Showing 171 - 180 of 325 annotations tagged with the keyword "Mother-Daughter Relationship"
This book is an autobiographical account of an abrupt and painful injury that completely transforms the author’s life. Berger in 1985 was a healthy woman who enjoyed ice skating and canoeing, a published poet, wife, and mother of a toddler. She bent over one day to pick up her daughter and felt a tearing "within the thickness of flesh, moving in seconds across the base of the spine." No longer able to run, walk, or even sit, she is forced into a life spent lying down.
Hers is now a world of boundaries and barriers--physical, psychological, and societal. The book chronicles her struggle to parent her child (they make gingerbread creatures lying down on the kitchen floor), to relate to her husband (she has to deal with the constant feeling of being the recipient of his care), to live with pain, and to regain her mobility.
Because hers is not a visible injury and because she must frequently lie down in public places or use her carry-along lawn chair, she suffers the stares and scrutiny of people who cannot pigeon-hole her into a tidy handicapped-wheelchair category. After seven years of physical therapy (she calls her therapists "angels of attempted repair ") she is able to walk and drive, though she is still limited in activity and lives in fear of re-injury.
Hugely pregnant with her fourth child, Minn Burge, intelligent and frustrated mother of a four year-old girl and two year-old twins, prepares her vast but somewhat decrepit Toronto house for a party of film buffs and intellectuals. Her husband, Norman, is a foreign correspondent off on assignment in Katmandu--where, she believes, he is faithful, though surrounded by "amber and hairless women."
On the third floor of her Victorian home lives a small group of hippies. Against their lives and attitudes, she maps her own vagabond past, intimately connected to Europe and the much older but now deceased Honeyman, beatnik director of obscure films whose work is to celebrated that evening.
Through the lead up to and during the party, memories carry Minn back to vignettes of her home town origins, the strained relationship with her mother, the child-like goodness of cousin Annie (an adult trisomic), and the sexual awakening and loss she lived with Honeyman. Minn is tormented with the resentment and anger that she feels toward her husband and her much-loved babies--including the one in her belly--for the havoc they have brought upon her body and her mind.
A mystery, set in the seventeenth century and told by four different eye-witnesses, all men. Two are the views of fictitious characters, two are imputed to be real figures from the past. Beautiful, but poverty-stricken Sarah Blundy is accused of having killed a professor, only remotely connected to her. Each of the observers reasons his way to a position on her guilt or innocence based on their skewed observation of the events, and on their own assumptions about women, religion, and justice. Post-Cromwellian tensions between Catholics, Protestants, and Quakers are explored.
A manuscript by the Italian, Dr. Cola, constitutes the first account. In the thrall of medical science and the great Robert Boyle, Cola is cast as the true "inventor" of transfusion which is "stolen" by the real and vibrant Richard Lower, generally credited by historians with its first use in England. Cola attends Sarah’s ailing mother gratis and transfuses her with modest success.
The other three writers react to his version of the tale which they read in manuscript. The mad Jack Prescott is intent on exonerating his probably inexonerable father for misdeeds in the Civil War, while the uncharitable cryptographer, John Wallis, is intent on divining nothing but evil in the cryptic forms of women, Catholics, and foreigners. Their versions are wondrously convoluted attempts to keep the impossible within the realm of the plausible. Pears puts the truth (such as it is) in the words of the real antiquarian, Anthony Wood, who explains that a fingerpost--like a pathognomonic sign--points to the only solution possible.
The only tangible remnants of Young Anna’s ethnic heritage were her dress and babushka made from the garments Great-Gramma Anna had worn when she came to America. Outgrown, they become the border of a quilt that neighborhood women sew together from scraps of other old family clothing to help them always remember back-home Russia. Used as the Sabbath tablecloth, the huppa (marriage canopy), and as a blanket to wrap the newborns in and to warm the sick and dying, the quilt gets passed down from mother to daughter for four generations.
Summary:A mother reflects on the significance of her daughter’s anticipated departure for college. She compares how she felt before the birth of her daughter--unable to imagine what life would be like with her--and how she feels now, unable to imagine life without her. Since her birth, the child has been an essential part of the mother’s life, "like food or air . . . like a mother."
The speaker addresses her 20-year-old daughter, who has just lost her best friend in an automobile accident. This elegant five-part poem is a reflection on grief, as well as on the bond between the mother and daughter.
Summary:The neighborhood women sit in the kitchen comforting Leona Perry, whose baby has just been seriously scalded. "I was only out of the house for 20 minutes," she cries. But Allie McGee knows that she was gone for at least 45. "The last thing I said to her . . . keep an eye on the kids," Leona howls. In fact, 9-year-old Patricia had conscientiously looked after her three younger siblings, until she decided to scrub the floor. After all, Patricia thought, why can't our house be as clean as everyone else's? Why do we have to be the laughing stock of the neighborhood? So she began to boil some water for scrubbing, as she had seen other women do.
This film is biographical, based on the life of the actress Frances Farmer (1914-1970), who was briefly successful in Hollywood in the early 1940’s and was then institutionalized for mental illness. She was "cured" by a transorbital prefrontal lobotomy.
The film begins with Frances (Jessica Lange) winning a high school writing competition with an essay criticizing God. This outspoken intelligence characterizes her. As a young actress, she wins a trip to Russia in a competition run by a Communist newspaper, performs on Broadway, and ends up in Hollywood. Quickly, however, it becomes clear that her unconventional behavior and attitudes make her vulnerable to people, including her overbearing and vicariously ambitious mother (Kim Stanley), who demand that she conform to more passive forms of femininity.
When Frances is arrested for drunk driving, her mother puts her in a "convalescent home," where she is given insulin injections in the guise of "vitamins." She escapes and, deciding that the pressures of the film industry are causing her drinking problem, tells her mother that she won’t be returning to Hollywood. Her starstruck mother, appalled, has her committed.
After undergoing the closely filmed experiences of the strait jacket, the padded cell, and shock treatment, all in the frighteningly bedlam-like atmosphere of the asylum, Frances submits to psychiatric surgery. This is perhaps the most disturbing part of the film. She is lobotomized in front of an audience by a mallet-wielding surgeon who boasts he can do ten patients per hour because "lobotomy gets ’em home."
Sure enough, Frances is allowed to go home. The film ends several years later in 1958, when Frances Farmer really did appear on the television show, "This is Your Life." We watch the show through the eyes of Harry York (Sam Shepard), the journalist who has always loved her, and he goes to meet her afterwards.
She has been transformed: composed and seemingly serene, but fundamentally blank, she has become a chilling shadow of herself. Early on in the film, she refuses to cooperate with a psychotherapist, saying "I don’t want to be what you want to make me: dull, average, normal." By the end of the film she has been reduced to the hollow appearance of all these things--and is grateful for it.
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.