Showing 241 - 250 of 271 annotations tagged with the keyword "Mother-Son Relationship"
Jeff, a college-bound senior, is about to break up with his girlfriend, Christy, when she announces she is pregnant. He had stopped using condoms when she announced she was on the pill. He urges her to get an abortion. She wants to have the baby.
The pregnancy separates them, puts a deep dent in Jeff's plans for college, and hinders his participation on the nationally ranked debate team. He finds himself blamed, blaming, reacting stupidly (he gets drunk one evening and has to be picked up by his mother at the police station), and stuck in denial about his responsibilities until grad night when Christy is taken in for a caesarean section and the baby is born at 33 weeks.
Jeff, whose own father is distant and negligent, finds himself wanting to be a father to the child. As he starts college, he works out a way to share parenting responsibilities and maintain a friendly relationship with Christy even while he begins a new, more mature relationship with a young woman in college.
Like the train images in the last two stanzas, this poem is a train of thoughts about medicine, doctors, and patients' relationships to doctors, medicine and illness. The poem begins with the narrator's (presumably the poet's) Chinese doctor writing a prescription in Chinese. The poet begins daydreaming about the characters, and this leads to a soliloquy about daydreaming and illness and the slower pace of the ill, hanging "suspended in the wallpaper" of waiting rooms.
A recollection of the poet's "lady doctor" and his infatuation with her leads to a revelation of his desire to have illness and suffering, just to be with her. He philosophizes "suffering itself is medicine / and to endure enough will cure you / of anything." He decides he'd like to suffer like his mother, who seemed to not only accept, but also relish, the sick role of the weak, dependent state.
Summary:A mother reflects on her life in the country and on her son who has a seizure disorder. She is nervous about allowing him outside to play because it is hunting season, and because she is worried he may have another seizure and get hurt. She seeks to balance her need to protect her son from harm with his need to grow up as normally as possible.
This is the story of a family struggling to deal with the accidental death of a teenage son. Calvin Jarrett (Donald Sutherland) and his wife Beth (Mary Tyler Moore) and their surviving teenage son Conrad (Timothy Hutton) live in a wealthy Chicago suburb. Some months before the time of the film, Conrad's older brother Buck drowned when the small boat he and Conrad were sailing capsized in a windstorm.
In the present we see Beth as cold, withdrawn from Conrad (Buck had been her favorite) and at times actively hostile to him and to her husband, too. Conrad, recently back home from three months in the hospital (including electro-convulsive shock therapy) after slitting his wrists, is between uneasy and agonized in his high-school and family world. Calvin remains emotionally open but is befuddled and often caught between his wife and his son, talking about things that don't matter.
Within that setting, the film tells the story of Conrad's attempts to deal with the guilt he feels after his brother's death. A series of psychotherapy sessions with Dr. Berger (Judd Hirsch) plays a crucial role. Seeing Dr. Berger also helps Cal understand some things, and when in a midnight confrontation he tells Beth of his sorrow that she has substantially changed for the worse, she proudly packs her bags and leaves. The film ends early the next morning, with Conrad and his father in an emotional embrace on the front steps of their home.
Medea killed her brother and left her father in order to follow Jason and his captured Golden Fleece to Corinth. They marry and have two sons. As the play opens, Medea is distraught with jealousy because Jason has repudiated her to marry the daughter of Creon, King of Corinth. He insists that his new status will be for her own good and that of her children.
Medea and her sons are to be banished, but she begs a day's reprieve. She contrives to poison the princess bride with gifts that catch fire, consuming her and her father too when he tries to save her. In her madness, Medea "reasons" that she must kill her beloved children in order to avenge herself upon her husband.
The boys' cries can be heard from off stage as she slays them with a sword. The grieving Jason wishes that he had never begotten his sons, just as Medea wishes that she had never followed him out of her home.
A strange Irish girl is "away" ever since she lay beside a drowned man. A teacher marries her, providing stability if not sanity, but the 1840s famines begin and the couple flee Ireland with their child Liam. They establish a homestead in a remote part of Ontario where a baby girl, Eileen, is born.
Not long after, the mother disappears and is not seen again for years until she is brought home dead. The son learns that she had been living by a lake immersed in her fantasies of the long dead lover. Eventually, Liam is left to care for his sister alone; they travel to a small port town where he realizes that Eileen has become an attractive young woman with desires of her own. She too goes "away" following a lover, but returns to Liam and his wife to live out her long and lonely life.
In this remarkable book of essays, Rafael Campo explores his coming-of-age as a gay Cuban-American physician. He presents us with a series of stories illuminating his childhood and college experience, skillfully interweaving them with narratives from his life as a young physician, especially his interactions with patients dying of AIDS. We follow the author from Amherst College, through Harvard Medical School, to his medical residency in San Francisco. At each step Campo is a close observer of human character and motivation--his own and others. At each step he asks, "Who am I? Who am I becoming?"
He discovers his identity as a gay man, an Hispanic man, a poet, and, finally, as a healer--not four identities, but one. He discovers, too, the healing power of connecting with patients, the "poetry of healing," something far different from the orthodox image of the physician-as-detached-or-distanced from his patients. Though Campo rejects the concept that physicians are agents for social change ("naive," he calls it), he brings sensitivity and poetry to bear on his continued search for "some way to give."
This first collection of poems includes a series of strong and well-crafted personal narratives. Several deal with the poet's experience in nurse's training. For example, in "Down There" she recalls childhood baths when she would squat and pour a jug of warm water between her legs ("down there") as she washes post-operative women and thinks of the intensely poetic hospital questions, "Can you make wind? / Can you make water?"
In "We Were Gulls" she visualizes the nursing students on Ward Nine and evokes their encounter with a repulsive old man who said, "there isn't a one of you / I wouldn't give a squeeze to / if I could hold you / in my arms / right here in this bed." In "In the Hospital Garden" she recalls the titillating episode of a doctor's wife who gave birth to a "radiation mutation."
But the poet's nursing is not confined to the professional sphere--in "Madame Abundance" she speaks of her son's "string of drool" against her own "milk-dampened blouse of the breast." Poems like "Night Terror," "The Street Where We Lived," and "At the Horse Pavilion" bring the reader into the love and pain of family life. "How long will it last?" the poet asks in one of her poems. In another she answers, "I live alone / I live alone / I live alone / I live alone."
The narrator of this long, lyrical musing is a psychiatrist who works with autistic children. Though much of the narrative is a reflection on her mid-life relationship with a journalist lover who risks death to report on places in political turmoil, her observations about her patients provide a recurrent motif and reference point.
Several long passages detail the fascination and frustration involved in working with her young patients, what she has learned from them about limits, patience, and the semiotics of autism. She also reflects on how that learning has allowed her to understand "normal" people differently. One of the subtle but strong themes of the story is the question of what "normal" means.
A secondary focus is her close attachment to her two grown sons. This is developed through memories of particular scenes of their childhood that she identifies as bonding moments. Another focus is her relationship with her mother, now dwindling into mental incompetence and squalor in her old age. Thinking about these relationships, with lover, sons, mother and patients, is a way of taking stock of how the strands of her life have brought her to a place of qualified peace in mid-life.
Stonecrop: Poems January 1987 to May 1989, the first of two sections in Rhea Tregebov's collection, is a series of poems about loss and potential loss, especially concerning her son's life-threatening asthma. In "Vital Signs" she writes, "When we almost lost him, I almost lost myself."
Later, when her son's condition had stabilized, she writes in "Runt," "We can hope to break the cycle." More than two years later, the poet rejoices in her son's growth as he says "Bony" while "turning his head against the hard nest of my shoulders" ("Respite").
Other poems in this series are eloquent responses to other personal losses. As Rhea Tregebov writes in "Sleep," "it is the dust of stars I touch, the dust of cold brilliant stars / we somehow are." "Faith in the Weather," the book's second section, contains poems dealing with a variety of other topics. From a literature and medicine point of view, "How We Know the Animals" and "The Right Thing" are particularly noteworthy.