Showing 241 - 250 of 399 annotations tagged with the keyword "Adolescence"
Twelve-year-old Lily Star has lost her father and moved from a cabin in the woods on the river where she grew up fishing with her father, and where she knew the natural creatures as neighbors, to an apartment in the nearby city where she and her mother continue to run the family hardware store. While she still loves the river, she finds it hard to "forgive" it because it drowned her father in a boating accident. She also resents the fact that an important stretch of land along the river is being fenced off by the man to whom the cabin was sold--T.R.--a recluse in a wheelchair. Through a series of unpleasant encounters, Lily gets to know him and learns that he had been a pilot and was disabled in an accident.
The bond the two discover over time has to do with somewhat parallel paths of healing: he needs to "forgive" the sky as she does the river. She persuades him eventually to go boating with her. Even a fall in the water doesn't discourage him from taking on new life and hope by accepting Lily's invitations to get to know the river, the land, and the neighbors. Lily's hopes that he might remain and marry her mother are disappointed when he decides to return to work with planes, though he can no longer pilot them, but the friendship that strengthened them both in their struggles with grief and loss makes it a parting full of promise.
In his mid-twenties and having been estranged from his family since his mid-teens, Andrew Largeman (Zach Braff) returns home to New Jersey for a few days to attend his mother's funeral. The world he meets there (in "The Garden State," ironically) is persistently unnatural and weird. His old school friends are leading grotesque and diminished lives, and Andrew dislikes and dreads his father, a psychiatrist played by Ian Holm, because of the prehistory we discover in mid-film. (Andrew's mother had suffered with depression, and young Andrew hated her for it. One day, aged 9, he gave her a shove, and freak circumstances led to a hard fall and her becoming paraplegic. Fifteen years later she has died in her bathtub, perhaps a suicide--although that isn't mentioned in the film.)
Andrew keeps his psychic distance from all this, with one fortunate exception: By chance he meets Samantha or "Sam" (Natalie Portman), a sweet loopy girl his age who lives in a child-like room in her mother's house and has a tendency to lie a lot and then confess. She and Andrew take a liking to each other, and a relationship develops that eventually helps Andrew come to terms with his mother's death, with his role in the tragic prehistory, and, thus, with his father and his own life, now able to begin, finally, as a young adult.
The front cover of this collection shows the outline of Africa completely filled with the names of patients ("Tyra Lynette Deja Nya Rovert Marqui Fatima Terry Alexia Michon Ty . . . ") On the last page, poem #120 consists of an outline of the United States of America, also completely filled with the names of patients, also African. The poems in this collection constitute a journey through these Dark Continents, both of which lie within.
Kelley Jean White stakes out her territory very clearly: "I suppose I embarrassed you / at all those mainline / plastic surgery parties / talking Quaker and poor and idealism" (3). There are no elegant parties, nor plastic surgeons, after page 3. Instead, persons like Shawanda live here: "At seventeen, Shawanda has never spoken. / Her brother easily carries her frail body / into the exam room--37 pounds" (36). And the nine year old girl who delivers her baby by C-section: "The nurses said it was the worst thing / they’d ever seen . . . She took her to her grandmother’s home / to raise. / The man did time / for assault." ("Freedom," 55)
But the poet hasn’t lost hope at all. She is filled with love and humor and imagination: "I dream I’m marrying this guy I used to work with who spent a lot of money on his hair" (73). "I musta been looking pretty down / when I left you today . . . " because the legless man pulling his wheelchair to his favorite begging spot said, "love, you gotta be always looking up . . . I just smiled and looked at / my too big shoe feet" (118).
It is 1820 and Cassie lives on a farm in Maine with her parents and three brothers. One of them, Will, damages his leg with an axe as he hears Cassie scream while he is chopping wood. The gangrene and days of near-death suffering that ensue eventuate in amputation of the leg. During this crisis Cassie is Will's primary caretaker, partly because she feels the accident was her fault.
Their father wants to let Will die, as he feels there will be no life for him as an amputee. But Will survives and he and Cassie go to live with an older married sister in town where Will finds he has talents and options that might never have occurred to him had he simply grown into the farming life he loved. The year following the accident in this way opens both Cassie's and Will's imaginations to other kinds of lives to be lived. For Cassie it awakens a longing to do medical work, as caring for Will has made her aware of the deep satisfactions of caregiving.
A trader from the north arrives by boat in Miriam's village carrying bright and beautiful bolts of fabric--the juliana cloth of the story's title. The trader chooses to trade fabric for sex with some of the village women and girls; for others, perhaps the less appealing, he will take only money. Miriam wants a piece of the cloth, but hasn't the coins to buy and is not offered a trade. Over time, the village watches the more adventurous and attractive women and some of their male partners sicken and die from a strange new malady.
Miriam's mother, a widowed government employee, warns Miriam of the relationship between the deadly sickness and sexual behavior. The officials have promised condoms, but even had they arrived, the programs for education and understanding were not in place. The last we see of the 16-year-old Miriam, she is succumbing to her own adolescent sexual desires with a local boy.
In the Foreword to this collection, poet John Graham-Pole writes, "Children have uncovered for me the last and greatest lesson: souls thriving on failing at bigger and bigger things" (xvii). The heroes of these poems are just such children, transformed by serious illness. For example, Dominic in "Waiting" who "rests on his airbubble cot / awaiting life’s flight from its earthly beat" (10); Ruby in "Ruby Red": "And so poor Ruby meets her final test, in gentle hemolysis rolled to res" (35); the lovely young woman in "Elegy": "You’re newly dead, sans wig, / seventeen year old virgin whom / I’d loved." (57).
"I try through writing poems to lay a finger on the purpose of illness, on its pulse . . Poems turn denial and withdrawal into compassion--feeling with. They turn fear into mercy--thank you" (xvii). The poet’s eye remains dispassionate, even though his heart may be breaking, as in "Last Rites" (32), in which a dead toddler’s father and his companion "sluice down the flooring with their hoses. After the vomit and blood the water runs clear." He understands the limits of communication about loss, but recognizes, too, that we must make the attempt; and the attempt has meaning in itself: "Afterward the circles of our talk / snap . . . - Within, we write our / separate texts of it. Between, the tension / stands: this no talk could break." ("Circles," p. 87)
Gabriel Garcia Marquez was born in 1928 and is best known in the English-speaking world for his novel, One Hundred Years of Solitude, which appeared early in his career in Spanish (1967) and later in English (1970). He was awarded the Nobel Prize in Literature in 1982 and in 1988 published the novel, 0008 (see annotation), which received considerable attention for its evocative story of love and memory.
Garcia Marquez's autobiography is recent (2002, 2003); it covers the first twenty-seven years of his life in Columbia, ending in 1955 when he is sent as a journalist to Geneva to cover the Big Four Conference for his newspaper in Bogota. Although he remained in Europe for three years after that the book does not cover that period.
Garcia Marquez was born in Aracataca, Columbia in his grandparents' home, the first child in a family that grew to include ten younger siblings. He had a hectic childhood being reared by his parents' large extended family, which included several children sired by his father with women other than his mother.
Finances were always tenuous; when he worked as a journalist he was an important supporter of the family. He received a broad classical education at the Jesuit College in Bogota, where he began his writing career. Later he studied law and journalism but did not finish law school. He read extensively from all genres of literature.
Garcia Marquez's family relationships and personal experiences were traumatic in many ways as was the political situation in Columbia. It was a tumultuous initiation to a life of creative writing. His words quoted on the flyleaf describe the book: "Life is not what one lived, but what one remembers and how one remembers it in order to recount it."
Felix Krull begins his "confessions" at the beginning, with his family background and infancy. He comes from an upper class family in the Rhine Valley; his father owned a small manufacturing concern; he has an older sister named Olympia. Felix writes about his childhood love of fantasy, as exemplified by his love of dressing-up in costumes at home and his passion for the theater. He detested school, however, because it was so unremittingly boring.
Felix first practiced the art of deception by forging his father's penmanship on notes excusing him from school because of sickness. Later, he graduated to "performing" the illness by being able to fool his mother with imaginary symptoms. In fact, he was so good at "performing" that he was actually able to create the symptoms in himself (e.g. nausea and vomiting), and in so doing, "I had improved upon nature, realized a dream . . . " When the doctor arrived to examine Felix, the doctor initially assumed that it was a phony case (just being "school-sick"), but Felix was able to convince the doctor as well, or at least force enough doubt that he went along with the ruse.
Among the adolescent episodes that Felix confesses is his first theft (of chocolates from a sweet shop) and his first sexual experience (with a much older housemaid). He cites the latter event in the context of explaining how his "great joy" over sensual experience is so much greater than that of the common person.
Felix Krull's confessions end with the family's bankruptcy and loss of their sparkling wine factory, and his father's suicide some months later: "I stood beside the earthly husk of my progenitor, now growing cold, with my hand over my eyes, and paid him the abundant tribute of my tears."
Set in 1894 and based on a history of the logging projects among the California sequoias, this is a story of Francie, whose sister died in an accident six years earlier. She chafes under her parents' excessive protectiveness since Carrie's death. She loves the woods, and longs to do something to keep the loggers from cutting down the ancient sequoias, especially the oldest and largest, a tree over 2500 years old. Through a little sleuthing based on her sister's diary, she finds out that the property on which the ancient tree sits actually belongs to an old hermit, not to the logging company.
In an effort to get the company to stop before cutting the oldest tree, she rides the dangerous log flume into town to alert the one journalist she knows will support her cause. They arrive in time to save that tree and some of the others, and, perhaps as importantly to Francie, her mother and father begin to see her not only in terms of their loss of Carrie, but as a young woman independently interesting, daring, and very much alive.
Miracle McCloy received her name because, as she's been told many times, she was pulled from the body of her mother shortly after her mother was run over and killed by a bus. Raised largely by her grandmother with her depressed and dysfunctional father nearby, she has learned a great deal about séances, contacting the dead, reading auras, and paying attention to energy fields. But she doesn't know much about how to locate her own confused feelings about her parents, her identity, and her relationships with "normal" kids at school who see her has some kind of freak.
She perpetuates this image by casting "spells" to help fellow students connect with boyfriends. But after her father disappears, and her grandfather's house is destroyed in a tornado, she lapses into mental illness and burns herself badly trying to "melt" as she believes her father did by dancing among flaming candles. She is taken to an institution where an astute therapist and an aunt who realizes how much Miracle needed her combine their efforts to help her recover a sense of who she is--a dancer, a strongly intuitive, intelligent girl with an interesting history and a promising life to live, liberated from the obsessions of a superstitious grandmother and mentally ill father.