Showing 281 - 290 of 319 annotations tagged with the keyword "Mother-Daughter Relationship"
Alice Jones divides The Knot into three sections. The first is a series of poems evoking the poet's painful and tender relationship with Peter, a former lover who is dying of AIDS. We encounter him first on a rainy day in his hospital bed at St. Vincent's ("The Umbrella"), and then through flash-backs to their earlier lives ("In the Pine Woods," "Painting," "Communal Living"). In the long poem "Blood Clot" the author creates and sustains a dynamism between detachment and engagement, objectivity and subjectivity, medical and personal knowledge: from "This time it's his heart. He has / a tumor" to "The glacier that / freezes us in place for centuries, / the same old separateness, only / this time it's called death. / How dare you do it to me / one more time."
The second, and most intensely personal, section imagines the poet's relationship with her mother. The title poem is the centerpiece here. In it, the knot has two faces: the tie that binds us together and an obstacle to be overcome. While loss is real, she writes, "I refuse to be alone. // There is only one / of us. Loss does not / exist in our vocabulary." ("The Lie") The last section consists of poems on a variety of topics, including a long poem about gross anatomy as an initiatory experience ("The Cadaver").
Linda Bishop tells the story of her early years as a nursing student. She soon realizes that she doesn't actually want to be a nurse, but she continues in training, "waiting for some unspeakable horror that I could hold up to the light to prove to myself that the hospital was a truly monstrous place."
While Linda is quiet and sexually inexperienced, her first roommate, Holly Bostwick (Boss), is reputed to have a sensational sexual history and to be afflicted with syphilis. When Linda brings Holly home for Thanksgiving, Linda's mother is impressed with her daughter's new friend, a young woman much more confident and articulate than ambivalent Linda.
Somewhat later, after Boss becomes engaged to a gas station owner, Linda returns by train from visiting her parents. She is determined to make a final decision. She lists what she hates about the hospital and what she likes about it. Will she leave or will she stay?
Another portrayal of growing up poor, female, and Southern, Cavedweller is the story of Delia Byrd's return to Cayro, Georgia, after leaving behind her life in a now defunct but legendary band and a newly dead husband. After packing up her aging Datsun with everything she owned and her ten-year-old daughter Cissy, Delia heads toward Cayro with a vengeance to stay sober and reclaim the two daughters she left behind ten years ago when she fled from their father and abusive husband.
The change in lifestyle was profound, from a glitzy life on the road, credit cards that bought anything whether you could pay for it or not, and around-the-clock drinking, to the life of a hairdresser in Cayro. If Cissy's rage weren't enough to live with, Delia finds that her teenage daughters Amanda and Dede do not forgive and her hometown does not forget how she abandoned her children ten years earlier. The story that unfolds is Delia's painful reunion with her dying ex-husband, her conflicted relationship with her daughters, the company and friendship of women who sustained her and her children, and her search for peace and meaning in her childhood home.
A family's tragic event--the death of two teenage boys in a car accident--is both the stimulus for a mother's abandonment of her husband and daughter and an ongoing thread weaving its way throughout the rest of this immense story (537 pages) told in three major parts.
Part 1 (1958) is the story of Marion and Ted Cole and their four-year-old daughter Ruth. Struggling to keep afloat in her grief-filled life, Marion is a beautiful, 39-year-old woman who, with her husband Ted, a hugely successful children's author/illustrator, lives an elegant life on Long Island. The focus of Part 1 is Marion's affair with Eddie, a 17-year-old hired by Ted to be his personal assistant but who turns out to be part babysitter to Ruth, and "companion" to Marion. This part of the story is sexy and comic, even as it is full of relentless grief.
Part 2 (1990) finds Ruth as a hugely successful novelist in her thirties. Her life is one long unending string of "bad" boyfriends, and one long question regarding how her mother could abandon her and why she fails to reappear. While in Amsterdam on a book tour, she comes up with the idea for a new book that takes her to the storefront prostitution district of the city, where her authorial curiosity and adventure is met with violence. In this section of the book she marries her agent, has a baby, and seems to be finding contentment for the first time in her life.
Part 3 (1995) occurs four years later, when Ruth as a 41-year-old widow and mother, falls in love. The story comes together finally with the reappearance of Marion Cole, now in her seventies and herself a moderately successful author who had been living quietly alone in Canada.
Breast cancer is a constant presence in this collection of poems by Hilda Raz. Part 1 begins with the poet's uncertainty and fear as she sits with her daughter in the oncologist's office. "I'm still me, same me no / matter what he says. Biopsy report shocks me," she writes in "Weathering/boundaries/what is good." After going under the knife, she further reports, "In the past year / I have given up four of the five organs / the body holds to call itself woman." ("For Barbara, Who Brings a Green Stone in the Shape of a Triangle").
Later, in "Breast/fever" she speaks of her new breast, "two months old, gel used in bicycle saddles . . .
/ stays cold under my skin / when the old breast is warm." Several of the poems evoke her daughter Sarah, both as a child and as a capable young woman who responds to her mother's cancer--"she knows whom to call, / where to go, or she'll find out, I'm not to worry . . . . " ("Sarah's Response")
The poet's illness is a route to self-discovery. Hilda Raz reconstitutes herself with insight, pragmatism, and humor. As she writes in "Nuts," "Nuts to beauty. / Bikini, music, then the childbed . . .
/ Nuts to the mirror." At the end of the book, "The fingers of rain are tapping again. / I send out my heart's drum." ("Recovery")
This poem is in the form of a villanelle, a French verse form derived from an Italian folk song of the late 15th-early 17th Centuries. Originally reserved for pastoral subjects, modern poets from W. H. Auden ("Time Will Say Nothing") to Dylan Thomas (Do Not Go Gentle into That Good Night) have employed it for more somber subjects.
The strict definition of a villanelle adheres to the following pattern: five tercets followed by a quatrain with the rhyming scheme of a1ba2 aba1 aba2 aba1 aba2 aba1a2. Williams's "Villanelle," like Thomas's "Do Not Go Gentle into That Good Night," obeys this convention while relating a bereaved, haunted mother's lament over her dead daughter.
Allison Shandling is a bright 14-year-old with an autistic twin brother, Adam. She has spent her life being the "good" child, accommodating to her brother's idiosyncratic behavior, learning to weather public curiosity, support her parents, and not cause them further anxiety.
When her parents decide to reconnect with a religious community, she finds that one of the school bullies is the rabbi's son, Harry. He teases her mercilessly about her brother, especially after his father, the rabbi, takes Adam under his wing and tutors him for his bar mitzvah. When Harry is paralyzed from the waist down in a sporting accident he retreats even further into bitterness, but Allison finds herself drawn to him nevertheless.
Against her own "better judgment," she pursues a friendship with Harry, learns that the source of much of his anger lies in the death of his mother and his father's distance, and that the two of them share a sense of being marginalized in families where other critical needs have overshadowed their own very ordinary needs. Eventually friendship blossoms into a first romance as well as inciting both to initiate new conversations with their parents.
Summary:This five-line poem poses a direct question of distributive justice to a mother faced with scarce resources. "Indian Poem" asks the mother to decide how she will divide what little she has among her children. She must choose between her strong son who has no immediate need, her weak son who is bound to die soon , and her daughter, "who is a girl anyway." The poem presents an imperative choice, but acknowledges that in choosing, the mother will also suffer along with her children.
Summary:A mother reflects on the developing body of her unborn child, her own contribution to its development, and her hopes that her daughter will grow to cherish her body and to know the love it can hold.
Summary:A retrospective and reflective review of the last weeks in the life of the author's aging mother. Threaded throughout the chronicle of the progressive downhill course of the patient dying of cancer are flashbacks to the earlier relationships among the author, her sister, and their mother. The course of the illness enables the reader to view many of the common problems that inform the doctor-patient, nurse-patient, and parent-child relationship. The narrator, who is an accomplished writer, creates vivid and timely images of the hospital as experienced by the lay person.