Showing 311 - 320 of 451 annotations tagged with the keyword "Parenthood"
Tom Fogarty is a sixteen-year-old boy who is introduced to both love and death in 1934. The object of his affection is Lily, the 14-year-old niece of a neighbor who lives across the street from Tom. Lily has tuberculosis and is waiting for a bed at the sanitarium where her parents are already being treated for the same disease. The relationship between the two adolescents is risky, passionate, forbidden, and ultimately transforming. Their romance is abruptly interrupted by Lily's death.
Tom's overwhelming grief over the loss of Lily coincides with torrential rain that cleans and nearly submerges the town of Troy, New York. Tom is further wounded when he fractures his clavicle during the flooding. His physician-father, a general practitioner, repairs Tom's injured collarbone but only time can mend the boy's broken heart.
In this memoir, subtitled "One Woman's Search for the Perfect Sperm Donor," lesbian author and academic Harlyn Aizley confronts her approaching fortieth birthday by deciding to have a child. She and her partner, Faith, begin the process of choosing its biological father. The first major decision: a known or unknown sperm donor? Eventually they choose an unknown one, from a sperm bank with an identity-release program that will allow their child the option of meeting her biological father after she turns eighteen.
Aizley narrates, in absorbing and often very funny detail, the eight months it takes her to conceive, and then the nine months of pregnancy culminating in the birth of a daughter. Sad but telling counterpoints to this narrative are the terrorist attacks in September 2001, which occur during Aizley's pregnancy, and the experience of her mother, who dies three months after the baby's birth, of ovarian cancer.
When I had Annina, the narrator says, her first-born child was eight years old, frost covered the geraniums, and something "warm and wet" ran down her legs. She lost her second pregnancy at only nine weeks from a spontaneous abortion. Secretly, she names the tiny girl "Annina" and tucks her inside her heart and mind, where for years she nurtures her, protects her, dresses her, listens to her language, and watches her grow to a daring adventuress, though she is Thumbelina small, and carries a needle for a sword. Annina eventually moves on and the narrator will not dare to ask her to come home.
As Dickens does so well, the writer treats the reader to a wide spectrum of the society of London in the 19th Century. The central issue in this novel is the hopeless slowness with which the court of Chancery moves, and the persons who are involved, either as claimants, as attorneys, or as those at the edges of the Court who seek to profit by the proceedings. The author gives us examples of the consistent behaviors of the very good (Esther Summerson and her guardian John Jarndyce) and the profoundly evil (Mr. Smallweed and Mr. Tulkinghorn) and a vast spread between these extremes.
The story is constructed somewhat as a mystery, as multiple connections among the myriad of characters are slowly revealed as the plot advances. The reader is allowed a view of the most poverty-stricken, as well as the most wealthy of the levels of society presented. The complexity of the characterizations and their intertwined lives, along with Dickens’s amazing descriptions, keep the reader moving through the tangle to its final resolution.
Lawyer Mitchell Stephens (Ian Holm) comes to town preying on the grief of the citizens who have lost their children or seen them harmed when a school bus slid off the road and sank through a frozen lake. He encounters a network of secrets and distorted perceptions of blame, guilt, lies, and victimhood revealed by flashbacks. Grieving the loss of his challenged son, the sinister but simple motel keeper, Wendell (Maury Chaykin), warns Stephens off the case, blaming parents, children, drivers, and the road. He does not know that his wife has been sleeping in one of the vacant rooms with a good-looking widower whose son and daughter both drowned.
The Otto family, especially the mother (Arsinée Khanjian) are destroyed by the loss of their beloved adopted son, a smiling native child, called Bear. They are confused. On the one hand, they want nothing because their loss was accidental; on the other, they want vengeance because someone must be blamed for their overwhelming pain. The bus driver, Dolores, who has lost so many of "her kids" seems not to have grasped the full extent of the tragedy or the possibility that all could be blamed on her.
And yet it could. The crucial evidence is the speed at which she took the last downhill curve. The key witness is a teenager, Nicole (Sarah Polley), who sat just behind the driver and survived the accident as a paraplegic. Her father is eager for her to testify, hoping for a large settlement. It slowly emerges that his seemingly close relationship with Nicole before the accident was incestuous. Now she is seething with anger toward him--because of his past abuse? or because of his present abandonment? or both? She claims that Dolores was driving too fast. The case collapses. Stephens later sees Dolores driving a group of seniors.
The film covers a brief period in the life of a working-class English family: Mum (Tilda Swinton), Dad (Ray Winstone), their 18-year-old daughter, Jessie (Lara Belmont), and 15-year-old Tom (Freddie Cunliffe). They have recently moved from London to an isolated cottage on the Dorset coast. Mum gives birth to a baby girl, Alice. Tom discovers that Dad is sexually abusing Jessie. When the baby is hospitalized with an unexplained injury, apparently genital, Tom tells Mum about the incest, and when Dad confronts him and denies it, Tom stabs him.
The Longhettis are an Italian-American working class family. Nick (Peter Falk) is a construction worker. He and his wife Mabel (Gena Rowlands) have three children. Mabel is unusual, perhaps mentally ill, maybe with a bipolar or borderline disorder, but diagnosis is not really the point. She is warm, spontaneous, beautiful, and an affectionate if inconsistent mother. Because Mabel is so eccentric and unpredictable, the Longhetti family seems to function at a kind of delicate equilibrium.
This stability is disrupted when Nick fails to get away from work on a night he and Mabel had planned to spend alone together. The children are with her mother, and Mabel finds it intolerable to be alone, so she gets drunk, goes out, and picks up someone in a bar. The next morning Nick brings a crowd of work mates home with him after the night shift and Mabel copes with the invasion by cooking up a spectacular spaghetti breakfast and flirting outrageously with one of Nick's friends.
Later when a neighbour brings his children to play, Mabel again behaves inappropriately. Nick, under pressure from his mother and Mabel's physician, is persuaded to have his wife institutionalized. She is taken away. Nick angrily rejects the concern of his friends, but struggles terribly to manage the children.
The film ends with the evening of Mabel's return from hospital. Nick and his mother have arranged a dinner party to celebrate her recovery, but it is quickly clear that, despite electroconvulsive therapy, Mabel is unchanged. It also becomes more evident than ever that her "madness" is rooted as much in the family's social network, her uncomprehending parents, judgmental mother-in-law, and volatile husband, as it is in her own brain or personality. But, after an appalling evening, Mabel and Nick put the children to bed and then go about cleaning up the house as usual, their fragile normality restored for now.
Don Wanderhope grows up in a Dutch Calvinist family, but his father is a searcher, always questioning the tenets of his faith and the meaning of life. Don's life progresses through a series of traumas: his older brother dies of pneumonia; Don develops tuberculosis; his girlfriend at the sanitarium dies of tuberculosis; and, later, his wife commits suicide. Despite all this, however, there is one shining ray of hope and love in Don's life--his daughter Carol. By the time she turns 11, father and daughter are inseparable pals.
At this point Carol develops leukemia. At first they think it is strep throat and she responds to antibiotics: "She feels a lot better. Give her another day or two and you can take her home. But, anyhow, we've eliminated everything serious." (p. 165) But shortly thereafter, while father and daughter are on vacation in Bermuda, she becomes severely ill again, and soon the diagnosis of leukemia is confirmed.
This begins many weeks of progressive spiritual suffering for Wanderhope, as his daughter suffers terrible physical symptoms and medical interventions. He is reduced to bargaining with God, and to begging at the shrine of St. Jude: "Give us a year." Initially, his prayers seem to be answered as Carol responds to chemotherapy, but then she develops sepsis and dies, "borne from the dull watchers on a wave that broke and crashed beyond our sight." (p. 236)
After Carol's death, Wanderhope vents his anger at God and becomes overwhelmed with grief. However, months later, when going through Carol's things in preparation for selling the house, he discovers an audiotape that Carol had made during her illness, a message that she had left for her father: "I want you to know that everything is all right, Daddy. I mean you mustn't worry, really . . .
(You've given me) the courage to face whatever there is that's coming . . . " (p. 241) The tale ends with Wanderhope's final reflection: "Again the throb of compassion rather than the breath of consolation: the recognition of how long, how long is the mourner's bench upon which we sit, arms linked in undeluded friendship, all of us, brief links, ourselves, in the eternal pity." (p. 246)
Mattie, recently divorced from Nick, the father of her two children, is coping with the aftermath of divorce, functioning as a single parent, feeling ambivalence toward Nick who still shows up and sometimes stays the night, and becoming aware of her own attraction to other men. Her mother, an aging social activist, lives nearby with her lover and companion who copes with the mother’s insistent personality and mood swings better than Mattie. Her brother, Al, also lives nearby and fills in some of the father functions for Mattie’s children.
In the background is the story of Mattie’s father, now dead, much loved by both Mattie and Al, who, as it turns out, fathered a child now living in the community by a young girl about Mattie’s age. The mother of the child lives in the squalor of near homelessness at the edge of town. This disclosure, Mattie’s blossoming friendship and eventual romance with the man who comes to repair her house, and Mattie’s mother’s descent into dementia are the three main threads of plot in this story of pain, forgiveness, and healing in family life.
Alexei Laptev, the middle-aged son of a wealthy Moscow industrialist, is on a prolonged visit to a provincial town where he is helping to care for his sister Nina, who is recovering from a cancer operation. Nina’s husband has abandoned her and their two young daughters for another woman. Unexpectedly, Laptev falls in love with Yulia Sergeyevna, the doctor’s 22-year-old daughter. Laptev is an unattractive, but good-hearted man; Yulia, though beautiful, is bland and immature. She eventually accepts his offer of marriage, though she is somewhat repulsed by him as a person. Yulia is neither attracted by his money, nor by his social position; she just feels badly about disappointing him and, moreover, looks forward to living in Moscow, where life is more exciting.
Once married, both Yulia and Alexei suffer. She hates his family and friends, and feels no affection for him. Meanwhile, Alexei remains head over heels in love with her. Nina dies of her cancer, and the little girls come to live with them for a while. Eventually, Yulia finds her own group of friends, who consider her foolish for not taking on a lover. Yulia and Alexei have a baby, who becomes the center of Yulia’s life, until the child dies of diphtheria.
Time passes. The family business turns sour. Alexei’s bother Fyodor goes mad and has to be put into an asylum. And in the last scene, Yulia greets her depressed husband with tenderness: "You are precious to me. Here you’ve come. I see you, and I’m so happy I can’t tell you. Well, let’s talk." (p. 328)