Showing 221 - 230 of 273 annotations tagged with the keyword "Mother-Son Relationship"
The poet conjures up the image of the doctor who delivered him and his siblings ("All of us came in Doctor Kerlin's bag"), the doctor who arrived at the house in his fur-lined coat and ascended to his mother's bedroom, and later came down and arranged the instruments in his bag (a "plump ark"), which by that point was otherwise empty. In the boy's fantasy, Doctor Kerlin's small eyes were "peepholes into a locked room," in which were strung "the little pendant infant parts / . . . neatly from a line up near the ceiling-- / a toe, a foot and shin, an arm, a cock."
On a visit to the ruined temple of Asclepius, the god of healing, the poet finds himself remembering Doctor Kerlin, and also the incident when, as an altar boy, he fainted during a procession at the healing shrine of Lourdes in 1956. Now many years later, he pulls up some tufts of grass from around the temple and sends them to friends suffering from cancer. He remembers entering the bedroom after Doctor Kerlin left, his mother on the bed asking, "And what do you think / Of the new wee baby the doctor brought for us all / When I was asleep?" [94 lines]
Mohammed (Mohsen Ramezani), an eight year old blind boy attending a special school in an Iranian city waits for his widowed father (Hossein Mahjub) to bring him home to his isolated, but idyllic Iranian village for summer recess. During several interminable hours of waiting outside the school, viewers come to recognize the boy’s sensitivity to his surroundings. Through sound and feel he is at one with nature. Remarkably, he is able to rescue a vulnerable baby bird and return it to the tree branch nest from where it has fallen.
Unfortunately, Mohammed’s father fails to exhibit this kind of care with his son. The tardy reunion is painful: rather than embracing the boy, the father requests that school officials keep the boy during the recess. When the request is refused by embarrassed faculty members who are sympathetic to the child’s family needs, father and son begin the long walk, then bus ride into the distant countryside.
In contrast, Mohammed receives a warm and loving welcome from his Granny (Salime Feizi), his sisters, and the neighboring children. Immediately, the children run with him into the meadows to explore and celebrate. Clearly, this is Mohammed’s nest.
Even though Mohammed’s abilities at the local school are superior to those of his classmates and even though he is able to function in normal play with his peers, the father focuses only on the boy’s removal from the family and the village so that he can find a new wife to care for him and his other children. The unprepared boy is taken abruptly by his father to a blind carpenter many miles away where he will serve as an apprentice. Although the carpenter is kind, Mohammed is devastated by the cruel separation from Granny and the children.
Unburdened, the father goes forth with plans for another marriage, but before the arranged ceremony occurs both the heartbroken Granny and Mohammed die. The bride-to-be and her family regard these losses as unhealthy portends. Marriage plans are canceled. Only then, does the father recognize his own blindness.
Hamlet's father, the King of Denmark, is dead and has been succeeded by his brother Claudius, who has married the old king's wife, Gertrude. The King's ghost tells Hamlet that Claudius murdered him, and makes Hamlet promise to avenge his death. The play traces the process by which Hamlet negotiates the conflict between his need to take violent action and his uncertainty about the rightness of doing so.
He pretends to be mad and contemplates suicide. He unintentionally murders Polonius, the new King's counselor, and violently confronts his mother for what he sees as an unfaithful and incestuous marriage to her brother-in-law. He also verbally abuses Ophelia, the daughter of Polonius, whom Hamlet had loved before, contributing to her mental illness and eventual death.
Hamlet finally decides that he must submit to his fate--or his dramatically determined role as the hero of a revenge tragedy--and agrees to a fencing match with Ophelia's brother, Laertes. Arranged by Claudius, the match is rigged. Laertes's rapier is poisoned, and both Laertes and Hamlet are killed with it. Gertrude drinks the poisoned wine intended for Hamlet and dies. Hamlet's last action is to kill Claudius, but whether this counts as the successful culmination of a revenge plot is dubious. As a new order takes over in Denmark, and as the dying Hamlet asks that his story be remembered, we realize that his existential quandaries remain largely unresolved.
The narrator's mother becomes the child in her illness which has emaciated her body to look like a "childish skeleton." The son cares for the mother in every way: bathing her, carrying her, feeding her with a spoon. But this is caregiving with a twist--the mother is likened to a weakened enemy and the luck of caring for her is the luck of having finally gained power over an ancient enemy.
So although the physical acts of caring are done well--lowering her gently into a warm bath and soaping her withered body, sitting by her bed, feeding her ice cream--the thoughts behind such acts are less than pure. At one point, the son holds his wet mother in midair between bath and wheelchair until she begs him to put her down, an act which he recognizes as cruel and also an "ancient irresistible rejoicing / of power over weakness." The poem concludes on a more positive note--affirming the bond between mother and son and realizing that enemy or no, to feed someone ice cream is still an act of nurturing: "sweet is sweet in any language."
The novel, set in the 1950s in the prep school town of Gravesend, is an extraordinary account of friendship, coming of age, families, "normalcy," politics, faith, and doubt. The title character is an unusually small child--as an adult barely five feet tall--with a strange and striking voice that makes many people uneasy.
The only son of a New Hampshire granite quarrier and his odd and reclusive wife, Owen is best friends with Johnny Wheelwright, the narrator of the book and grandson of one of the town's most distinguished families. The friendship is sealed by a freak accident when Owen hits a baseball that kills Johnny's mother, Tabitha, who is just arriving at the game.
The remainder of the novel is a back-and-forth between past and present as Johnny searches for his identity--his mother is unmarried and never reveals the father's name--and Owen searches for his destiny--he believes that he is an instrument of God. Both searches have amazing resolutions.
Harry Potter and the Goblet of Fire is the fourth book in a planned series of seven (see annotation of Harry Potter and the Sorcerer's Stone for an introductory summary). Unlike previous books, this one opens with the murder of a Muggle, Frank Bryce, the elderly gardener for the Riddle estate--a home where Tom Riddle Sr. and his elderly parents had been found dead many years before. Voldemort, although still weak and requiring much assistance from his simpering servant Wormtail and his snake Nagini, is positioning himself for a return to full power.
Harry's distinctive scar is burning with pain as he awakes from a dream of the previous scene. This scar had hurt once before, in book one, when Voldemort was on Hogwarts property. Harry alerts his godfather via owl post and joins the Dursleys for breakfast. Breakfast is meager because Dudley, always obese and obnoxious, has now grown to outrageous proportions and is on the diet ordered by his school nurse. His mother, to make him feel better, puts everyone on the same diet. Harry is once again saved from the Dursleys by the Weasley family, although Dudley and his appetite are the objects of a prank by the Weasley twins.
Arthur Weasley (the father) who works for the Ministry of Magic in the Misuse of Muggle Artifacts Office has secured top notch tickets for all to attend the World Quidditch Cup. This fantastic event is marred by the appearance of signs of support for Voldemort by his followers, the Death Eaters, and Arthur hurries home with his charges in tow via Portkey transit.
Harry, now fourteen, enters Hogwarts for his fourth year. This year is different for all of the students due to the resurrection of the Triwizard Tournament, a dangerous international competition for a selected champion from each of three schools, Durmstrang, Beauxbatons, and Hogwarts. Although underage, Harry is selected by the Goblet as an extra competitor from Hogwarts. Everyone is concerned for the competitors' safety (the famous Viktor Krum, the enticing Fleur Delacour, and the decent Cedric Diggory). In particular, Harry's life is in danger from suspected foul play.
Adolescent love, the nastiness of poison-pen reporter Rita Skeeter, the ever-vigilant nature of Mad-Eye Moody (an Auror who caught Death Eaters in the past and who now teaches Defense Against the Dark Arts), spells that cause loss of control, excruciating pain or death, enslavement of house-elves, money, and variable degrees of professionalism by members of the Ministry of Magic, such as Cornelius Fudge, Bartemius Crouch, officious Percy Weasley, and Ludo Bagman are some of the themes and subplots in the novel. The traumatic end to the competition and follow-up lead Harry to witness and participate in some horrific events. Dumbledore, however, refuses to allow Harry to bottle-up the experience--Dumbledore understands that talk, openness, support, and rest are the first steps towards healing.
Kate, a doctoral student, has chosen to move far away from the small town in which she grew up and in which her widowed mother (a school superintendent) and brother (an insurance man) still live. Kate's life is solitary, punctuated by unsatisfactory and transitory sexual relationships with men; she has headaches and wonders if "there were an agent in her body, a secret in her blood making ready to work against her" (p. 180).
While her mother disagrees with Kate's life choices, their long-distance relationship is sisterly, playful, and intimate. Kate sends her mother Valentine's Day cards, "a gesture of compensatory remembrance" since her father's death six years earlier (177). One year Kate forgets to send the card; soon after, her mother is suddenly hospitalized for tests that reveal a brain tumor.
Kate's brother insists that if she wants to come home, she must keep quiet about the likelihood of the tumor's malignance and the risk that the upcoming surgery will result in paralysis. He argues that their mother is terrified and that there is no point in making her more afraid. Kate objects to the concealment of the truth but complies unwillingly with her brother's request.
She gains permission to take her mother for a ten-minute walk outside, just time enough to take a ferris wheel ride. As their car reaches the top of the wheel, Kate is clearly upset. Her mother comforts her, saying, "I know all about it . . . I know what you haven't told me" (196).
The title story, "In the Gloaming," recounts a mother's final weeks with her 33 year old son who is dying from AIDS. Janet realizes that "the enemy was part of Laird, and neither he nor she nor any of the doctors or experts or ministers could separate the two." (p. 29) He dies at home with his mother next to him.
"Home" depicts the struggle of an elderly woman in the early stages of Alzheimer's dementia who is being coerced by her family to live in a nursing home. She immediately understands that living there would essentially kill her.
In "Watch the Animals," Diana Frick is a wealthy animal lover who has no interest in human relationships. After being diagnosed with lung cancer, she refuses conventional treatment and continues to smoke cigarettes. Surrounded by her pets, she commits suicide by drug overdose but not before she has arranged new homes for all her animals.
The poem takes place in a respiratory ward of a children's hospital, where the narrator hears "a children's wind ensemble / hooting through the weary nocturne." One mother is massaging her child's back, "working calm's liniment between shoulder blades / scarcely bigger than chicken wings."
The narrator appears to be a friend or relative, who silently tries to breathe for the breathless child, whose panic is held in check by "his mother's dulcet voice." It seems like everything will be all right "as long as the hand strokes, and while the voice croons . . . " [30 lines]
In 371 E. C. (Efican Calendar) a woman named Felicity Smith gives birth to Tristan, a child with such severe congenital defects that the doctors advise her to let him die. Felicity is an actress and the head of a theater troupe in Chemin Rouge, the capital of a small fictional country called Efica. Instead of getting rid of her son, Felicity takes him to live in the tower of her theater.
The boy actually has three fathers (Bill, Wally, and Vincent), each of whom in his own way accepts responsibility for the horribly deformed child. The boy grows up with the ambition to become an actor, even though he is only three and a half feet tall, his speech is almost unintelligible, and he inspires revulsion in almost everyone that he meets for the first time. Nonetheless, he thrives in the close-knit theatrical community.
When Tristan is eleven, agents from Voorstand murder his mother, who has entered politics and become a "persona non grata" in Voorstand. Tristan also fears for his life, but nonetheless avenges his mother's death by writing subversive pamphlets. Many years later, at the ripe old age of 23, Tristan and Wally (one of his fathers) travel illegally to Voorstand where they encounter many adventures before the novel comes to a satisfactory conclusion.