Showing 201 - 210 of 271 annotations tagged with the keyword "Mother-Son Relationship"
This book contains 47 poems about the accidental drowning of the author's son, Andrew, when he was almost six years old. This cycle of elegiac poems begins with the author's memory of Andrew's birth, then quickly plunges into the specifics of his drowning and the details of his family's daily life and survival since. All of the poems are excellent--direct and well crafted.
Outstanding poems include "The Boxes," which recounts how the police searched the author's house when she first reported her child missing; "Wet," in which Andrew's grandfather comes to his house for a blanket with which to cover his newly-discovered body; "The Limousine" and "Thomas Birthday" which describe the funeral and the birthday party held the day after the funeral for Andrew's older brother, showing how grief and happiness collide; "The Pearl," in which the author laments all things undone and not said, yet recognizes that "The pain that has come between us / will someday be our pearl"; "Faded," which expresses a common fear: that if grief fades, so will memory of the loved one; "Communion," in which, on the first anniversary of Andrew's death, the author mimics the religious ritual as she eats peanut butter and jelly at her son's place at the table, drinks from his plastic cup: "When I finished, / I wiped my eyes with your napkin, / gave thanks, / ate the bread and drank the milk."
Other important poems are "Dust," "In Our Beds," "Again," "Foxes," "The Dance," "Your Questions" (a long poem in which she speaks to those who wonder how she can bear such loss), "To My Parents," "Driving" (a stunning poem in which the author, years after Andrew's death, thinks she sees him in a passing car), and "I Thirst." In this last and final poem, the author's lines might well be taken to heart by all caregivers: "Fear of loss / and walls of self protection / will kill me / long before a broken heart. / I pray, / let every death / break me so."
The family in this story seems perfect: well-to-do, situated in a lovely home at the edge of Lake Tahoe, three children in the home, a retired military grandfather, and a caring, competent mother (Tilda Swinton). The absentee father, a military officer, is at sea. All appears as calm and still as the deep lake in their physical midst and at the story's center.
The story primarily concerns the mother and Beau, the oldest son (Jonathan Tucker), an extremely sensitive and gifted musician currently being considered for a scholarship at a major university. What viewers come to know is that the young man is exploring his sexuality with an inappropriate male opportunist in the nearby city.
When the mother suspects that her son is meeting someone, she confronts the amused man, asks him to back off, and returns home. The man finds their home that same night, meets with the son, and demands money. When the spurned man leaves, he slips on the dock and hits his head on a rock. The son had already returned to the house.
The surface world of lunches, carpools, and school activities is shattered by the mother's discovery of the familiar body in the lake at the edge of the family dock. Unbeknownst to the mother, the death of the man/her son's initial partner, is accidental. She assumes the worst and automatically moves to protect her son. While managing the ordinary routine for her family, she struggles to get the body into a skiff and sink it with weights in a different location.
Of course the body is discovered within a short time and unfortunately for the mother, associates of the deceased are able to figure out the scenario, or at least the connections with the son. She is approached by blackmailers with impossible financial demands.
Born breech and deprived of oxygen for two hours, Irish poet and writer Christopher Nolan was diagnosed with cerebral palsy and is unable to speak and virtually unable to move voluntarily. His book, subtitled "The Life Story of Christopher Nolan," is narrated as a third person account of the life of "Joseph Meehan." The memoir opens with Meehan's winning the British Spastics' Society Literary Award for his first book of poetry, Dam-Burst of Dreams (1988) and ends with his last day at Trinity College, having turned down the invitation to continue his studies there towards a degree.
In the mixture of linear, traditional life narrative and lyrical, neologistic description that falls in between, the memoir addresses Meehan's birth, early life, education, and growing acclaim as a poet and writer. It recounts how his family and teachers helped develop a combination of medication, tools (a "unicorn-stick" attached to his forehead), and assistance that allowed him to type.
It details, above all, how various family, friends, and health and education professionals advocated Meehan's special-school and mainstream education and made available to him such normative life experiences as riding a pony, boating, fishing, skipping school with his mates, and going on school trips without his parents--and such unusual life experiences as becoming an award-winning writer.
A woman lies in her bed, dying of cancer. Several family members have gathered in the room around her, including her son Bruno. From the age of 11 Bruno had wanted to be an artist, but had become a doctor instead because it was easier to make a living. "And medicine at one point--when he was nineteen or twenty--had seemed more humane than the humanities, more artful than art." Yet four years earlier, Bruno gave up his medical practice in Rome to devote his life to painting. But now he is back to medicine, helping to coordinate the efforts of his mother's physicians.
The dying woman sips an opium solution to ease her pain. She teases Bruno about the many times she had embarrassed him as a child, by acting funny or assertive or eccentric, behaving very differently from the other children's mothers. She would always make people laugh. Likewise, she was never confused about what she wanted. Even now, tipsy with opium, she remains in charge, a rock among the gathered family members, deflecting their sadness with her good humor.
The narrator's mother, having received "all the benefits of modern medicine," was still alive after 14 months. The son, himself a doctor, finally told her that she had cancer, after which she requested that she receive no treatment, other than pain control. Thus, her son provided her with a bottle of opium solution to use as needed. However, the other doctors continued their pretense that, if only she would take the "cure," she would get better.
She died six days later, "not slowly, like a train arriving at a station, but swiftly and convulsively, like a train derailing." She was buried without the priest's blessing because she hadn't been a practicing Catholic. However, the "ceremonies" of the craftsmen creating a masonry border around her grave, and of the stonecutter carving her headstone, were "last rites" more to her liking than the priest's prayers anyway, because she had never been fond of religion.
In this collection of 11 short stories, pediatrician-author Perri Klass primarily explores the world of women and their multiple and complex roles as mother, mother-to-be, friend, spouse, lover and professional. Parenthood--its glories, heartaches, tensions and mysteries--plays a prominent role in many of the stories. There is also a close look at woman-woman friendship--at what women say to their best friends and the nuances of the emotional responses to what is said or left unsaid.
Several stories feature single mothers: "For Women Everywhere" (a woman is helped through labor by her best friend), "Rainbow Mama" (a woman cares for her son during his diagnosis and initial treatment of leukemia), and "City Sidewalks" (a woman finds a baby on the sidewalk on Christmas Eve as she rushes to pick up her child from day care).
"In Necessary Risks," an anesthesiologist deals with work and her high energy preschool daughter while husband and easy-to-raise son head out to a dude ranch. In "The Trouble with Sophie," another high energy, dominant daughter wreaks havoc in kindergarten as well as with her concerned parents. In addition to the anesthesiologist, two other physician-mothers are featured in "Freedom Fighter" and "Love and Modern Medicine."
Parenting a newborn whilst handling other tasks is a theme featured in "Intimacy" (a high school biology teacher celebrates her first night of uninterrupted sleep as she both enjoys and envies her single friend's sex life) and in "Dedication" (a writer takes his stepson to a chess tournament while his biologist wife and newborn enjoy breastfeeding at home). Woman friendships are prominent in "For Women Everywhere," "Freedom Fighter," and "The Province of the Bearded Fathers." Grief and sudden infant death syndrome are themes of "Love and Modern Medicine."
The narrator, Latimer, begins the story with a vision of his death, which he attributes to a heart attack. He explains that, always sensitive after a childhood eye affliction and his mother's death, the further shock of a "severe illness" while at school in Geneva enabled him to see the future, and to hear others' thoughts--an experience which he describes as oppressive. He is fascinated by his brother's fiancée, Bertha, the only human whose thoughts are hidden from him, and whom he marries after his brother dies in a fall.
The marriage falters after Latimer eventually discerns Bertha's cold and manipulative nature through a temporary increase in his telepathy. When Latimer's childhood friend, the scientist Charles Meunier, performs an experimental transfusion between himself and Bertha's just-dead maid, the maid briefly revives and accuses Bertha of plotting to poison Latimer. Bertha moves out, and Latimer dies as foretold.
In the "free love" context of the nineteen-sixties, Harriet and David Lovatt are throwbacks to a more conservative, traditional, and family-oriented decade. Their life dream is to have a big house in the country filled with children, and it seems that they will succeed. After bearing four young children, however, Harriet is feeling the strain of years of childbearing, sleeplessness, money trouble, and her parents' and in-laws' disapproval of her fecundity.
Her fifth pregnancy is not only unplanned, but also unusually painful and disruptive. Harriet's doctor prescribes sedatives but finds nothing abnormal in her situation. When Ben is born, Harriet jokes that he is like "a troll or a goblin," but no one responds well to this unusually hairy and physically vigorous baby, who in turn does not respond to anything but his own desires and fears.
As he grows older, family pets and other children seem to be in physical danger. Health care professionals do not confirm the couple's conviction that Ben is not normal, but neither do they obstruct the decision to send Ben to a private institution, a removal that leaves the family temporarily happy until Harriet visits Ben and recognizes the institution for what it is, a place where all manner of "different" children are sent to live heavily medicated, physically restrained, and foreshortened lives away from families who do not want them.
Harriet brings Ben home, where he grows up amid what remains of the Lovatts' domestic fantasy, and finds community in a gang of thuggish older boys whom Harriet suspects are involved in various criminal acts. As the story closes, Ben has left home and Harriet imagines him in another country, "searching the faces in the crowd for another of his own kind" (133).
The story begins in London as Lilia, the young widow of Charles Herriton departs for an extended tour of Italy, taking with her a companion (Caroline Abbott), who is supposed to keep her our of trouble. Lilia leaves her 8-year-old daughter Irma home with the Herritons. The Herritons are a snobbish upper middle class family ruled by an iron-willed matriarch, who has never approved of her daughter-in-law's unassuming and spontaneous nature.
The trouble begins when word arrives from the small town of Monteriano that Lilia has gotten engaged to an Italian man. Mrs. Herriton sends her son Philip to buy off the "wretched Italian" and bring Lilia home. But he arrives too late. The 32-year-old Lilia has already married Gino Carella, who is the unemployed son of a dentist and a decade younger than she is. Gino is charming and seems guileless, although he has no intention of adopting an English attitude toward marriage. Indeed, he has married Lilia for her money and expects her to become a proper Italian wife.
Later, Lilia dies in childbirth, but the baby survives. At first the Herritons intend to sever contact and not acknowledge the child. However, nudged by Miss Abbott, the unsuccessful chaperone, they decide to "save" the child from becoming an Italian. Once again, Philip goes to Italy to buy off Gino and bring the boy to England. Once again, he fails.
But this time, his aggressive sister Harriet intervenes; when all else fails, she steals the baby. Unfortunately, a mishap occurs, and the baby dies. Meanwhile, Philip has fallen in love with Miss Abbott who, in turn, has fallen for the recently remarried Gino. In the end it looks like Phillip and Miss Abbott will become "just good friends."
Summary:A young man (Alexander Anaishnov) has come to take care of his mother (Gudrin Geyer) who lives alone in rural Russia. She is dying. He watches her sleep, takes her for a walk (or rather carries her), reads to her, gives her medicine, and, when she falls asleep, goes for a walk alone. He breaks down and weeps, then returns to his mother, who may still be sleeping or may now be dead.