Showing 211 - 220 of 316 annotations tagged with the keyword "Mother-Daughter Relationship"
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.
Mattie, recently divorced from Nick, the father of her two children, is coping with the aftermath of divorce, functioning as a single parent, feeling ambivalence toward Nick who still shows up and sometimes stays the night, and becoming aware of her own attraction to other men. Her mother, an aging social activist, lives nearby with her lover and companion who copes with the mother’s insistent personality and mood swings better than Mattie. Her brother, Al, also lives nearby and fills in some of the father functions for Mattie’s children.
In the background is the story of Mattie’s father, now dead, much loved by both Mattie and Al, who, as it turns out, fathered a child now living in the community by a young girl about Mattie’s age. The mother of the child lives in the squalor of near homelessness at the edge of town. This disclosure, Mattie’s blossoming friendship and eventual romance with the man who comes to repair her house, and Mattie’s mother’s descent into dementia are the three main threads of plot in this story of pain, forgiveness, and healing in family life.
Pyotor Mihailitch Ivashin and his mother are plunged into despair; Ivashin's young sister Zina has just left home to live with Vlassitch, an unhappy man who is separated from his wife. Pyotor doesn't know why he feels so outraged at this development; after all, he is a progressive and free thinking person, and Vlassitch is a neighbor. Yet, Pyotor worries that people will think he should do something about his sister's scandalous behavior.
Finally, he resolves to ride over to Vlasslitch's estate and express his anger. However, when he arrives, he is charmed by Vlassitch's gentleness and saddened by his sister's apparent unhappiness, despite her determination to carry through with her chosen path. As he leaves them, it seems that all three are unhappy: "And so the whole of life seemed to him as dark as this water in which the night sky was reflected . . . And it seemed to him that nothing could ever set it right."
Nadya Shumin is engaged to be married to Andrey Andreitch, the son of a local priest. Nadya lives on her grandmother's estate with her mother, "a fair-haired woman tightly laced in, with a pince-nez, and diamonds on every finger." While Nadya is a woman with a great desire for education and independence, Andrey is a friendly but rather vacuous and totally unmotivated man.
Sasha, an ill and impoverished young man who is spending the summer on the estate has long been considered part of the family. Sasha implores Nadya to follow her heart--to go to Petersburg and attend the University. She resolves to do so and secretly accompanies Sasha when he returns to Moscow. She then goes on to begin her own life in Petersburg.
After the school term, Nadya returns for the summer, but she is aware that things will never be the same. The family receives word that Sasha has died of tuberculosis. At the end of the story, Nadya is packing to leave the estate "as she supposed forever."
Told from the perspective of a thirteen-year-old girl, this story about a single mother with two daughters who moves, marries, and dies of breast cancer handles a variety of difficult issues with sensitivity and spunk. A list of those issues--absent father, new stepfather, a thousand-mile move to a new social environment, first menstruation, sibling rivalry, an uncle with incestuous impulses, family secrets, sexual experimentation, cancer, and death--might make it sound like a catalogue of the trials of contemporary suburban young adulthood, but in fact the point of view of Tilden, the main character, keeps the story grounded in very believable, sometimes amusing, often poignant, recognizable truth about what it is to come into awareness of the hard terms of adult life.
The mother's cancer is narrated largely in terms of Tilden's experience of it: secrecy, eventual disclosure, partial information, losses of intimacy, feelings of betrayal, confusion about caregivers' roles, and in the midst of it all, the ordinary preoccupations of early adolescence. The generous and understanding stepfather and neighbors with limited but ready sympathies lighten some of the novel's darker themes.
This historical novel for young adults details the horrors of the Philadelphia Yellow Fever epidemic in 1793 from the point of view of a fourteen-year-old, Mattie, who runs a coffeehouse with her widowed mother and grandfather. In the course of the story, her mother is taken ill, she herself falls ill on the way to the safety of the countryside, and her grandfather dies of heart failure after nursing her. Separated from her mother who is also removed from the city, Mattie finds herself scrabbling for survival in a mostly deserted town after the death of her grandfather, but relocates the free black woman, Eliza, who had worked for her family and who essentially becomes part of her family.
Eventually the mother returns, an invalid but alive, and Eliza and Mattie undertake to run the reopened coffeehouse together and care for Eliza's nephews and an orphaned child Mattie has rescued. Hope reappears with the first frost in the forms of a reopened farmers' market, the return of George Washington to the town, and the reappearance from enforced isolation of Nathaniel Benson, a young painter who gives Mattie a vision of a future life with friendship and love.
Summary:This poem, told in the voice of a troubled, angry teenager, describes her determination to control her eating and her body. The eight, eight-line stanzas each repeat the same words at the end of the lines, in a modified sestina form, so that emphasis falls on the same eight words: "disappear," "smile," bones," "fat," "mother," "touch," "person," "guts." By the end of the poem, the girl is clearly suicidal and unable to control her anorexia.
One 1970s summer, Madeleine L'Engle brings her mother to Crosswicks, the rambling country house where the extended family has spent extended vacations for many years. At ninety, the elder Madeleine is suffering from the ravages of the now vanished diagnosis, 'hardening of the arteries.' By times she is frightened, angry, or difficult; at night she cries out or tries to wander. Round-the-clock caregivers help with the strain, while the writer's own children and grandchildren figure in her journal with concern, affection, and wonder.
The presence of the dwindling old lady provokes detailed recollections--direct and indirect memories--of the lives of her mother, grandmother, and great-grandmother, all named Madeleine--bringing the span of this narrative to six generations. Despite the grandmother's slow mental decline, death comes suddenly, while L'Engle is away and her son is left to help.
Reta Winters, a 44-year-old translator and writer, faces a crisis in her otherwise ordinary and loving family life when her oldest daughter Norah suddenly and without explanation decides to live on the streets of Toronto, with a sign around her neck that reads GOODNESS. The novel, written in Reta's voice, is the story of her and her family's efforts to cope and make sense of this event. But it is also the story of the everydayness of her life and her feminist ruminations on the writing process, motherhood, friendship, and marriage.
Sisters Elinor and Marianne Dashwood suffer similar reverses in appearing to lose the affection of their chosen suitors. But whereas Marianne indulges her exorbitant sensibility in her relationship with, and loss of, her suitor Willoughby, Elinor's quiet good sense enables her to bear up when it seems her suitor, Edward Ferrars, will marry another woman. Austen rewards Elinor with Edward's hand, while Marianne must be content to learn to love a steadier husband, Colonel Brandon.