Showing 351 - 360 of 399 annotations tagged with the keyword "Adolescence"
This novel is a fictionalized version of a true story. In 1973 John Cappelletti from Penn State won the Heisman trophy, given to the outstanding college football player each year. When he received the award, he publicly "awarded" it to his little brother, Joey, then suffering from leukemia.
The story covers the two years prior to that event, a period when the relationship between the brothers deepened as John moved upward to fame and Joey's illness ran its slow course toward his eventual death in 1976. It provides many scenes from family life that show the range of ways a loving family of five children and a daughter-in-law collaborate in supporting Joey through hospital visits, remissions, a near-fatal coma, and increasing bouts of severe pain.
Jeff, a college-bound senior, is about to break up with his girlfriend, Christy, when she announces she is pregnant. He had stopped using condoms when she announced she was on the pill. He urges her to get an abortion. She wants to have the baby.
The pregnancy separates them, puts a deep dent in Jeff's plans for college, and hinders his participation on the nationally ranked debate team. He finds himself blamed, blaming, reacting stupidly (he gets drunk one evening and has to be picked up by his mother at the police station), and stuck in denial about his responsibilities until grad night when Christy is taken in for a caesarean section and the baby is born at 33 weeks.
Jeff, whose own father is distant and negligent, finds himself wanting to be a father to the child. As he starts college, he works out a way to share parenting responsibilities and maintain a friendly relationship with Christy even while he begins a new, more mature relationship with a young woman in college.
Summary:The speaker's high school classmate was "scraped out from under an eighteen-wheeler" after an accident while driving his Harley 650. Along with the other seniors, the speaker "paraded to say goodbye / On the trauma floor." One of the surgeons called the place "the motorcycle ward." They saw everything in the ward--the pain, the casts, the equipment--but the speaker also saw within himself "the closeness / To the dead that comes with fear, / A sleeping empathy."
This award-winning essay is the germ for Grealy's later book, Autobiography of a Face (see this database). In this piece, Grealy describes the influence of her experiences of cancer, its treatments, and the resulting deformity of her face on her development as a person.
She explores how physical appearance influences one's sexual identity and over all self worth. She also explores how one's own interpretation of one's appearance can be self fulfilling. Only after a year of not looking at herself in the mirror, ironically at a time when she appears more "normal" than ever before, does Grealy learn to embrace her inner self and to see herself as more than ugly.
This narrative poem relates the speaker's memory of neighborhood boys tying her and a friend "spread-eagled" to a garage door and teasing them in a way that borders on being sexually threatening. The speaker tried (and eventually succeeded) in convincing the boys to let her and her friend go. The poem subtly explores the shifting relations between girls and boys--and between girls and themselves--on the border of childhood and adulthood, focusing on the tensions of girls moving from seeming sexlessness to sexuality and womanhood, and the prices that might entail.
Ann Blake is a lonely, divorced, childless English teacher whose ninth grade class includes Karen, a girl who is dying of cancer ( probably lymphoma). As an adjunct to the medical treatment and prayer/faith healing that the child receives, Ann hopes that she might instill in Karen a purpose to live for, through her creative writing
The Infinite Dark refers to a story the students read during that school year, and the teacher ponders on what this phrase really means. She has assumed it means death, but, as Karen regains her health and moves on to another grade and forgets about Ann Blake, Ann realizes that for herself the infinite dark means being unconnected from others, being alone, not making an impact that is permanent--a sort of death in life. As the teacher tries to facilitate healing in the student she ironically realizes that she herself has known little about living her own life.
The Short History of a Prince is the story of Walter McCloud beginning in his teens and ending as he approaches forty, told alternately in Walter’s adolescent and adult voice. Weaned on Balanchine and Tchaikovsky by his eccentric, cultured aunt, the teenage Walter dances and dreams of playing the Prince in The Nutcracker. Supported by his loving family, including his older jock brother Daniel, Walter confronts the ambiguities of sexual identity as he becomes more aware of his conflicting feelings for his two best friends, Mitch and Susan (also dancers and far more talented).
Suddenly Walter’s pleasant, routinized family life is interrupted when his brother Daniel becomes ill, transforming his life, his parents’ life, and his friend Susan’s life when she becomes romantically involved with Daniel even with the knowledge of his terminal diagnosis. The following year is full of change surrounding Walter’s acknowledgment of his love for and subsequent involvement with his friend Mitch, and his ultimate response to Daniel’s dying. The adult Walter, a first-year English teacher near the McCloud summer home at Lake Margaret, Wisconsin (after a career at a doll house shop in New York City), is still trying to understand the meanings of family, love, desire, and friendship.
Subtitled, A Memoir of an Alaskan Childhood, this spare, compelling work recalls young Julia's difficult and unusual life in a splintered family living "at the edge of the world." When Julia was born in 1929 the family had just moved to Seattle and entered an economic crisis--"somehow, my father had been bilked out of their money." (17) The marriage went downhill as poverty and the father's serious illness compounded an underlying conjugal incompatibility.
Julia was only seven years old when she and her older sister Lillian found their father dead--a suicide. "Nothing is said about how my father died, or even, in fact, that he is dead." (8) Not long thereafter Julia's mother, Rose, without any explanation or advance warning, left the girls at the Pacific Hebrew Orphan Asylum; there they remained for two years. Rose went to Nome, Alaska to try to find work. "Meanwhile, I strive to be a model orphan. I do all my chores . . . I'm quiet, do well in school, am extremely polite. And most of the time, I'm afraid." (33)
There follows another stay in a different orphanage. Here "I never hear my name . . . No one ever touches me. And, in my memory of that time, that place, I am always alone." (72) Finally, they join their mother again in a remote mining outpost of Alaska where Rose operates a roadhouse. Moving with the seasons back and forth between the outpost and the city of Nome, Julia's life takes on a semblance of normalcy. The environment is strange but interesting, the men who frequent the roadhouse are rough but friendly--there is a sense of camaraderie.
As Julia reaches puberty she becomes subliminally aware of a relationship between her mother and the owner of the Nome liquor store, Cappy. Cappy is married--his family is back in Seattle. There is never any open display of affection between Cappy and Rose, but he eats his meals with them and is almost a surrogate father to Julia and her sister. Suddenly Rose decides to move the family to Fairbanks. Here there is a "secret scenario" that Julia only pieces together many years later. As the events unfold in Fairbanks, Julia knows only that her mother is "distracted, not there." And that a man "carrying a small black satchel" comes to the house and leaves her mother moaning in bed.
Once more, Rose leaves her now teenaged children behind as she returns to Nome. It is wartime and Lillian and Julia find jobs at the military base in Fairbanks. As suddenly as they came to Fairbanks, they are summoned back to Nome--no questions asked, no explanations given. Cappy's son is missing in action. Once again, Julia cannot understand the silence, the absence of grief displayed--"Isn't anybody sad? Isn't anybody upset?" (181) Rose's relationship with Cappy quietly ends.
As Julia finishes high school she fantasizes about leaving Nome, going to college, becoming a journalist--fantasies inspired by Rosalind Russell's role in the film, His Girl Friday, and by Sinclair Lewis's critique of small town life in the novel, Main Street. "I begin to discern, vaguely, tentatively, that somewhere there exists a world where the accepted language is the one that Sinclair Lewis speaks--a language of ideas and, even, of feelings." (212) Indeed, as the book jacket notes, the author graduated from Stanford and became a magazine editor; she lives in Manhattan.
Summary:The narrator, William, is the younger brother of Clive, an enigmatic high school "hippie" who also is a mathematical genius. Most of the story deals with their relationship within a peace activist family living in an affluent Cleveland suburb in the early 1970’s. Two of Clive’s friends, Sandra (presumably his lover) and Elliot, figure prominently in the story. In fact, it is from a secret language which Clive and Elliot share that the title is derived. They also share a sexual relationship and are "discovered" by Clive’s father. This event sends this affable story into a hyperspeed tragic ending, placing William fifteen years later at the bedside of his brother who is dying from complications of AIDS.
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?