Showing 181 - 190 of 399 annotations tagged with the keyword "Adolescence"
Like Jane Eyre, a novel to which it is often compared, Olive is a female bildungsroman: a young girl's coming of age story. In Craik's novel, however, the heroine is much more physically distinctive than the "plain" Jane Eyre. Olive Rothesay is born prematurely to a young, lovely mother who continues to entertain guests through her pregnancy in an effort to entertain herself during her husband's long absence. When the doctor pronounces the baby "deformed," the dismayed mother hides the truth from her husband until his return a few years later.
Combined with Colonel Rothesay's own secrets, Mrs. Rothesay's deception produces a permanent rift in the marriage. Upon her father's sudden death, Olive is both a moral and financial support to her frail mother, becoming a successful painter under the tutelage of a brilliant but misogynistic artist whose marriage proposal she rejects. When Mrs. Rothesay loses her eyesight, she and Olive develop a substantial bond that repairs the mother's early rejection of her disabled daughter.
After Mrs. Rothesay dies, Olive falls in love with Harold Gwynne, the widower of her best friend Sara. In a sensational subplot, Colonel Rothesay's illegitimate, mixed-race, emotionally troubled daughter briefly threatens Olive's happiness, but Olive finally marries Gwynne, helps him with his crisis of faith, and becomes the adoptive mother of his and Sara's child.
"My mother danced all night and Roberta’s was sick. That’s why we were taken to St. Bonny’s." Thus begins Twyla’s narrative of her long-term, intermittent relationship with Roberta, another eight-year-old who shares her failing grades and "not real orphan" status at St. Bonaventure’s, the shelter where they live for a few months.
The two girls become fast friends despite the discomfort occasioned by the situation, their problematic mothers (Roberta’s is hyper-religious and unfriendly; Twyla’s is pretty but childlike, an embarrassment to Twyla because of her casual clothing and behavior), and their racial differences (one is white, one African-American). They also share a defining moment, in which they watch bigger girls assault Maggie, a disabled woman who works in the institution’s kitchen.
The girls meet by accident four more times; as young adults in a Howard Johnson’s, where Twyla works and Roberta stops in with two young men on the way to the coast for "an appointment with Hendrix"; in a grocery store in Newburgh, the blue-collar town on the Hudson river where Twyla lives (Roberta lives in white-collar Annandale); at a picket line against a busing plan (Roberta is protesting the busing; Twyla ends up picketing for it); and finally in a diner on Christmas Eve. Each time they meet, they piece together what has happened in their lives, but also return to the defining moment of Maggie, arguing about what really happened and what role they played in the abuse.
Lenny's development from childhood to adolescence concurs with India's independence from Britain and the partitioning of India into India and Pakistan. The interwoven plots give each other substantial meaning. Partly because Lenny's family are Parsees, a religious and ethnic minority that remained relatively neutral in post-Partition religious conflicts, she has access to people of all ethnicities and religions, both within Lahore and in other locales. More significantly, she has access to a wide variety of viewpoints both pre-and post-Partition through her Ayah, a beautiful woman whose suitors are ethnically and religiously diverse.
Lenny's passionate love of Ayah and the loss of innocence that accompanies their changing relationship through the Partition is an energetic center to the plot. Lenny's relationships with her mother, her powerful godmother, and her sexually invasive cousin are also important to the novel. Lenny's polio forms a significant early narrative thread. Other minor but compelling subplots include Lenny's parents' changing relationship, the murder of a British official, and the child marriage of the much-abused daughter of one of Lenny's family's servants.
This absorbing, sad, humorous evocation of an impoverished Irish Catholic childhood describes the first nineteen years of Frank McCourt’s life--from his birth in Brooklyn, New York; through the family’s emigration four years later to his mother’s roots in the slums of Limerick, Ireland--and ends with McCourt’s return migration to America, a young man on his own. McCourt sets the scene in his first lines: "When I look back on my childhood I wonder how I survived at all. It was, of course, a miserable childhood: the happy childhood is hardly worth your while. . . the poverty; the shiftless loquacious alcoholic father; the pious defeated mother moaning by the fire; pompous priests; bullying schoolmasters . . . . "
Born during the Great Depression, the author leads us in lilting present-tense narrative through the struggle and occasional small joys of daily life with siblings, school friends, and the adults who circumscribe his life. He is an alien in his parental homeland, the oldest child of a father whose background in "the North" engenders continual suspicion, and a mother (Angela of the book’s title) who had never known her father and whose own mother is as miserly with her affections as with offers of economic assistance.
The hardships in Limerick are so profound that starvation is a way of life. "Consumption," pneumonia, and typhoid are rampant; children go to school barefoot or in pieces of flopping rubber; stealing is a necessity. Frank’s tiny sister and twin brothers die. Above all, there is "the drink"--the endemic disease of Irish fathers who spend their weeks’ wages in the pub on Friday night.
Frank leaves school to earn money for the family (his father had joined the war-time wave of work in England, but continued to drink his earnings away), and to save for a return to America. Blessed with verbal skills and stamina, through stealth, charm and struggle he manages to save what is needed to book ship’s passage to America. As the Hudson River flows by en route to Albany, the ship’s Wireless Officer says to Frank, "My God, . . . isn’t this a great country altogether?" Answers Frank in the single phrase comprising the last chapter, " ’T. is."
The text explores the experiences of a nurse practitioner in an inner city OB-GYN (Obstetrics & Gynecology) clinic and four of her women patients, from a fifteen-year-old homeless pregnant child to a mature woman struggling with cancer. Another of her patients is pregnant and drug addicted; a fourth suffers from pains that come from buried memories of sexual abuse. The stories of all four patients weave in and out of the narrator's own stories about herself, her own health and illness experiences, her own respectful appreciation of the female body.
As much about the abusive treatment of women, and the clash of traditional and contemporary mores as it is about the HIV/AIDS pandemic, this beautifully crafted novel tells the story of a nineteen-year-old Mosa (for mosadi--woman) who has already lost two brothers to AIDS. The reader is caught up in the mega-deaths and non-mention of the dreaded acronym, AIDS, as the story unfolds. At their brother’s gravesite Mosa’s one remaining living brother is halted as he shovels in the final loads of earth: "All around him were fresh graves . . . He looked at the not fresh, fresh graves, and noted the dates of birth. Young people who had died prematurely . . . He had known about their long illnesses, their deaths and their funerals." (p. 20)
The author is the first (and only) female judge of the High Court of Botswana and a human rights activist. She is internationally renowned for bringing about the Dow Case, which challenged Botswana nationality laws; she argued successfully for revisions allowing women to pass their nationality on to their children.
Hajii Ahmed has seven daughters. He wants a son so that his name will live on and he will be respected by the community. When his wife becomes pregnant again, he decides that the child, even if physically a girl, will be presented and raised as a boy. She/he is.
The novel is the tale of a storyteller who claims to have found the child's journals. The child lives her life trying to understand her sexuality without ever revealing the secret forced upon her by her father. She spends her adolescence totally alone, trying to recover the girl-child within. The end of the story is ambiguous, as the storyteller leaves off and his audience offers several possible conclusions.
This autobiographical novel tells the story of Michael, a young Jewish boy growing up in South Wales in the 1930's. Michael and Keith, his best friend, make their way along the difficult interface between the worlds of childhood and adulthood during the years in which Europe is preparing for war. The structure of the book is a series of tales told years later: "Cariad, clean heart, listen to me, this is my beginning. Let me start again." (The identity of "Cariad, clean heart" is left to the reader to imagine.)
The tales are humorous (e.g. the boys' first aborted attempt to purchase condoms) and touching (e.g. the death of Keith's mother). The novel ends with childhood's end: Keith is killed in a German air raid. Michael, now a medical student, stands by helplessly as the body of his friend is carried away.
The novel begins in Hobart, Tasmania, in the 1950's. Richard Miller, a student at the Christian Brothers' school, spends his adolescence recovering from the effects of polio. His one friend is Brian Brady, who is expelled from the school after a tiff with a sadistic Brother. Brian finds work and studies the guitar with Clive Broderick, the "doubleman" of the novel's title, an enigmatic occultist who believes in separate worlds of good (invisible) and evil (visible) reality.
Years later, in the freewheeling '60's, Richard has become a television producer in Sydney. He once again encounters Brian and his friend Darcy Burr, who have been eking out a living as a folk singing duo. Darcy, who has inherited Broderick's Gnosticism, is convinced that his group, the Rymers (which soon grows to include Richard's wife Katrin as lead singer), will achieve fame and fortune.
Richard produces a series of television shows, which, in fact, turn the Rymers into a very hot commodity. They are on the verge of a triumphant tour to England when the threads of their complex story begin to unravel.
Brigid's Charge, a psychiatrist and professor at the University of Virginia, has devoted his long career (37 years) to amassing and analyzing empirical evidence for reincarnation. In this book the journalist Tom Shroder describes Dr. Stevenson's work and gives a fascinating account of Stevenson's most recent field investigations in Lebanon and India.
The primary data supporting reincarnation are accounts of previous lives spontaneously reported by young children. This phenomenon is relatively common in cultures that accept reincarnation; for example, the Hindu and Druze peoples. In some cases the accuracy of details from reported past lives can be verified, even though there is also good evidence that the child (or anyone in his family or network of contacts) had no "external" way of learning the information.
Stevenson began studying such cases in the early 1960s and gradually developed a rigorous methodology for assessing and classifying the data. In Twenty Cases Suggestive of Reincarnation and his other writings, Stevenson has presented hundreds of narratives, many of which seem prima facie convincing, except for the small problem that they fall completely outside the bounds of scientific orthodoxy.
As a participant observer, Shroder tells a sympathetic, yet questioning, story of Stevenson's investigation (or follow up) of a few recent cases. In the process, he presents a compelling portrait of the maverick 80-year-old psychiatrist.