Showing 161 - 170 of 268 annotations tagged with the keyword "Father-Son Relationship"
When an elderly woman dies, her husband telegraphs their six sons to come home. They are successful men between the ages of 20 and 40 who reside in different regions of Russia. The third son, a physicist, brings his 6-year-old daughter along. First, the brothers weep--slowly and silently. They experience a combination of apprehension and loneliness. Next, the siblings participate in a brief religious ceremony. As they surround their mother's coffin listening to the priest, the six men are uncomfortable and perhaps even ashamed. Finally, the brothers act cheerful--singing, telling stories, and roughhousing while preparing to go to sleep.
The third brother calms the others and then exits the bedroom. He stands over his mother's casket and passes out. His head hits the floor. His five brothers revive him and console him. Now all six men are able to fully mourn their deceased mother. They easily recall their childhood. The six brothers carry their mother's coffin and are followed by the father and granddaughter in the funeral procession. The old man is content that one day these same six sons will properly bury him too.
This documentary video follows the making of an opera, based on the illness experiences of four Australians who have been diagnosed and treated for cancer. Their feelings about these experiences are translated into music (with lyrics) as they work closely with music therapist/composer, Emma O'Brien. As the three women and one man tell their stories of physical debility and emotional pain, the music therapist asks them to think in terms of color (they choose purple, black) and tones and rhythms that she plays for them on the piano.
When the narratives and their musical representations have evolved sufficiently, trained singers take on the roles "written" for them by the four former patients; the latter continue to be intimately involved in the opera's production, directed by David Kram. At the end of the project, which is also the conclusion of the film, the opera is performed in front of an audience (with musicians playing instruments, singing, and dramatic enactment) and the four people whose illness experience is performed take their bows together with the singers.
Richard Koslowski, a 32-year-old computer systems supervisor and musician, breaks a tooth when he bites an olive pit. Although the remnant of the damaged tooth is removed during his initial visit to the dentist, Koslowski embarks on a peculiar quest. He longs to find a perfect-fitting dental bridge, to eliminate a mysterious oral pain, and to measure up to the suffering his parents have endured as survivors of concentration camps.
He eventually elicits opinions or treatment from ten different dentists and specialists. Koslowski realizes that he has sustained more than just a cracked tooth. His entire life is now fractured. Koslowski becomes obsessed with his teeth. His girlfriend, Lisa, is a law student who is passionate about women's rights. She travels to Bosnia to interview and assist rape victims. When Lisa returns, she breaks up with Koslowski. His suffering seems so small and his life so insignificant that she can no longer tolerate him.
Koslowski's father is dying of a brain tumor but remains stoic until the end. Koslowski, on the other hand, has a poor pain tolerance. After undergoing multiple dental procedures--tooth extraction, root canals, a series of gum cleanings every week, and finally dental implants--Koslowski ultimately resigns himself to living with the discomfort in his mouth. His "reward" is marriage to a disabled woman, three children, and an ordinary life filled with minor ailments and nuisances.
In three sections of remarkable narrative poems, Fraser reviews how his own and his family's lives are utterly changed by the birth of his youngest brother, Jonathan, who is profoundly disabled by spina bifida and has survived into adulthood--long beyond what doctors predicted. An introduction provides the context: the poems chronicle a hard journey from denial, shame, and anger to acceptance. As Fraser writes toward the end of the final, title poem: "We must learn to cherish chance to have one." But chance has dealt his brother, and so his family, a particularly hard blow.
The first section focuses primarily on his own remembered reactions and reflections--his guilt, his cluelessness--as a child and adolescent; the second on relationships with family and friends as an adult, all of them partly shaped and shaded by the ongoing suffering of his disabled brother; the third and longest, an exercise in empathy-with his mother and with Jonathan, neither of whose suffering, he realizes, is entirely imaginable to him. The poems are regular free verse, rich with allusion, emotional precision, and narrative detail.
James and Elizabeth Morison and their two sons, 13-year-old Robert and 8-year-old Peter, called by his nickname, Bunny, live in a town in Illinois. It is 1918, the end of World War I.
The first third of the novel is narrated from Bunny's point of view. His mother, to whom he is deeply attached, lets him know that she is expecting a new baby. Her vivacious sister, Irene, separated from her husband, arrives for dinner. There is talk about the influenza epidemic, and Bunny remembers that on Friday a boy at his school fell ill. Later that evening, Bunny develops a high fever and is put to bed with the flu.
The second part of the book is from Robert's point of view. Bunny is seriously ill. The schools have been closed because of the epidemic and Robert is not allowed to go and play with his friends. His boredom is alleviated when a sparrow gets into Bunny's room and he is allowed to use a broom to drive it out. To his horror he realizes that, while he was fetching the broom, his mother had gone into Bunny's room and sat on the bed, even though the doctor had said she must stay away for fear of infection.
Bunny recovers, and the boys are sent to stay with their Aunt Clara while their parents travel by train to Decatur where Elizabeth will have the baby. At Aunt Clara's they learn that both parents have contracted the flu, and then that, after giving birth to a boy who will live, Elizabeth has died.
The last part of the book is from James's point of view. Returning home without his wife, he is certain that he will be unable to live in the house or take care of his sons. He decides that Clara and her husband should raise his children. Irene arrives and disagrees, telling him that the dying Elizabeth had told her she did not want this. Irene has meantime almost reconciled with her husband (as a small child, Robert had a leg amputated after being run over by the husband's buggy). Irene now tells James that she has decided instead to stay with him and help raise her nephews.
The novel ends with Elizabeth's funeral. The doctor has reassured Robert that he was not responsible for his mother's illness, though James continues to be haunted by the possibility that if he had chosen a different train, they would have avoided infection. At the same time, he recognizes Elizabeth's ordering and determining power, and how it will continue to shape his and his sons' lives.
People can’t say goodbye / any more. They say last hellos. In this poem the narrator says his last hellos to his father, who is dying from a brain tumor. Cecil (the father) seems wise and cantankerous, reflective yet humorous.
His son asks, "Sorry, Dad, but like / have you forgiven your enemies?" Cecil replies that he must have because he doesn’t think about them anymore. Later, near the end in the hospital, he tells his son, "You’re bustin to talk / but I’m too busy dyin." The son concludes, "Snobs mind us off religion / nowadays, if they can. / Fuck them. I wish you God." [76 lines]
This novel spans one day in the life of a London neurosurgeon, Henry Perowne. It is set on a specific day, Saturday, February 15, 2003, when mass demonstrations were held in London protesting the coming war on Iraq. This actual historical and geographical context colors the fictional narrative, told entirely from the point of view of Perowne, who wakes in the early hours of the morning to see a burning aircraft descending towards Heathrow. Although this turns out not to be a terrorist attack, as Perowne at first fears, it sets up the book's atmosphere of foreboding and the powerful contrast between dangerous world events and Perowne's essentially happy family.
The Perownes are all talented and successful and fond of each other. Henry's wife, Rosalind, is a media lawyer; their son, Theo, a blues guitarist; and their daughter, Daisy, a published poet. This Saturday's highlight is to be a family dinner, where it is expected that Daisy and her grandfather, John Grammaticus, a famous poet, will reconcile after an argument.
Henry is on the way to his morning squash game when he is involved in a minor car accident with a dubious character named Baxter. He escapes theft and a beating by realizing that Baxter suffers from Huntington's Disease. He tells Baxter the diagnosis and offers hope of a non-existent treatment, shifting the power base of the encounter from brawn to brain and humiliating Baxter in front of his cronies. (This part of the novel was published in the New Yorker as a short story, The Diagnosis. See the annotation in this database for a more detailed account.)
Henry then plays an aggressive game of squash with Jay Strauss, his American colleague, and they discuss the Middle East and the impending war. He buys seafood at the market for the evening's dinner, and he goes to the nursing home to visit his mother, Lily, who has multiple-infarct dementia. He listens to his son's band, goes home and cooks dinner. He argues with Daisy, his daughter, just come from the protest march, about the coming war.
When the family is gathered for dinner, Rosalind returns from work and Baxter and his henchmen force their way into the house. They threaten Rosalind with a knife, break Grammaticus's nose, and force Daisy to strip, at which point Perowne realizes his daughter is pregnant. Then Daisy recites poetry--Matthew Arnold's "Dover Beach"--and, unlikely as it is, the effect of the poem is to distract Baxter enough that Perowne is able to lure him upstairs with the promise of more information on treating Huntington's, and he and Theo then throw Baxter down the stairs. Baxter is taken away in an ambulance, and later Perowne is called in to operate on his brain. The novel ends with Perowne back in bed with his wife.
Set sometime in the near future, Cast of Shadows has as its protagonist Davis Moore, a successful private practice physician specializing in cloning human babies for infertile couples. Early in the book, Anna Kat, his high school senior daughter, is murdered and raped. (For a while a likely suspect is Mickey the Gerund, a right wing extremist member of the Hands of God with a fascinating grammatical moniker never explained, who shoots cloning physicians, including Dr. Moore, in the abdomen, a short time before his daughter, Anna Kat, is brutally killed. However, Mickey is only a shadow of a suspect and quickly becomes supplanted by another much more likely villain. Mickey goes on to kill, by various methods, dozens of cloning physicians and staff by book's end.)
After a year of unsuccessful detective work, the local police return Anna Kat's belongings, including a plastic vial with the suspected murderer-rapist's semen. In an act never fully explored by Dr. Moore or the author, an otherwise rational and ethical physician surreptitiously uses the suspect's semen to fertilize a married woman patient.
The offspring, a clone of the suspected killer-rapist, is Justin, who becomes a formidable presence in the book. He is very intelligent--at his psychologist's advice, his parents provide him at an early age with advanced reading materials like Plato (hence one of the allusions to shadows, i.e., Plato's cave, in the book's title and referenced directly on page 118 and indirectly on page 208) and other philosophers. By the time he is a senior in high school, Justin has become a dominant player in the affairs of Dr. Moore; Sally Barwick, a private investigator-turned journalist; and the suspected killer-rapist--his origin of the species as it were.
This book has a number of subplots all of which radiate from the initial cloning and the various members of the extended family and professional staff involved in it, some knowingly, most not. There are narrative threads involving the suspected murderer rapist-now-prominent attorney, Sam Coyne; the triangle of Dr. Moore and Jackie, his alcoholic wife, and Joan, his attractive pediatrician associate; Mickey the Gerund's various murderous and obsessional religious activities and reflections; Justin's life in school and involvement with Sally Barwick's investigation of a serial killer called The Wicker Man; and, most especially, the development of Shadow World, a computer game and a virtual replica of the real world--the world as Justin, Sally, Sam Coyne, and Dr. Davis Moore know it.
Since this is a thriller, it would be inappropriate to divulge more of the plot, which is intricate, often a little far-fetched but always engaging, highly readable and more labyrinthine than most medical thrillers.
Things could hardly get much worse for Joseph. The family business is being liquidated. The former servant girl is rumored to be dead after the boat carrying her to America sinks. Depressed Uncle Charles suddenly decides to move in and then refuses to ever leave the apartment. Worst of all, Father is dead. Joseph's dad had been "dividing his death into installments" (174) so it is not exactly a shock when Joseph's mother finds her dead husband jumping on the stairs one day. Father has been reincarnated as a crustacean!
Despite his metamorphosis into a crab, Father's resemblance to his former self is remarkable. He spends most of his time scurrying all over the apartment but never misses joining the family at mealtime even though he does not eat along with them. On numerous occasions, Uncle Charles attempts to squash Father, but in the end it is Mother who decides to do in the crustacean--death by boiling. After weeks of occupying a plate in the sitting room, Father somehow resurrects himself. All that remains on the dish where his swollen body once lay is a single shredded leg buried in hardened tomato sauce.
According to the Soviet version, in 1921 Russian scholars discovered the manuscript of a "lost" play by Chekhov among his papers in a safety deposit box in a bank in Moscow. In reality, the play wasn’t lost at all. During the turmoil of the Revolution in 1918, Maria Chekhov, Anton’s sister, had placed in the safety deposit box papers and manuscripts that she considered particularly valuable.
Subsequently, she was unable to travel to Moscow from her home in Yalta until 1921, because of the continuing Civil War in southern Russia. By the time she did return to Moscow, the Communists had "liberated" her brother’s safety deposit box and made their amazing discovery. The title page of the manuscript was missing, so scholars named the play "Platonov" after its major protagonist.
"Platonov" is a huge wreck of a play with numerous characters and subplots that would require about six hours to perform. It is obviously Chekhov’s earliest known play. The majority belief is that it was written between 1880 and 1882, during his first or second year of medical school. Most critics stress its many dramatic faults. However, as Michael Frayn points out in his introduction to "Wild Honey," the play is more remarkable for its strengths than its weaknesses, especially considering that a 21 or 22-year-old medical student wrote it. By carefully pruning the underbrush, Frayn has created a clearly Chekhovian comedy that takes perhaps two and a half hours to perform.
The story takes place in a provincial country estate (so what else is new?), where the widowed landowner returns for the summer after spending the winter months in Moscow. All the local friends and hangers-on gather to greet her, including among others two elderly suitors, the district doctor, and Platonov (the schoolteacher) and his wife. The widow wants to have an affair with Platonov--in fact, three women, one of them married, vie for Platonov’s attention; while Platonov, for the most part, tries to remain faithful to his wife.
The first scene of the second act is a classic comedy of errors. It takes place at night in the forest, just outside Platonov’s house where his wife is sleeping. Anna Petrovna, the landowner, appears out of the darkness and wants to spirit Platonov off to the summerhouse to make hay. But various other characters, some of them drunk and some sober, keep interrupting this rendezvous. One of them is Sofya, married to Platonov’s best friend, who wants to run away with him. The comings and goings in this scene are hilarious--reminiscent of one of Shakespeare’s comedies in which each character misinterprets what every other character says or does.
The play ends, though, on a dark note, or at least a sobering note. Platonov’s wife has left him due to these misunderstandings, and each of the three other women is closing in for the (metaphorical) kill. He decides to run away, and the play ends as he is running down the tracks distractedly, not paying any attention to the train that overtakes him from behind and kills him. This is not a tragic death; it’s funny, but also very sad. Platonov is, after all, a good man, even though weakness and indecision led to his downfall and meaningless death.