Showing 181 - 190 of 271 annotations tagged with the keyword "Mother-Son Relationship"
One April day, a middle-aged writer, who was raised a Protestant but is not religious, is surprised to find a stranger, wearing a plain raincoat, in her home. The intruder says that she is Mary, mother of God, and something in her direct simplicity announces the truth of her claim. May will be the busiest of Mary's year, and she is tired; she asks to stay for a week to rest. Over lunch of soup and sandwiches, the two women establish an arrangement that Mary will stay and that if her host chooses to write about the visit, she will call it a work of fiction.
As Mary quietly goes about a banal existence--shopping, napping, doing laundry, using the toilet--the writer embarks on an investigation of Marian history--contrasting the relatively few biblical references to the mother of Jesus with her enormous fame and heavy responsibilities over two thousand years. Why has Mary been venerated? How can she cope with the thousands of prayers sent to her each day? Can transcendence reside in the mundane tasks of female life?
By the time her guest leaves, the writer is not converted but she comes to the conclusion that faith includes the acceptance of uncertainty, and that writing is an act of faith.
Written as an interior monologue, Destiny begins as Chris Burton receives a phone call informing him of his schizophrenic son's suicide. Burton, a British ex-pat journalist in the final stages of writing his chef d'oeuvre--a cultural history on national character--is married to Mara, a provocative, capricious, flamboyant Italian. The vitriolic arguments and hurtful stratagems that characterize their discordant marriage intensify with the crisis of death and its aftermath--the identification, transport and entombment of Marco's body. Family relationships are further complicated by Mara's distrust and estrangement of her adopted daughter, Paola.
Burton reveals the chaos that schizophrenia imposes not only on the patient, but also on the entire family. In order to avoid prison following an attack on his family and home, Marco had been placed in a psychiatric institute, Villa Serena, and it was at this facility that Marco stabbed himself to death with a screwdriver. The onset of disordered thinking and erratic behavior, the search for therapies, the various repercussions of guilt and blame (including recriminations about the intense, border-blurring maternal love lavished on Marco), are re-examined by Burton as he travels from London to Rome, sits vigil by his son's body in the camera ardente, and confronts his wife at her family's tomb.
Burton's physical distress mirrors his mental anguish. Burton has heart disease and obsesses about lacking his anti-coagulant medication. In addition to the worry of clot formation, urinary retention prevents Burton from emptying his bladder. These physical ailments of containment, confinement, obstruction and blockage form resonances throughout the book: the tomb, the strictures of marriage and the leakage of adultery, the oppressive family 'house of ghosts,' the separateness of interior thought from observable behavior, the barriers of language, the herky-jerky redirections of emergency travel.
Furthermore, the will to create permanence, to make one's destiny more than a transient destination, informs Burton's moves. In the midst of his exploding marriage and tormented trek home, Burton agitates over his work, and in particular, his book, which "must serve to transform a respectable career into a monument" (p. 1).
Winter investigates the process by which Freudian psychoanalysis became legitimized within modern Western culture and internalized as a kind of "psychological common sense" (4). She argues that Freud's adoption of the Oedipus myth allowed him to draw on the cultural status of classical scholarship and claim the universality of the tragic theme for his own project. She traces how Freud worked to establish an institutional infrastructure for psychoanalysis, to establish it as a profession. His analysis of culture and society represents another strategy in establishing and extending the importance of psychoanalysis: the claim that psychoanalysis powerfully illuminates not only the workings of the human brain (the domain of psychiatry, psychology, and neurology) but also the functions of society (the analytic domain of anthropology and sociology).
Physician, poet, artist, parent, astute observer of his environment, Dr. Schneiderman gives us a wide vision of the things that inform his personal world. This collection of poems and pen and ink sketches spans almost four decades of its creator's life and life experiences. The author has collated his work around nine key foci, roughly but not totally, temporal in sequence. Through his eyes we meet his history related to New York City, his profound love for and attachment to his beloved wife and son, his humbleness before the labors of his chosen profession and the persons he meets in this context, and, finally, his tributes to the bravery of the men and women who responded to the horrendous assault of 9/11/01 upon his birthplace, the Great City.
Henry Moss is a medical geneticist specializing in Hickman syndrome, a fictitious disease resembling progeria. Children with Hickman syndrome experience premature aging and invariably die before the age of twenty. The physician meets Thomas Benhamouda, a teenager who genetically has Hickman syndrome but astonishingly has no physical manifestations of the disease. Dr. Moss identifies a protein that "corrects" Hickman syndrome in the blood of Thomas and proceeds to synthesize it.
Dr. Moss violates medical ethics by administering the experimental enzyme to his favorite Hickman patient, William Durbin, a dying 14-year-old boy. It is a last-ditch effort to save William's life even though the substance has not been tested for safety or efficacy in human beings. Dr. Moss also injects himself with the enzyme. He realizes the tremendous potential the drug has not only in curing Hickman syndrome but also in extending longevity in normal individuals. He is well aware of the great financial rewards he might reap from his discovery.
After a series of injections, William's deteriorating health stabilizes and even improves but he dies in his home. Dr. Moss has failed to save the doomed boy but in the process of breaking the rules and risking his career has learned how to understand and appreciate his own life as well as reconnect with his family.
The first part of this novel presents a detailed picture of the Jewish Californian Cooper family, centering on the sixty-year-old Louise, who is dying of breast cancer. Her husband, Nat, is unfaithful, and, she suspects, only loves her when she is at her weakest and most sick. Her daughter, April, is a lesbian folk singer who becomes pregnant with the help of a gay male friend and a turkey baster. Danny, the son, is also gay, living in New York with Walter, his lover, who is becoming increasingly detached and obsessed with internet sex groups.
Louise considers herself lucky, though, compared with her younger sister Eleanor, partially disabled by childhood polio, disorganized and ill-groomed and married to Sid, whom Louise finds deeply unattractive. Eleanor's son is a sociopathic drug addict, and her daughter has ovarian cancer caused by Eleanor's taking DES (diethylstilbesterol) in pregnancy. She sends Louise newspaper cuttings about the causes of homosexuality and the dangers of AIDS.
The first part having established the complex dynamics and histories of the family's relationships, the second brings the entire family together in the crisis of Louise's final illness and death (a reaction to chemotherapy drugs causes severe chemical burns and she dies in a burn unit in a San Francisco hospital). After her death, the new dynamics of the family are established, and Louise's son and daughter conclude that their mother had "a terrible life" (p. 261).
The short third part shows that no such conclusion is possible, that even those closest to us remain terribly but fascinatingly unknowable. A flashback to a point just before Louise's final illness describes her attempt to convert to Catholicism and a brief moment in which she experiences a marvelous sense of complete harmony.
Liv is pregnant. She is an artist, and married to Erland. She names the fetus, a boy, Ersatz (a replacement, a copy, a person not yet real?). This book-long poem, divided into short segments making up nine (month-like) chapters, reconstructs her pregnancy in words, often literally, using words-within-words (for instance in a section called "Proximity of Posed to Exposed"), echoing people-within-(pregnant)-people, ideas emerging from words, and life (and death) emerging from bodies.
The poem does not offer a simple coherent narrative, although it does follow the biological narrative form of gestation. Instead it circles around the experience of containing another person, and the dissonance Liv seems to find between biological and verbal or cultural creating. Liv's ambivalence about this tension is captured throughout the work, perhaps most notably in her exploration of a painting of the dead Virginia Woolf, the drowned body of a childless woman writer, now become "beached debris." The final part of the poem captures powerfully the experience of childbirth, and the afterword is in a new voice, that of Liv's son.
Tom Fogarty is a sixteen-year-old boy who is introduced to both love and death in 1934. The object of his affection is Lily, the 14-year-old niece of a neighbor who lives across the street from Tom. Lily has tuberculosis and is waiting for a bed at the sanitarium where her parents are already being treated for the same disease. The relationship between the two adolescents is risky, passionate, forbidden, and ultimately transforming. Their romance is abruptly interrupted by Lily's death.
Tom's overwhelming grief over the loss of Lily coincides with torrential rain that cleans and nearly submerges the town of Troy, New York. Tom is further wounded when he fractures his clavicle during the flooding. His physician-father, a general practitioner, repairs Tom's injured collarbone but only time can mend the boy's broken heart.
At Madame Treplev's estate, her son, Konstantin, presents an outdoor performance of his new play, in which the single character (actually just a voice) is played by Nina, a neighbor's daughter, with whom Konstantin is hopelessly in love. When Madame Treplev, a famous actress, makes light of the angst-filled play, Konstantin angrily stops the performance
Later, Nina becomes infatuated with Trigorin, a literary man and Madame Treplev's current lover. When Madame Treplev and Trigorin move back to Moscow, Nina follows, hoping to become an actress. There, she has an affair with Trigorin. Masha, the daughter of the family steward, is in love with Konstantin (who couldn't care less for her), but marries Medvedenko, the local schoolmaster.
Two years later, Nina has returned to the country, where Konstantin continues to live and work on his writing. Konstantin believes that he and Nina might make a fresh start together, but she rejects him. In the end, he goes out and shoots himself.
The film covers a brief period in the life of a working-class English family: Mum (Tilda Swinton), Dad (Ray Winstone), their 18-year-old daughter, Jessie (Lara Belmont), and 15-year-old Tom (Freddie Cunliffe). They have recently moved from London to an isolated cottage on the Dorset coast. Mum gives birth to a baby girl, Alice. Tom discovers that Dad is sexually abusing Jessie. When the baby is hospitalized with an unexplained injury, apparently genital, Tom tells Mum about the incest, and when Dad confronts him and denies it, Tom stabs him.