Showing 331 - 340 of 401 annotations tagged with the keyword "Adolescence"
Raina is 17, living alternately on the streets with a boyfriend addicted to hard drugs and at home with an abusive mother, also an addict. She has been victimized by a succession of her mother's live-in boyfriends and lost a young brother to an accidental overdose: he swallowed some of his mother's pills while the mother slept and seven-year-old Raina was watching him.
Margaret Johnson is 45, Raina's teacher at an underfunded, overcrowded public school where Raina's life of squalor is more typical than not. Her own story is told in chapters that alternate with Raina's story and with the texts of autobiographical compositions Raina gives her but refuses to discuss. Only when Raina finds herself pregnant, shortly after her boyfriend has been killed in a drug-related accident, does she take Ms. Johnson up on her repeated offers of help.
She lives at the teacher's home for awhile, runs away to her own home, unused to kind treatment and afraid she'll disappoint the teacher and be thrown out, goes to a shelter, has her baby, and finally returns, having nowhere to go. Ms. Johnson, with some hesitation, takes her and the baby in and the three begin to work out a life together, knowing it will involve difficult change, but willing to bet on love against the odds.
Gottlieb, nearing thirty years old, discovered her childhood diaries in a closet in her parents' home as she searched for some chemistry notes to aid in her quest to attend medical school. This book is "based on diaries" she wrote when she was diagnosed with and underwent treatment for anorexia nervosa. It is the writing of a precocious, strong-willed preteen who enjoys chess, being unique, writing, and getting straight A's in school, yet who is lonely and desperate to fit in and be popular.
Lori is eleven years old, lives in Beverly Hills, California with her fashion-conscious, loves-to-shop mother, her somewhat distant stockbroker father, her older brother David who now is into music and friends and not-Lori, and her best friend Chrissy, a pet parakeet. Lori's diary entries are filled with astute observations of adults (teachers, parents, relatives, medical personnel, even a television star she meets, Jaclyn Smith) and classmates.
She is wry and witty. An early entry gives an English essay she rewrote to get an "A". These "power paragraphs" are generously and hilariously sprinkled with "proper transitions" such as "to begin with", "moreover", and "on the other hand" that her teacher insists are necessary for readability. This essay provides telling insights about Lori's perceptions of her family, particularly (note transition word) her mother's superficiality.
Lori is surrounded by messages of the glories of thinness for women. Every female she encounters, from peer to adult, is on a diet, counts calories, avoids desserts and gossips about how other women and girls look. The culture is not only anti-obesity, but pro-superthinness. Hence it is logical that Lori, angry about being taken from school to go on a family trip to Washington, D.C., begins her rebellion and search for control by skipping meals and dieting.
She gets the attention she craves from her parents. Her schoolmates ask her for diet advice and admire her weight loss. Self-denial, obsession with calories (that she believes can even be gained by breathing), and secret exercising lead to an alarming weight loss in this already skinny kid.
Her mother takes her to the pediatrician, who prescribes whole milk which Lori refuses. He refers her to a psychiatrist, who eventually hospitalizes her for behavior modification, observation, and a possible feeding tube. At the hospital, Lori meets medical students, nurses and fellow patients, but becomes progressively more depressed, dehydrated and lonely. She attempts to run away and makes a suicide gesture. Finally, she sees herself for what she has become--an emaciated stick figure.
The narrator was ridiculed during adolescence because he was fat and socially inept at school. He had one friend, Marion, "a slender girl who came up on holidays from the city / to my cousin's farm." He liked to show-off to others, but couldn't express his feelings, especially to Marion, who he only now realizes was "my first love." At the age of 19, during her nursing training, "she had a fatal accident / alone, at night, they said, with a lethal injection / and was spared from seeing what my school did to the world." [28 lines]
Consider the possibility of a man whose sense of hearing is so enhanced that he can discern the noise of the entire world and also mimic all the sounds made by men and beasts. Imagine a human being who can SEE sounds as well as hear them. It is little wonder that he would have an affinity and talent for music.
Johannes Elias Alder is such a musical genius born in 1803 with a preternatural gift of hearing. The illegitimate son of the village curate, Elias experiences a physical metamorphosis as a child and by the age of ten is already a man. He effortlessly composes magnificent music that he plays on the organ.
Although Elias falls in love with his cousin, Elsbeth, she marries another man. After this loss, he becomes tired of life. Elias commits suicide at the age of 22 by refusing to sleep and succumbing to starvation and an overdose of belladonna.
Traumatized from a small plane accident that killed his parents and sister and injured him, Finn has returned to his grandmother's farm in Vermont where he's always spent happy summers, to regroup and continue his life. His trauma has left him unable to speak.
At the farm he is surrounded by the healing presences of his grandmother, an old summer friend, Julia, and the animals. Between painful flashback memories of the accident, Finn begins to allow himself to enjoy moments, especially in the tolerant and undemanding presence of the girl and the woman who are also grieving, but who find ways to help him reclaim life and the present.
Visiting an old childhood hideaway in nearby pine woods, Finn and Julia run into drug dealers who use the isolated spot for their transactions. Finn finally finds his voice when he is forced to rescue Julia in the midst of a spreading fire from an abandoned well into which she was dropped by a panicked drug dealer who feared exposure.
In short chapters that alternate between remembered scenes of abuse, reflections upon those scenes, and tributes to the natural beauties and human kindnesses that tempered years of domestic violence, the author provides a galling, but not sensationalistic, record of what child abuse looks and feels like. Only when she was older and mostly beyond the reach of a father who routinely beat and sexually abused her and her siblings did the author find out that her father had been dismissed from a police force for gratuitous violence and had subsequently submitted to electroshock treatments for mental illness.
The title describes the nature of the narrative; in its deliberate discontinuities it testifies to the stated fact that there are places where memory has left a blank. Much of the telling is an attempt to piece together a story of recurrent violence, felt danger, and arbitrary rage that seemed at the time both regular and unpredictable.
The sanity of the narrative testifies to the possibility of healing. The writer makes no large claims for final or complete release from the effects of trauma, but does strongly testify to the possibility of a loving, happy, functional adult life as healing continues.
The story is a letter written by a 24-year-old woman to her niece who was given up for adoption. Bitte Liten, from a close Norwegian family, remembers the summer she was 12 when she was sent away during the last months of her sister's pregnancy to stay with her uncle. Her sister, 15, unwed and pregnant, had found adoptive parents for the child, but Bitte, imagining the pleasures of being an aunt and helping care for a baby, wanted her to keep it.
While at her uncle's, she visits her aging favorite aunt in a nursing home. Her aunt, sinking into dementia, doesn't remember her. This leaves her reflecting on how much of life is memory of the past and dreams of the future. Her period comes that summer for the first time, and with it, a new understanding of adult responsibilities and her sister's predicament.
She writes her sister to tell her she understands her decision and will support her. In return, her sister invites her to be at the hospital the day the baby is born. There Bitte meets the adoptive parents as well as the baby, says hello and goodbye to her little niece, and comes to understand something new and harder about what love looks like. Twelve years later, she records all these memories for the niece who has grown up as someone else's child.
Erin Bennett, a high school senior, faces the possibility of missing out on the senior play because of the violent headaches that have afflicted her since her sister's death a year before in a car accident. No physical cause has been found for the headaches, and her parents have insisted that she see a psychotherapist. Erin goes, resentfully at first, and after a few weeks begins to accept the possibility that her continuing pain may have something to do with the stress of unresolved grief which is exacerbated by various trigger events.
She is cast in West Side Story opposite David, to whom she takes an instant dislike, though she has the haunting feeling she has seen him before. Attracted to her, he pursues her despite fairly direct rejection, until Erin figures out where she's seen him: she took her sister's place once in clown costume and makeup at a party where he was also a clown.
David, whose little sister is hearing impaired, helps bring Erin to a place of acknowledging the ways in which she is hanging on both to her grief and to unresolved anger at her sister's boyfriend. She also blames herself for the accident, since she asked her sister to take the car on an errand in her place.
At a final counseling session, the therapist helps Erin and her parents understand how, in focusing attention on Erin's headaches instead of their own unattended grief, they have become "stuck" in a loop of stress and alienation. Going through a trunk of her sister's things, Erin finds a way ritually to say good-bye and joins David at a party with a renewed willingness to choose life and a hope that she can free herself from both blame and pain.
15-year-old Alexandra is envied by her friends for dating Cliff, a popular, athletic senior. But his attentiveness, which she at first finds reassuring, gradually becomes a jealous possessiveness that separates her from other friends. She finds she is afraid to make choices without consulting him, or to do anything social without him. Her behavior is not unlike her mother's, who goes to great lengths to avoid displeasing her father who is quick to anger and insistent upon control and order.
Cliff's anger over apparently small differences becomes increasingly violent as time goes on. He forces sex on her and eventually hits her, after which he apologizes profusely with flowers and promises. By the time this cycle has repeated itself a few times, Alexandra realizes she has to escape. Afraid to do so on her own, she ultimately needs the help of both friends and the police.
The short stories and poems collected in this attractive large-format volume are arranged in sections that focus on particular problems and crises children may face that isolate them from "normal" peers. Themes include sickness, disability, hospitalization, loss, conflict, developmental change, and loneliness.
The stories are simple, most 2-3 pages followed by a few questions to talk about. Each story is accompanied by hand-drawn illustrations. Characters featured in the stories represent a range of ethnicities and socio-economic situations. An introduction gives guidelines to help adults use the book as an instrument for helping children cope with difficult times.