Showing 201 - 210 of 454 annotations tagged with the keyword "Parenthood"
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.
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.
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 . . . . "
In this autobiographical poem, the poet describes with tongue-in-cheek her status in a Mexican-American family as seen from her father’s point of view. It is clear from the outset that the father is unhappy with his only daughter’s behavior. Unmarried, she has left home to make her own way while her six brothers remain at home. The father accounts for her behavior, and at the same time predicts its consequences, by recalling all the female relatives who ended badly: widowed, in jail, cursed by voodoo, alone. The most "audacious crime[s]" of all, however, is that of "disobeying fathers."
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.
A Mexican-American woman has an appointment for her son Jorge to be seen at the Anglo clinic. She insists on keeping the appointment, even though her relatives think she is crazy. She reflects on events in her life--Jorge's congenital heart disease, the fact that she had a tubal ligation after his birth, and that the heart disease might have been a punishment from God. She reflects upon the fact that often people go for clinic appointments, only to find that the Anglo doctors aren't there and another appointment must be made. She carefully selects Jorge's clothes. She takes the crowded bus.
Finally, at the clinic two doctors enter after a long wait. One is a psychiatrist. In this last scene it becomes evident that Jorge has already died. His mother has brought a bundle of Jorge's clothes to the clinic for "his" appointment, still hoping for a miracle. Referring to the psychiatrist, the woman doctor tells the mother, "He will make you better."
The year is 1954, the place a construction camp in the interior of Tasmania. One evening Maria Buloh, a young immigrant from Slovenia, walks out of her home and into the snowy forest, disappearing forever. She leaves behind her husband, Bojan, and Sonja, their three-year-old daughter. Sonja's childhood evolves into a harsh series of foster homes, followed by adolescence taking care of her drunken, abusive father. She escapes at the age of 16. Flash forward to 1989, when Sonja Buloh pays her first visit to Tasmania and to her father in more than 20 years.
What is Sonja looking for? What does she expect to find? She and her father are both damaged people. Their spirits are scarred and deeply hidden--his in alcohol and an obstinate lack of ambition, hers in wariness and distance. We soon learn that Sonja is pregnant and plans to have an abortion as soon as she returns to Sydney. While staying with some old friends, she has an epiphany--she decides to remain in Tasmania and carry the pregnancy to term.
During the months of her pregnancy, Sonja and her father gradually grow closer. Sonja finally learns the truth about what happened to her mother. Father and daughter are transformed. To quote the book's blurb, "the shadows of the past begin to intrude ever more forcefully into the present-- changing forever his living death and her ordered life."
This novel recounts the fictional life of Syms Covington, an historical character who was Charles Darwin's servant during the voyage of the Beagle (1831-1836) and for two years thereafter in England. Covington then moved to New South Wales, but remained in correspondence with Darwin for the rest of his life. (He died in February 1861.)
MacDonald expands on these facts to create the engrossing story of an "elderly" Covington--he would have been in his mid-40's at the time--who befriends a young American physician in New South Wales. Covington develops appendicitis and MacCracken, the young doctor, saves his life. They become friends and during the next two years Covington gradually reveals his story.
The book flashes back to the voyage of the Beagle and reveals the development of Covington's prickly but worshipful relationship with Darwin. In 1860 Covington, who has become a wealthy landowner in New South Wales, anxiously awaits his copy of The Origin of Species. After enduring the agony and adventure, after studying thousands and thousands of specimens, how will Darwin bring it all together? The theory of evolution rocks Covington to the core. Has his work played a part in helping Darwin to develop this godless theory?