Showing 371 - 380 of 404 annotations tagged with the keyword "Adolescence"
In 1938 a 13-year old boy lives through a late summer day in a small town in Tidewater, Virginia. As he delivers the day’s newspapers for Quigley, the local drugstore owner, his mother lies at home dying of cancer. She screams in unrelenting pain, but Dr. Beecroft won’t allow her to have a higher dose of morphine--"Jeff, I just don’t think I can give her any more." He does offer to try a bit of cocaine, but she soon sinks into a terminal coma.
Through the boy’s eyes and memory, we learn of the tension between husband and wife (both well educated people) and about their life in his home town among ignorant Rednecks. As German troops are massing along the border of Czechoslovakia, the boy’s mother dies. His father greets the sympathy of the local clergyman and his wife with a violent tirade against God (if he exists).
A 17 year-old boy, Alan, is brought to a psychiatric hospital because he has blinded several horses with a hoof pick. A psychiatrist, Dysart, works to "normalize" the boy, all the while feeling that though he makes the boy 'safe' for society, he is taking away from him his worship and sexual vitality--both of which are missing in the doctor's own personal life. He actually envies Alan the sexual worship he has experienced.
In spite of his own hang-ups, though, the doctor does help the boy work through his obsession, which identifies the horse Equus with God. But the doctor comments that "when Equus leaves--if he leaves at all--it will be with your intestines in his teeth. . . . I'll give him [Alan] the good Normal world . . . and give him Normal places for his ecstasy. . . Passion, you see, can be destroyed by a doctor. It cannot be created."
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.
John Rodgers is in his last year in high school in a small northern California town where the majority of the townspeople work in the lumber industry. As the youngest son of a father who was a champion athlete, John has always felt pressured by him to excel in his sport of choice, distance running. His father also wants him to put aside his interest in biology--ecologists are the enemy since they threaten his livelihood by protesting clearcutting of redwoods. John can do neither.
In the middle of his senior year he learns that his father has leukemia and is losing ground rapidly. Never having had a comfortable relationship with him, the illness complicates their relationship which soon becomes even more complicated by John's discovery of a rare species of butterfly in the company woods. Knowing it will alienate him not only from his father but from the whole town, he reports the discovery and takes the consequences; his friends beat him up and he runs away. With the help of a sympathetic biology teacher he returns home to find his way to a "separate peace" with his father and a new, complex understanding of the trade-offs between loyalty and responsibility.
A woman, Rose, describes her childhood during the depression as she struggled with issues of her own identity and her jealousy toward her younger sister, Sophie, who suffers from cerebral palsy and seizures. Rose watches as Sophie is born, as her parents argue, as Sophie is held closely by their mother during her seizures, and as Sophie is given two birthday parties each year. She fantasizes about how life might be if her sister were dead, and imagines her sister hanging from a rack like the animals at the slaughterhouse. Finally, she discovers that Sophie actually needs her and loves her.
The narrator, now a grown man, relates the story of his brother Del's troubled life and early death. The real story, however, concerns the narrator himself, as he reflects on his relationship with Del, his father's behavior toward both of them, and on the possibility that he (the narrator) played a role in Del's death.
When the narrator was fourteen, older brother Del--drunk at the time--was struck and killed by a train as he walked along the tracks. But the central event in the story is the narrator's betrayal of Del. Although Del had saved him from falling off a grain elevator roof, the narrator had falsely blamed Del for the near-fatal accident, out of fear of the father's fury, and because "After years of being on the receiving end, it wasn't in my nature to see Del as someone who could be wronged . . . ." [p. 57]
"My father had good reason to believe this lie . . . . " [p. 55] The incident occurred shortly after Del had been released from a juvenile detention facility--detained there for trying to strangle the narrator and threatening their father with a shotgun.
The narrator (later) finds in Del's notebook an essay revealing Del's intention to reform. But with the passage of time after the grain elevator episode, Del reverts to delinquent behavior; a year later he is dead. The narrator never reveals to his father the truth and the family never discusses Del's death.
At times, over the years, as the narrator searches for meaning and closure he believes he can "take all the loose ends of my life and fit them together perfectly . . . where all the details add up . . . ." [p. 68] In the end, however, we are left wondering whether this is possible--for the narrator--or for anyone.
Nineteen year-old Johnny Dart leaves home one night after arguing with his parents--to locate the best friend of his sister. He needs to talk with her as the only other witness to his sister's death, five years since, when she fell over a cliff on a picnic. Haunted by the thought that he might have saved her, Johnny is also convinced his parents and others think it should have been he, rather than his sister, who died.
He shows up drunk at the home of the friend's parents, only to find that she has moved out. In his nighttime wanderings he encounters a disoriented old woman on the streets and follows her home to a dilapidated and disheveled house which, it turns out, belongs to her, though since she suffers from Alzheimer's disease or a related syndrome, has lapsed into extreme disarray and disrepair. He ends up staying to care for her for several days, during which he also locates the old friend.
In caring for the old woman and conversing with the young woman, Johnny manages to come to terms with his own past, the pain of his own losses, and agrees to talk with his parents and a counselor and reorient himself to the present. In the process he learns a great deal about himself, about how he has projected his own fears and guilt, and how caring for another person can release him from crippling obsessions with his own past.
Summary:The conflicting experiences of puberty for girls is the subject of this poem. A girl's bodily self awareness coincides with society's devaluation of a girl's sexuality. The conflicts between innocence, dirtiness, sexuality, and learning "to love yourself again" constitute the complexity of coming of age for young women.
Summary:A teenager with a large, classic, Jewish nose, decides to get a "nose job." She has seen how her aunt blossomed after getting her nose fixed, and believes her life would improve too. It does. But as she grows older, and begins to appreciate her Jewish identity as well as the need to learn to look inside, not outside, for one's personal value, she wonders about the rightness of her action. Clearly, her self esteem improved; she did learn to like herself for the first time. Still, if she had a daughter with a big nose who wanted to be fixed, what would she advise her?
Richard Kraft is about as burnt-out as a fifth-year resident in pediatric surgery can be. Overwhelmed by his stint in an inner-city, public hospital in Los Angeles, he seeks to hide from the misery of his patients by avoiding any personal connection with them. Then he meets twelve-year-old Joy, an Asian immigrant trying desperately to learn the puzzling ways of her new culture. She speaks words that trigger memories from Kraft's own childhood as the son of a U.S. agent in Joy's country, and he loses his distance.
He performs surgery on a life-threatening cancer in her leg, pulling back at the last minute in an unreasonable fear that he will hurt her if he cuts too deep. The implied result: incomplete excision of the cancer and a death sentence for the child he now tries, unsuccessfully to avoid. His avoidance is repeatedly foiled by Linda Espera, the physical therapist with whom he is falling in love and who will not let him abandon the emotional needs of any of the children in Joy's ward.