Showing 171 - 180 of 336 annotations tagged with the keyword "Acculturation"
Summary:Neely Tucker, a white journalist from Mississippi on assignment to Zimbabwe, and his wife, Vita, an African American from Detroit, volunteer to spend time with orphaned and abandoned children, many victims of the desperation caused by AIDS. In the orphanage, where a distressing number of children die due to lack of medicines or basic materials, or lack of adequate staff training, they come upon and find themselves deeply drawn to a particularly tiny, sick, vulnerable baby, abandoned in the desert. The director of the orphanage picks a name for her as she does for the other orphans: Chipo.
Summary:Californians Sara and Richard Everton move to Ibarra, a village in central Mexico, where Richard plans to reopen the copper mine his grandfather had worked before the Revolution of 1910. Six months after arriving, Richard learns he has leukemia. Their Ibarra neighbors offer home remedies, for they have a "companionship with death": "daily and without surprise," the people of Ibarra meet "their individual dooms . . . [and accept] as inevitable the hail on the ripe corn, the vultures at the heart of the starved cow, the stillborn child." Creating stories about the villagers, Sara gives them happy endings, the kind she wants for Richard's story. After his death, in a California hospital, Sara returns to Ibarra, and the villagers bring stones to mark their remembrance of Richard.
In this poem, the speaker’s mother has lupus [systemic lupus erythematosis], a "disease / of self-attack" where, for example, when the police arrive at a mugging, "they beat up on you / instead of on your attackers." The speaker goes on to reflect on the logic of such an illness residing in the body of "A halfbreed woman" who, for historical reasons, "can hardly do anything else / but attack herself." Being Indian and white, the speaker says, "cancel each other out. / Leaving no one in the place," which would be fine except that, being a woman, she must perform caring duties regardless of her circumstance. The speaker describes her mother’s physical pain, her ". . . eyes burn, / they tear themselves apart . . . / her joints swell to the point / of explosion, eruption," concluding with the observation that "when volatile substances are intertwined, / when irreconcilable opposites meet, / the crucible and its contents vaporize."
There are many crossings in this bittersweet short story about Cleofilas. First, as a young woman, she leaves her dusty little town in Mexico with a new husband she hardly knows to cross north to Texas, "en el otro lado--on the other side." Filled with images of fictional passions from telenovas--soap operas--Cleofilas can hardly admit it to herself, let alone to anyone else, when her dreams of romance and domestic happiness sour in the face of poverty, alcoholism, and abuse. She remains trapped by shame, disbelief, and the limitations of women's traditional roles in a hovel on the banks of La Gritona--Woman Hollering Creek.
Finally, a health care worker notices Cleofilas's bruises during a prenatal visit and offers to help her escape. The clinician arranges for her friend to drive Cleofilas to the bus home to Mexico. Crossing the bridge over the Woman Hollering Creek, which has swollen with Spring rains, Cleofilas is introduced to and amazed by new, stronger and more positive possibilities for womanhood.
An insidious plague infests an isolated town in a land that suggests a location like Australia. Although the affliction is not fatal, the enigmatic epidemic is characterized by a discoloration of the skin, generalized malaise, and occasionally aching eyeballs. Its spread seems somehow linked to the lack of rain and the group of native "savages" who inhabit the harsh land outside the town.
Prejudice and paranoia are clearly greater threats to the townspeople than the relatively benign plague that has infiltrated the city. Rayner is a sympathetic and lonely doctor who finds himself caught between the residents of the town and the savages. When both he and his girlfriend, Zoë, develop the pathognomonic pigmentation of the plague, their lives acquire deeper meaning.
The novel ends with an army of soldiers originally intent on exterminating the savages instead withdrawing after the troops witness a mystical native ceremony. Rain clouds overhead are poised to unleash a deluge.
Dr. Sunit "Sonny" Seth is a gifted but troubled (emotionally and spiritually) third year resident who works at a New York hospital that treats and employs many immigrants from India. The sleep-walking Sonny is assigned to care for a prominent Indian politician known as the Transplanted Man, a patient who has already received seven organ transplants and is currently in renal failure.
Sonny mysteriously rescues the Transplanted Man from the brink of death following a kidney transplant but later learns his patient died from a cardiac arrest. Although Sonny is no stranger to personal loss and longing, the death of this special patient serves as a catalyst. He breaks up with his girlfriend, quits his residency, and dreams of relocating to Trinidad. Meanwhile, nearly everyone else Sonny knows seems to be struggling with their role and place in the world as well.
A stray dog bites the left ankle of 12-year-old Sierva Maria de Todos los Angeles. She and her peculiar parents live in a country near the Caribbean Sea during colonial times. Her father belongs to the class of decaying nobility. He is a weak man with poor judgment. Her scheming mother is a nymphomaniac who abuses cacao tablets and fermented honey. Sierva Maria is more or less raised by the family's slaves whose culture she assimilates. The youngster has luxuriant copper-colored hair and a penchant for lying--"she wouldn't tell the truth even by mistake" according to her mother. (p. 16)
Before long, the dog dies of rabies. When Sierva Maria begins exhibiting bizarre behavior, no one is quite sure of the cause even though everyone seems to have his or her own theory. Is the girl displaying signs of rabies? Is she possessed by a demon? The physician Abrenuncio doubts either diagnosis. The powerful Bishop believes the girl may require an exorcism. Perhaps Sierva Maria is simply eccentric or maybe even crazy. Ninety-three days after being bitten by the dog, she is locked in a cell in the Convent of Santa Clara.
The Bishop appoints his protégé, 36-year-old Father Cayetano Delaura, to investigate the matter. The priest is immediately infatuated with the girl. When the Bishop learns of Cayetano Delaura's love for Sierva Maria and his unacceptable actions, the priest is disciplined and then relegated to caring for lepers at the hospital. The Bishop next takes matters into his own hands by performing the rite of exorcism on Sierva Maria. After five sessions, she is found in bed "dead of love." (p. 147)
The story is told from the perspective of Julian, a recent college graduate who appears to be waiting for employment commensurate with his education; he lives at home with his solicitous widowed mother. The setting is the recently integrated South of the 1960’s. Events unfold during a ride on an integrated bus, in which all of the story’s complex relationships are played out: the vindictive, self-deluding dependency of Julian on his mother; the insightless yet well-intentioned doting of his mother, who is tied to the societal conventions in which she was raised; the condescension of "enlightened" whites toward blacks; the resentment of blacks toward well-meaning whites- all depicted with great skill and humor.
The crisis occurs in a confrontation between Julian’s mother and a black woman wearing the same hat, when the mother tries to give a penny to her counterpart’s child. In the incident, Julian’s mother suffers a stroke to which Julian is at first oblivious, being so consumed with fury at his mother’s (to him inappropriate) gesture to the child. When he realizes how disabled his mother is, Julian is overwhelmed with grief and fear; the extent of his self-deception is fully confirmed.
This account by the well known Indian/American blind writer describes experiences when he came to the United States at age 15 from New Delhi to attend the Arkansas School for the Blind. The title derives from an unusual ability (which Mehta possesses) to navigate one’s way by perceiving the physical surroundings "as sound-shadows by means of echoing sound and changes of air pressure around the ears." As a precocious teenager, Mehta had high ambitions for his future; this important period of his life represented both an opportunity and an impediment, requiring tremendous cultural, emotional, and physical adjustments.
Very well conveyed are the driving desire to be like sighted people, the need for independence and control, and to be accepted in the foreign culture while remaining in some ways superior to it. There are fascinating descriptions of how Mehta learned to travel with minimal assistance, high-dive, package ice-cream in a factory; of how he used money intended for other purposes to build an electronic retreat in a broom closet which allowed him to tape record, type, and to listen to Edward R. Murrow’s broadcasts, and of how he then paid back the money by taking correspondence courses in order to finish school one year early.
The normal adolescent awakening of sexuality, and the ambivalent dependence on parental guidance are also important aspects of the book. Writes Mehta in retrospect,"The three years of my life spent in Little Rock became sealed in a compartment of my mind which I dreaded to open . . . because . . . the near-total submersion in a residential school for the blind seemed to accentuate my blindness, when all along my aspiration had been to be a well-adjusted member of the seeing society outside."
In these "narrative recollections" poet Gary Soto reflects on his Mexican American childhood in the ethnically mixed laboring-class neighborhoods of Fresno, California. His was a life lived at the margins--economic margins and cultural margins. In these recollections of family relationships, youthful mischief-making, farm and factory jobs, adolescent rebellion, and the transition to professional writing Soto subtly and humorously draws our attention to the discontinuities between the lived lives of Chicanos and Anglos.
"The Beauty Contest" describes how young Gary entered his younger half-brother in a playground beauty contest. "Strong build, a chipped tooth, half Mexican and half white--he might win, I thought." (43) Gary knows that only a lighter complexioned child could meet the Anglo standards of beauty that prevail. In fact, he has internalized those standards himself: " . . . we were awed by the blond and fair skinned kids in good clothes. They looked beautiful, I thought." We are led to infer that the Anglo contestants come from a world of comfort and parental attentiveness whereas Gary has been left on his own to tend to his brother while his parents are away at their work of manual labor.
In "Looking for Work" Gary wanted to imitate the Anglo families of the television programs that he continually watched. He tried to convince his siblings to wear shoes to dinner and improve their appearance so that "[w]hite people would like us more." (26) In "1,2,3," Soto reconstructs the shocking vindictiveness of an Anglo father after his young daughter falls off of a swing that is being pushed by Gary's Chicana friend, Rosie. Soto ends this piece, "I wanted to . . . explain that it was a mistake; that we also fell from the swings and the bars and got hurt . . . ." (15)
Soto foregrounds violence as an integral part of his childhood. The lead-off sketch, "Being Mean," recounts childhood pranks involving the setting of fires and abuse of pets. But this violence also included and was a response to verbal violence from others, such as being called "dirty Mexicans." (3) "Bloodworth" chronicles the evolution from fisticuffs--"all through elementary and junior high school, it was bob and weave, jab and stick" (95)--to the more controlled violence of the high school wrestling team.
Soto tells of his back-breaking farm laboring and factory jobs in "One Last Time" and "Black Hair." There is no romance in these episodes, "no grace" (124) in the miserable conditions, and no comfort. Rather, there is always the fear that he will forever have to "work Mexican hours, and in the end die a Mexican death, broke and in despair." (123)