children," "On an Old Photograph of My Son"). They dread the ringing of the phone ("Hours After Her Phone Call," "Long Distance Call from the Alone & Lonely") and they worry over children’s marriages, physical pains, and the disasters in their lives that parents cannot fix but feel they might have caused ("What I Need to Tell You," ""Letter: Thursday, 16 September," "Love is Not Love").
This is a complex and, at times, very amusing story about modern life in an affluent Mexican family. Generational differences--and similarities--between a physician-grandfather (Xavier Masse) and his children and grandchildren, are important to the story, but the relationship between the wise grandfather and his most charismatic grandson, Rocco (Osvaldo Benavides), is central. Family issues concern money and greed, but also surprising expressions of love.
The story begins in a lovely Mexico City home where family members feud and fuss continuously. After the grandfather’s sudden death during a heated dinner table outburst with his selfish adult son, Rodrigo (Otto Sirgo), two grandsons kidnap the old man’s ashes and head to Acapulco in a "stolen" car so as to dispose of them according to their beloved grandfather’s request. Their journey is funny and full of adolescent shenanigans. In Acapulo, a secret is discovered about the grandfather that gives the story a wonderful twist.
Summary:Fifteen-year-old Frankilee's sense of justice leads her to conspire with her mother to kidnap Angelica Musseldorf from a home where there is every evidence she has been consistently beaten and abused. With reluctant cooperation from her father, they take the girl in, confront the parents, and install her in Frankilee's room for an indefinite stay. Angelica, who asks to be called Angel, is not only scarred, but needy--indeed, over time, demanding. As her parents shower her new roommate with attention, clothing, lessons, Frankilee struggles with her deepening resentments. She confides them to Wanita, the family cook, an African American whose long service to the family has given her a place of special affection.
Summary:Max, who has lost his wife after a long life and career together as circus acrobats, reluctantly retires to an assisted living home. There he finds unexpected friendship first in his neighbor, Lettie, a widow who has a gift for uncomplicated kindness, and Alison, a thirteen-year-old he meets when he gives juggling and stunt lessons at the local junior high. The unhealed ache of his wife's slow death from cancer makes Max skittish about opening his heart to either of them, though Lettie offers him patient companionship and Alison, full of adolescent restlessness, unfocused intelligence, and need, desperately wants something of the grandfatherly good humor and wit she finds in Max.
Warren Schmidt, played by Jack Nicholson, is a middle level officer in an Omaha insurance company who faces retirement and, shortly afterward, the sudden death of his wife of 42 years. He struggles with emotional chaos and mental confusion and with the nagging thought that his life is over and that he has failed to make the world better in any way.
An additional complication is that his only child, Jeannie (Hope Davis), is planning to marry a man (Randall, played by Dermott Mulroney) Schmidt strongly feels is below her. He tries several times to prevent the marriage but fails at that, too. Returning home from the wedding in despair, Schmidt finds a piece of mail with a drawing made by a young boy in Tanzania he had begun to support just after he retired, and the final scene shows him deeply moved.
This made-for cable film is based on the real-life story of Dr. Gisella Perl (Christine Lahti) as told in her autobiographical book, I Was a Doctor at Auschwitz. Originally published in 1948 and reprinted in 1997, the book is hard to find now. The film tells how Dr. Perl, a Jewish Hungarian gynecologist, is imprisoned and forced to be a camp doctor in Auschwitz during World War II.
Dr, Perl lost her parents, husband, and son during the war years. She had to relive her horrifying experiences and difficult moral choices as she faced an immigration panel in the U.S. in order to get her American citizenship after the war. Accused of collaborating with the Nazis, she was eventually exonerated and practiced in New York, later immigrating to Israel where she did important work. There were many other talented women who also fought to live but failed in their quests and Dr. Perl tells of the spirits of these women also.
Summary:A woman begins the morning by assessing her mother's mood through her reaction to breakfast toast. They are off to visit her father who has dementia and no memory of his past as a war hero, or of his present as husband and parent. Yet a fleeting smile suggests that, on some level, unbeknownst to him and inaccessible to them, remain shreds of the same person.
This tale covers several decades in the life of the protagonist, Emily Grierson. In a typically Faulknerian style, the reader is led back and forth over time by an unidentified narrator, known only as we. The viewpoint is that of generations of observers in Miss Emily's southern town who have watched and speculated about her since she was a young woman living under the thumb of a father characterized as controlling.
After father's death, Emily lives in the aging family mansion with a manservant as cook, gardener, and general handyman. A few years pass and a handsome laborer from the North arrives as part of a project crew. Emily and this man are seen to be keeping company. One day Emily appears in the apothecary and buys arsenic. The man in question is not seen again by the townspeople.
Thirty years pass and Emily does not leave her home; she ages, grows fat with long, iron-gray hair, and becomes increasingly reclusive, and eventually dies. The now elderly houseman admits the city fathers to the home and disappears, never to be seen again. As the townspeople go through the house they discover a locked door, which when broken down leads into a dusty, musty and faded room. In the bed lie the skeletal remains of a man whose clothes and toiletries (recognized by those who recall Emily purchasing them and having them inscribed with the laborer's initials) occupy the room. On the indented pillow next to the remains is a single, long, iron-gray hair.
Joan Didion has written a very personal, powerful, and clear-eyed account of her husband's sudden and unexpected death as it occurred during the time their unconscious, hospitalized daughter was suffering from septic shock and pneumonia.
Quintana, the couple's 24-year-old adopted child, has been the object of their mutual care and worry. That John Gregory Dunne, husband and father, writer and sometime collaborator, should collapse from a massive, fatal coronary on the night before New Year's Eve at the small dinner table in their New York City apartment just after their visit with Quintana can be regarded as an unspeakable event, beyond ordinary understanding and expression. "Life changes fast . . . in the instant. You sit down to dinner and life as you know it ends" (3).
As overwhelming as these two separate catastrophes are, the account provided by Didion evokes extraordinary descriptions of the emotional and physical disorientations experienced by this very lucid, but simultaneously stunned and confused wife, mother, writer dealing with the shock of change. Her writing conveys universal grief and loss; she spins a sticky filament around the reader who cannot separate him or herself from the yearlong story of difficult, ongoing adjustment.