Showing 251 - 260 of 388 annotations tagged with the keyword "Cross-Cultural Issues"
Billy Sanchez and Nena Daconte, children of two wealthy Colombian families, fly to Europe to celebrate their honeymoon. Although married only three days, Nena is already two months pregnant. After she scrapes her ring finger on a rose thorn, the nearly imperceptible cut starts bleeding profusely. Nena is admitted to the intensive care unit of a Paris hospital. Visitation is permitted only one day a week so Billy must wait six days before he can see his wife again. He spends most of his time alone in a nearby hotel.
Billy tries to visit Nena sooner but is thrown out of the hospital by a security guard. Billy’s attempt to enlist the aid of the foreign embassy is equally unsuccessful. When Tuesday’s visiting hours finally arrive, Billy cannot locate his wife. He spots the physician who first evaluated Nena. The doctor regretfully announces that Nena bled to death sixty hours after hospital admission. No one could find Billy to apprise him of the situation so Nena’s parents have already arranged the funeral and transported the body home for burial. Billy exits the hospital with thoughts of violence and revenge for his calamity.
Summary:Sympathy for Mr. Vengeance tells the story of Ryu (Ha-kyun Shin), a young Korean man who cannot hear or speak, whose sister Han Bo-bae is dangerously ill with kidney disease. Because Ryu and Bo-bae are poor and there is no social system of health coverage in Korea, Bo-bae is not able to receive the transplant she needs to survive. Ryu wants to give his sister one of his own kidneys but he has the wrong blood type. When Ryu is laid off and given a lump sum in severance pay, he seeks out black-market organ transplant. He agrees to give one of his kidneys and ten million won (roughly US $10,000) in exchange for a kidney for his sister. Ryu awakens from anesthesia to find that his kidney has been removed and his money stolen by the black marketeers.
This amusingly told narrative by a surgeon/author begins by describing how "wrong-headed [it is] to think of total submersion in the study and practice of medicine." He sets aside time to read at his neighborhood library, where he befriends six elderly, indigent "regulars." In spite of himself, the physician will out. His powers of medical observation and empathetic character lead him to perform a most menial task: cutting the overgrown toenails of these severely arthritic people in order to alleviate their pain.
The story is told from the perspective of Julian, a recent college graduate who appears to be waiting for employment commensurate with his education; he lives at home with his solicitous widowed mother. The setting is the recently integrated South of the 1960’s. Events unfold during a ride on an integrated bus, in which all of the story’s complex relationships are played out: the vindictive, self-deluding dependency of Julian on his mother; the insightless yet well-intentioned doting of his mother, who is tied to the societal conventions in which she was raised; the condescension of "enlightened" whites toward blacks; the resentment of blacks toward well-meaning whites- all depicted with great skill and humor.
The crisis occurs in a confrontation between Julian’s mother and a black woman wearing the same hat, when the mother tries to give a penny to her counterpart’s child. In the incident, Julian’s mother suffers a stroke to which Julian is at first oblivious, being so consumed with fury at his mother’s (to him inappropriate) gesture to the child. When he realizes how disabled his mother is, Julian is overwhelmed with grief and fear; the extent of his self-deception is fully confirmed.
This account by the well known Indian/American blind writer describes experiences when he came to the United States at age 15 from New Delhi to attend the Arkansas School for the Blind. The title derives from an unusual ability (which Mehta possesses) to navigate one’s way by perceiving the physical surroundings "as sound-shadows by means of echoing sound and changes of air pressure around the ears." As a precocious teenager, Mehta had high ambitions for his future; this important period of his life represented both an opportunity and an impediment, requiring tremendous cultural, emotional, and physical adjustments.
Very well conveyed are the driving desire to be like sighted people, the need for independence and control, and to be accepted in the foreign culture while remaining in some ways superior to it. There are fascinating descriptions of how Mehta learned to travel with minimal assistance, high-dive, package ice-cream in a factory; of how he used money intended for other purposes to build an electronic retreat in a broom closet which allowed him to tape record, type, and to listen to Edward R. Murrow’s broadcasts, and of how he then paid back the money by taking correspondence courses in order to finish school one year early.
The normal adolescent awakening of sexuality, and the ambivalent dependence on parental guidance are also important aspects of the book. Writes Mehta in retrospect,"The three years of my life spent in Little Rock became sealed in a compartment of my mind which I dreaded to open . . . because . . . the near-total submersion in a residential school for the blind seemed to accentuate my blindness, when all along my aspiration had been to be a well-adjusted member of the seeing society outside."
The setting is the children's ward of a hospital in Paterson, N.J. during the Great Depression. Alternating between a cynicism born of desperation, and empathetic concern, the physician-narrator describes the sorry condition of his young patients, virtually abandoned by their parents. He muses that they would be better off left untreated so that they would not have to live the inevitably wretched lives ahead of them.
One child in particular has captured his attention. She is Jean Beicke, an eleven month old, malnourished, deformed girl suffering acutely from broncho-pneumonia. The nurses and he look after her, and she responds to their care by taking nourishment and gaining weight. This is tremendously rewarding and reinforces their interest in her, but to their consternation she continues to be very ill. "We did everything we knew how to do except the right thing." "Anyhow she died." The benumbed mother is persuaded to allow an autopsy; the physician wants to understand what went wrong although he "never can quite get used to an autopsy."
The postmortem uncovers an infection of the mastoid process which has spread to the brain. The narrator and the "ear man" berate themselves for having failed to take proper steps to identify and treat the infection. In the end, however, the physician is still unable to resolve the dilemma of wanting passionately to have saved his patient's life, and knowing that the life saved would have been one of misery.
This disturbing story is told from the view point of Sheppard, widowed for more than a year, and left to raise his ten year old son, Norton. Both are struggling to cope with the grief of this loss, but Sheppard seems incapable of recognizing and responding to his son’s feelings and believes they should both occupy themselves by doing good deeds for others. Sheppard is a volunteer counselor at the local reformatory and prides himself on "helping boys no one else cared about."
He is impatient and insensitive toward his own son, however, and instead has become fixated on one of the reformatory boys, Rufus, an impoverished, fatherless teenager whose mother is in prison. Rufus was born with a club foot and has been brought up roughly by a fanatically religious grandfather. Convinced that Rufus can be salvaged because he has a high I.Q., Sheppard makes Rufus his pet project, devoting to him all of his attention and energy, in spite of the fact that Rufus wants no part of it. Indeed, the boy is a defiant conniver who fends for himself by stealing. He has worked out a complex ethic in which he is convinced that he is under "Satan’s" power to do evil but "the lame shall enter [heaven] first" and all sins will ultimately be forgiven. Sheppard’s do-gooder social atheism infuriates Rufus.
A telescope becomes the vehicle for the tragic culmination of Sheppard’s self-deception, Rufus’s vindictive scorn, and Norton’s severe depression. Rejecting the gift of this telescope which Sheppard bought for Rufus so that he could "see the universe" and be "enlightened," Rufus persuades the impressionable Norton that he will find his mother in the heavens with the scope and could join her there were he to die young. Too late, Sheppard realizes how misdirected his love and concern have been: Norton has hanged himself.
In these "narrative recollections" poet Gary Soto reflects on his Mexican American childhood in the ethnically mixed laboring-class neighborhoods of Fresno, California. His was a life lived at the margins--economic margins and cultural margins. In these recollections of family relationships, youthful mischief-making, farm and factory jobs, adolescent rebellion, and the transition to professional writing Soto subtly and humorously draws our attention to the discontinuities between the lived lives of Chicanos and Anglos.
"The Beauty Contest" describes how young Gary entered his younger half-brother in a playground beauty contest. "Strong build, a chipped tooth, half Mexican and half white--he might win, I thought." (43) Gary knows that only a lighter complexioned child could meet the Anglo standards of beauty that prevail. In fact, he has internalized those standards himself: " . . . we were awed by the blond and fair skinned kids in good clothes. They looked beautiful, I thought." We are led to infer that the Anglo contestants come from a world of comfort and parental attentiveness whereas Gary has been left on his own to tend to his brother while his parents are away at their work of manual labor.
In "Looking for Work" Gary wanted to imitate the Anglo families of the television programs that he continually watched. He tried to convince his siblings to wear shoes to dinner and improve their appearance so that "[w]hite people would like us more." (26) In "1,2,3," Soto reconstructs the shocking vindictiveness of an Anglo father after his young daughter falls off of a swing that is being pushed by Gary's Chicana friend, Rosie. Soto ends this piece, "I wanted to . . . explain that it was a mistake; that we also fell from the swings and the bars and got hurt . . . ." (15)
Soto foregrounds violence as an integral part of his childhood. The lead-off sketch, "Being Mean," recounts childhood pranks involving the setting of fires and abuse of pets. But this violence also included and was a response to verbal violence from others, such as being called "dirty Mexicans." (3) "Bloodworth" chronicles the evolution from fisticuffs--"all through elementary and junior high school, it was bob and weave, jab and stick" (95)--to the more controlled violence of the high school wrestling team.
Soto tells of his back-breaking farm laboring and factory jobs in "One Last Time" and "Black Hair." There is no romance in these episodes, "no grace" (124) in the miserable conditions, and no comfort. Rather, there is always the fear that he will forever have to "work Mexican hours, and in the end die a Mexican death, broke and in despair." (123)
Chicano poet Gary Soto explores his own uncertain status in relation to his family, and to the larger society. Detailing the "evolution" of his siblings and cousins, who "were no longer Mexican rednecks," but "held down jobs" and "stopped jamming parking meters for free time," the poet describes how his family nevertheless feels uncomfortable about him: "My family feared that I had evolved too far."
Drunken Christmas horseplay with his brothers reveals their distaste and distrust of his intellectualism and sophisticated clothes. "They tore my book in half, / and stripped me of my Italian belt." Only when they have succeeded in making him sick-drunk do they accept him (at least temporarily) back into the family fold.
Soto describes an incident that occurred when he was a factory worker in a plant that employed Mexican illegals. When the border patrol raided the plant, the boss assumed that Soto--a brown skinned Mexican-American--was also an illegal. Soto "shouted that I was American" but the boss didn't believe him, and Soto was forced to run away along with the others.
"I ran from that industrial road to the soft / Houses where people paled at the turn of an autumn sky." The "amazed crowds" watched as these aliens ran through their neighborhood--"jogged" in the parlance of the well-to-do for whom running means leisure activity. As Soto runs past the white suburbanites, he salutes them, embracing the symbols of America --"baseball, milkshakes"--and comments wryly on the sociologists for whom he is another statistic in the assimilation process.