Showing 171 - 180 of 267 annotations tagged with the keyword "Father-Son Relationship"
Summary:This beautifully illustrated (by Teddy Kristiansen) semi-autobiographical graphic novel captures the struggle of the author to take on the assignment as the newest chronicler of the adventures of Superman. This once-in-a lifetime opportunity evokes the memory of his first encounter with the man of steel--as a young boy reading his Superman comic book in a hospital waiting room as his grandmother lies dying of Huntington's disease.
While driving away from a dangerous city in an area of north Afghanistan ravaged by war, three men must journey by foot when their car is damaged in an accident. Donk is an American combat photographer. Hassan is a young Afghan translator. Graves is a British journalist suffering from a severe case of malaria and in desperate need of medication.
They arrive at a remote village ruled by a warlord, General Ismail Mohammed. Medication is unavailable there and transportation to a larger city is not possible for at least another day. The local doctor recommends an herbal remedy for the treatment of malaria, and General Mohammed attests to its effectiveness. The medicinal grass grows only in a nearby mountain valley. Two soldiers escort Donk and Hassan to the vale. They encounter a convoy of transport vehicles that have been incinerated by a bomb blast.
When the grass is finally in sight, Donk and Hassan race towards it even as the two soldiers shout at them. Too late! Donk steps on a bomblet and the device detonates. Badly injured (and maybe even mortally wounded), Donk and Hassan lie on their backs and gaze at the sky. They are surrounded by the thick grass they hoped might save the life of their companion, Graves.
In his mid-twenties and having been estranged from his family since his mid-teens, Andrew Largeman (Zach Braff) returns home to New Jersey for a few days to attend his mother's funeral. The world he meets there (in "The Garden State," ironically) is persistently unnatural and weird. His old school friends are leading grotesque and diminished lives, and Andrew dislikes and dreads his father, a psychiatrist played by Ian Holm, because of the prehistory we discover in mid-film. (Andrew's mother had suffered with depression, and young Andrew hated her for it. One day, aged 9, he gave her a shove, and freak circumstances led to a hard fall and her becoming paraplegic. Fifteen years later she has died in her bathtub, perhaps a suicide--although that isn't mentioned in the film.)
Andrew keeps his psychic distance from all this, with one fortunate exception: By chance he meets Samantha or "Sam" (Natalie Portman), a sweet loopy girl his age who lives in a child-like room in her mother's house and has a tendency to lie a lot and then confess. She and Andrew take a liking to each other, and a relationship develops that eventually helps Andrew come to terms with his mother's death, with his role in the tragic prehistory, and, thus, with his father and his own life, now able to begin, finally, as a young adult.
A stern, old doctor (Victor Sjostrom) is preparing to travel by car to Lund to receive an honorary degree. He has a disquieting dream in which he perceives his own death as the frightening, lonely end to a hollow existence. In the morning, his gruff demeanor is considerably altered by the intimations of mortality. His daughter-in-law (Ingrid Thulin), who has inexplicably been visiting, decides to accompany him to Lund. En route they encounter a trio of mirthful teenagers, a bickering married couple, and grateful patients. They also visit the doctor's mother.
The dream and the journey unleash a recurring flood of memories of youthful summers at the family home among the wild strawberries and of his unrequited love for a beautiful cousin. He learns that his daughter-in-law is pregnant, but his only son is about to repeat his mistakes by rejecting an emotional bond with his wife and his future child in the empty pursuit of professional achievement. The pregnancy is the reason she left her husband to visit his father. At the end, the doctor establishes a small but real rapport with his son and achieves a degree of understanding about his own life.
It is 1820 and Cassie lives on a farm in Maine with her parents and three brothers. One of them, Will, damages his leg with an axe as he hears Cassie scream while he is chopping wood. The gangrene and days of near-death suffering that ensue eventuate in amputation of the leg. During this crisis Cassie is Will's primary caretaker, partly because she feels the accident was her fault.
Their father wants to let Will die, as he feels there will be no life for him as an amputee. But Will survives and he and Cassie go to live with an older married sister in town where Will finds he has talents and options that might never have occurred to him had he simply grown into the farming life he loved. The year following the accident in this way opens both Cassie's and Will's imaginations to other kinds of lives to be lived. For Cassie it awakens a longing to do medical work, as caring for Will has made her aware of the deep satisfactions of caregiving.
Gabriel Garcia Marquez was born in 1928 and is best known in the English-speaking world for his novel, One Hundred Years of Solitude, which appeared early in his career in Spanish (1967) and later in English (1970). He was awarded the Nobel Prize in Literature in 1982 and in 1988 published the novel, 0008 (see annotation), which received considerable attention for its evocative story of love and memory.
Garcia Marquez's autobiography is recent (2002, 2003); it covers the first twenty-seven years of his life in Columbia, ending in 1955 when he is sent as a journalist to Geneva to cover the Big Four Conference for his newspaper in Bogota. Although he remained in Europe for three years after that the book does not cover that period.
Garcia Marquez was born in Aracataca, Columbia in his grandparents' home, the first child in a family that grew to include ten younger siblings. He had a hectic childhood being reared by his parents' large extended family, which included several children sired by his father with women other than his mother.
Finances were always tenuous; when he worked as a journalist he was an important supporter of the family. He received a broad classical education at the Jesuit College in Bogota, where he began his writing career. Later he studied law and journalism but did not finish law school. He read extensively from all genres of literature.
Garcia Marquez's family relationships and personal experiences were traumatic in many ways as was the political situation in Columbia. It was a tumultuous initiation to a life of creative writing. His words quoted on the flyleaf describe the book: "Life is not what one lived, but what one remembers and how one remembers it in order to recount it."
Fifteen selections--short stories, essays, and memoir--make up this collection. Two stories are notable: The Whistlers' Room and Atrium: October 2001 (see annotations). The title story is a translation and retelling of an obscure German tale published 75 years ago. Set in a military hospital in Germany during World War I, four soldiers share a common wound--throat injuries and laryngeal damage necessitating a tracheostomy for each man. This remarkable quartet of patients forges a fellowship of the maimed.
"Atrium: October 2001" describes the random meeting between a physician and a terminally ill teenager in the hospital atrium. The subject of death dominates their discussion. "Parable" chronicles an elderly doctor's efforts to comfort a dying man, and in the process, ease both their suffering.
Excerpts from Selzer's diary reveal much about the character of the author as well as the characters in his life. He also reminisces about growing up in Troy, New York. Approximately one-quarter of the book is devoted to Selzer's musings on works of art (sculpture and painting). Lighter fare includes a discussion of life behind the podium, a description of his home, and a new ending for A Tale of Two Cities by Charles Dickens.
"Spell Check for a Malformed Fetus" (p. 1) sets the stage for some of the important themes in this collection by poet-psychiatrist, Ronald Pies. First, the lack of honest language to express life’s "mistakes" and disappointments. Our attempt to disguise the pain by using easy, but inaccurate, words. And finally, an expression of hope, even if only in the world of imagination: "if only / in your first fission / some godly processor / had blessed / your blighted genes."
Some of these poems emerge from relationships with patients, notably "Consultation Request" (p. 35), "Three Patients" (pp. 37-39), "Prolapse of the Uterus" (p.76), and "Congestive Heart Failure" (p. 85). "Smoke, Lilac, Lemon" (p. 45) evokes a fascinating test apparently used by some clinicians to distinguish depression from Alzheimer’s disease on the basis of olfactory function. The four "Alzheimer Sonnets" (pp. 87-88) tackle the difficult task of expressing the experience of dementia from the patient’s point of view.
Many of the other poems deal with love, memory, loss, and pain in the context of family and intimate relationships. Among the best of these are: the title poem (p.3), "Sitting Shivah" (pp. 14-15), "Riding Down Dark" (p. 16), "Visitant" (pp. 41-43), and "Migrations" (pp. 64-69).
As James Morris, the author was the dashing journalist who covered the first successful ascent of Everest in 1953 for The Times of London; a member of the elite and quintessentially male 9th Queen's Royal Lancers ("famous for their glitter and clublike exclusivity"--p. 27); the husband who married Elizabeth, fathering several sons. But, as the writer says in the first sentence of the book, "I was three or perhaps four years old when I realized that I had been born into the wrong body, and should really be a girl. I remember the moment well [James was sitting beneath his mother's piano], and it is the earliest memory of my life."
Realizing he was a member of a tangled (a favorite word of the author) group of transsexuals, James felt himself trapped in a conundrum of gender (he felt and considered himself female) versus sex (he was genotypically and phenotypically male). "To me gender is not physical at all, but is altogether insubstantial; it is soul, perhaps, it is talent it is the essentialness of oneself" (25). (Morris goes on to quote C. S. Lewis's Perelandra.)
After some fruitless interactions with the medical profession, Morris travels to Casablanca in the summer of 1972 to undergo sex-changing surgery and becomes Jan Morris. Unlike many if not most transsexuals, post-operatively Morris fared quite well emotionally and has, to date, been quite happy with the change (see below). Jan Morris's writing is as humorous and eloquent as James Morris's was. She describes (magazines like Rolling Stone and publishers like Random House and thousands of readers have never cared what gender or sex was holding the pen) how life changed in clubs, restaurants, and in taxi-cabs, where Jan met the first man to kiss her, post-surgery, "in a carnal way" (151). (Morris records that "all I did was blush.")
For those who have enjoyed his previous collections, this edition of new and collected poems (22 new, the rest culled from collections published from 1972-1998) will be a welcome and rich sampling of Stone's work, wide-ranging in style and subject. The three sections of new poems include a series about incidents in Serenity Gardens, his mother's nursing home; a series of "Reflections from the Middle East" that chronicle moments evocative of classical and biblical story and ethos as well as touching, comic incidents in the life of a 60-something tourist; and a short series of poems based on memories from childhood and young adulthood.
The poems tend toward narrative; many are little stories complete with plot in one to two pages of short lines; Stone's gifts for both chronicle and condensation give many of the poems a lively tension: what is told suggests how much isn't.
As a collection it is possible here to trace the stylistic development from the early poems in The Smell of Matches with their strong autobiographical focus and sense of intimate scene and situation to the recent ones, still strongly personal, but reflective, sometimes ironic, with lines that render the self-awareness of the older poet in sometimes comic flashes.