Showing 151 - 160 of 272 annotations tagged with the keyword "Mother-Son Relationship"
An imaginative recreation of profound personal loss, the resulting changes wrought by unexpected responsibility as well as opportunity, all occurring during the progression from late adolescence into young adulthood, this work is centered on the death and its aftermath of the author’s parents 32 days apart, when the author was 21 years old (in 1991). With two siblings embarked on their own careers, it was Dave who took on "parenthood" of their eight-year old brother, "Toph."
The book details first, the mother’s death, then, the life that Eggers and Toph negotiate for themselves and with each other after they move from suburban Chicago to Berkeley, California, and, finally, Dave’s return visit to his hometown, wherein he seeks to exorcise some ghosts. In between these landmarks are reflections on family relationships, including that with a shadowy, alcoholic father; the launch of a satiric magazine, "Might" (a title meant to signify both power and possibility); concern for wounded friends; attempts to lead a "normal" life.
While the bare facts of Eggers’s story are unusual enough, the writing is arrestingly original--performative, conversational, brash, yet self-deprecating, funny, and often moving. It is not inaccurate, and will give a flavor of the writing style, to describe the book’s "themes" in the author’s own words (from the 21-page Acknowledgments), for example: "The Unspoken Magic Of Parental Disappearance"--the admission that this traumatic experience of loss "is accompanied by an undeniable but then of course guilt-inducing sense of mobility, of infinite possibility, having suddenly found oneself in a world with neither floor nor ceiling" (xxv); "The Brotherly Love/Weird Symbiosis Factor"; "The Knowingness About The Book’s Self-Conscious Aspect"--an acknowledgment that self-reference is "simply a device, a defense, to obscure the black, blinding, murderous rage and sorrow at the core of this whole story" (xxvii); "The Telling The World Of Suffering As Means Of Flushing Or At Least Diluting Of Pain Aspect"; "The Putting This All Down As Tool For Stopping Time Given The Overlap With Fear Of Death Aspect."
Dave Eggers is on his way to New York with Toph as the book ends. They currently live in Brooklyn, where Eggers produces a quarterly literary journal (Timothy Mcsweeney’s Quarterly Concern, A Journal Created By Nervous People In Relative Obscurity) and a related Web site.
Summary:This extraordinary graphic work began its life as a Web comic, posted anonymously, tracing in image and word the story of a son, his sisters and their mother who was diagnosed with a brain tumor, metastatic from her lung. This comic caught on, and news of it was passed by email and link from reader to reader. About a year later, the author, Brian Fies, was presented the Eisner Award for Best Digital Comic. The entire sequence has now been published in a small, wonderful hardback book that will fit into a lab coat pocket.
Summary:These poems offer a rich series of impressions of the speaker's present life, surrounded by family, a garden, and pockets of natural life that evoke memory after memory of a childhood lived in relative poverty with a father whose years as a coal miner damaged his lungs and finally killed him. Allusions to his chronic and worsening illness and his death thread through the poems like a long shadow.
In this short excerpt [from the early section of the book, describing his birth, family, and early childhood], Brown eloquently describes his difficult birth, the hopelessness of his doctors, and the persistent love of his family, especially of his mother. He relates in detail that profound moment when, at age five, he inexplicably grabbed a piece of chalk from his sister’s hand with his left foot and, with great difficulty and incredulity, traced the letter A on a piece of slate. For the first time, his family knew for sure that his intellect was intact. And for the first time, he could start to communicate with them.
Victorian critic and poet Edmund Gosse was the child of respected zoologist Philip Gosse, a minister within the Plymouth Brethren, a fundamentalist evangelical sect. This memoir of Gosse’s childhood and young adulthood details his upbringing by parents whose faith and literal approach to Scripture directed all their domestic practices.
It details the older Gosse’s agony as he struggles to reconcile his scientific vocation with his religious faith in the face of the hefty challenges posed by Chambers, Lyell and Darwin’s mid-century hypotheses about the age of the earth and the diversity of its species.
Edmund’s own agony as he realizes his inability to fulfill his parents’ expectations for him in terms of religious vocation is another significant thread. While "father and son" is the primary relationship explored, the early parts of the memoir describe Emily Gosse’s influence on her son, particularly during her illness and death from breast cancer.
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").
Summary:The story is based on the life of Hanaoka Seishu, Japanese physician, who lived from 1760-1835. The author, using Hanaoka’s personal papers, has created a fictional representation of the jealous hatred that grows between his mother and his wife living in their feudal Japanese household. The physician is involved in trying to develop an anesthetic which would enable surgeons to remove diseased breasts. The beautiful, widowed mother of the young surgeon begins to compete with his wife for the "privilege" of being his first human subject to take the toxic substances. The remainder of the story revolves around the complex relationship among the family members, with predictably unhappy outcomes, and the results of the experiment.
Carl McKelvey returns to his home town in eastern Ontario, looking for work, anxious to see his daughter, and not daring to hope that his broken marriage with Chrissy can be rebuilt. She is living with Fred, who has political aspirations. He finds his widowed father, William, living in a senior’s home, disoriented and angry. The local politician/used-car salesman gives Carl work renovating a house and renting videos, but only the reclusive Adam seems to take an interest in his well-being.
Through a series of flashbacks told from shifting perspectives, the people of this small community are gradually connected to each other through their relationships with Carl’s sophisticated mother, Elizabeth. She was killed a decade ago on New Year’s Eve, when her car crashed into an oak tree, her drunken son at the wheel. Guilt, remorse, and shame plague Carl, but he little realizes that the same feelings combined with regret are the constant companions of Adam who was once Elizabeth’s improbable lover and Carl’s biological father.
Adam sifts through a series of secret, wild plans intended to "save" Carl. Finally, he drives himself and Fred into the same tree that killed Elizabeth, leaving his estate and a letter for Carl. In the end, Carl seems to have reclaimed his daughter and reestablished his life, but his future with Chrissy is ambiguous.
In early nineteenth-century England, Gustine is a "dress lodger" who rents a room and a fraying but elegant robe which she wears to work as a prostitute. The dissolute, violent landlord takes all her earnings and to keep her from hiding the money or stealing the dress, he has her followed by an elderly, sinister-seeming woman, called "the Eye."
Gustine has a baby, born with its heart on the outside of its chest (ectopia)--the beating muscle is covered only in a thin membrane. Gustine loves her child and tries to care for it, in the grinding poverty and filth of the crowded rooming house. She is convinced that the Eye is dangerous.
The young physician, Dr. Henry Chiver, is intent on making his name as a scientific doctor and educator through dissections. Cholera breaks out in the town to challenge his skill; even when confronted with death, however, he perceives an opportunity for research much to the alarm and disgust of citizens who fail to understand the advantages promised by an act of desecration. He is both attracted to Gustine and appalled by her profession; but when he discovers the secret of her child he sees yet another opportunity and his obsession to become a famous researcher makes him lose sight of all that is appropriate.
In this memoir the poet David Ray describes his troubled childhood and adolescence. Born into a poverty-stricken Oklahoma family, David and his sister lived in a succession of foster homes, after his abusive father walked out and his mother, a needy and often preoccupied woman, found it difficult to care for them. As an adolescent, David was sent to live in Arizona with John Warner, a war veteran who became his "guardian."
From the beginning, Warner sexually abused the troubled adolescent, who spent several years attempting, ineffectually, to escape from his abuser. After graduating from high school in Tucson, Ray accepted a scholarship to the University of Chicago, much against the wishes of his mother, who appeared occasionally in the picture, as well as those of Warner. In Chicago Ray finally freed himself from the abusive pattern.
The memoir provides a heartrending portrait of a succession of dysfunctional relationships, in most of which Ray, or his sister Ellen, emerge as victims or scapegoats. One of these is an intense experience with a sadistic writing instructor named Lowney Handy, who ran a writers’ colony in Illinois, and who may (or may not) have tried to murder David Ray. The book ends with a tension-filled reunion in 1966 between Ray and his biological father, after the young man had successfully completed graduate school and begun his career as a poet and teacher. The old man was just as hurtful as ever, and, reflecting on that last visit and his relationship with his father, Ray recalls some lines from Rilke: it was "so cloudy that I cannot understand / this figure as it fades into the background."