Showing 181 - 190 of 490 annotations tagged with the keyword "Women's Health"
Six childless women from the United States are in an unnamed Latin American country (filmed in Acapulco, Mexico), fulfilling a residence requirement while they wait to adopt babies. The owner of the hotel they stay in (Rita Moreno) and her brother, a lawyer, both make a profit from this delay. The film explores the experiences of the six women and of the people of the place from which their children will come, a place of which they see only a small part of the surface.
The Americans' stories are juxtaposed with that of a young woman who cleans the hotel rooms, who gave up her own baby for adoption "up north," and a pregnant fifteen-year-old middle class girl whose mother takes her to Miami, presumably for an abortion. The film also looks at the implications of political activism which is, for the men in the film, necessary but, for the women, appears to come at the cost of security and domestic stability.
The hotel owner's son criticizes the adoptions as a form of "Yankee cultural imperialism," yet even as we are persuaded by his view, we are swayed by the film's telling contrast between the futures offered by the American women and the lives of the city's glue-sniffing street children. The film ends with two of the women about to receive their adoptive children.
Yesterday (Leleti Khumalo) is a young woman living in a tiny rural town in Kwazulu province in South Africa with her six-year-old daughter, Beauty (Lihle Mvelase). Yesterday becomes ill and, after several failed attempts to be seen by the lone doctor at a clinic several hours' walk away, is diagnosed as HIV positive. At the doctor's urging, she travels to Johannesburg to find her husband (Kenneth Kambule), who works on the mines there, to tell him of her diagnosis and that he needs to be tested. He beats her viciously and sends her away.
Months later, he returns to the village, dying of AIDS. He has lost his job. She takes care of him. Rumors spread in the village that Yesterday's husband has "the virus." The people begin to avoid them both, and the (true) story is told of a young woman in a nearby village who, after moving to the city and then returning home with AIDS, was stoned to death by her people. There is no room for her husband at the hospital, so Yesterday builds a scrap metal hut outside the village and cares for him there until he dies.
At one point the doctor observes that Yesterday's body is resisting the disease well; she replies that it is not her body, but that "I have made up my mind: until my child goes to school I will not die."
When the new school year begins, Yesterday gives a delighted Beauty her school uniform, and the schoolteacher promises Yesterday that she will take care of Beauty. Yesterday watches as Beauty begins her first day at school and then walks home alone.
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.
Summary:A young woman observes the slow decline of her grandmother into dementia and her grandfather’s reaction to the situation. Issues of denial, anger, autonomy, and intimacy rise to the surface—and expose the formerly private dimensions of their marriage. The illness also stresses her own relationship and invites the idea that someday she and her partner could be projected into a future with the same vulnerability.
A night on the town with two friends turns into "an attack of nerves" for Vasilyev, a law student. The three students spend the night drinking and visiting houses of prostitution; Vasilyev is horrified and repulsed by the women, who he thinks are "more like animals than human beings." The social problem of prostitution becomes an obsession; he is so fixated on finding a solution that he is in moral agony. His friends, among whom is a medical student, are concerned only with his health; they take him to a psychiatrist who "cures" Vasilyev with bromide and morphine.
The author tells the story of two Native-American (Chippewa) families whose lives interweave through several generations during the years 1934-1984. The primary setting is a reservation in North Dakota. The main characters, Marie and Nector Kashpaw and Lulu Lamartine, are colorful, sympathetic people caught in a love triangle that endures for most of their adult lives. "Love medicine" represents an attempt by a Kashpaw grandson to assure once and for all that his aging grandfather will love and be true to his wife and cease "hankering after the Lamartine." The plan ends in disaster when corners are cut and the authentic old Indian customs for preparing the "love medicine" are circumvented.
There is a strong sense of the blending of cultures--religion, medicine, commerce, education all take on the distinctive qualities of an evolving mixed culture. Displacement and disenfranchisement are a fact of life, taken almost for granted, with humor, but not without a response. "They gave you worthless land to start with and then they chopped it out from under your feet. They took your kids away and stuffed the English language in their mouth . . . They sold you booze for furs and then told you not to drink. It was time, high past time, the Indians smartened up and started using the only leverage they had-federal law." (p. 326) So begins an initiative to establish a gambling casino; "gambling fit into the old traditions . . . . "
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.
The poem presents a Native-American woman hanging by her fingers from a window ledge 13 floors above the street. As she tries to decide whether or not she'll let go, she thinks of all the reasons that have led her to consider suicide: she feels broken in "several pieces between the two husbands she has had"; here in a crowded Chicago tenement, she is out of her natural native place in the north; she is poor; she suffers from racial discrimination; she hears voices; she cries "for lost beauty." She considers her three young children and remembers her own childhood. The poem ends with the either/or choice still not made--either she will fall to her death or she will climb back in the window and reclaim her life.
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.