Showing 371 - 380 of 401 annotations tagged with the keyword "Adolescence"
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.
Summary:David Moolten's poems demonstrate the medical (and poetic) virtues of simplicity, clarity, skillful observation, and attention to meaningful detail. They reveal and transform the poet's experience--from "a brief Christmas display / Of bells and lights" when he feels the silence of his father's joy "as I pull out the Lionel / Strangled with tinsel . . . " ("Freight"), through a call from the rehabilitation hospital during which his shattered brother "cried like static into the phone" ("'Cuda"), to "The Night" in which the poet stares through the window of memory at his and his wife's younger selves and tries "to whisper in their ears / They don't know where they're going" as they "lean into each other / Like two hands shielding a small flame . . . . " Among the other particularly appealing poems in this collection are "Chemistry Set," Motorcycle Ward (see this database), "Voyeur," "1968," and "Omission."
The title refers to the lineage of women who form the unusual community surrounding the central character’s life in the decades following World War II. When we first meet Antonia (Willeke Van Ammelrooy), she is an elderly Dutch woman announcing to herself that today is the day she will die, and when the film concludes, indeed, she does. However, what transpires in-between presents a rich story of birth, death, disability, love, hatred, and, above all, a tenacious sense of nurturing regeneration in spite of harsh and difficult obstacles.
Audiences are swept into a pastoral epic filled with the pathos and joy of human life. In the unfolding flashback, Antonia and her teen-aged daughter, Danielle (El Dottermans), return to her rural birth setting on the day her own mother dies, and where she will become the life force for her daughter and, eventually, for the entire village.
Two women running a large farm seems at first daunting, but we discover that Antonia is a farmer in what might be called a feminist sense: she cares for everything that grows. Not only do her crops thrive under prudent management, but so do the vulnerable, infirm and damaged figures who are brought into her garden and house for recovery.
For example, Loony Lips, an awkward Ichabod Crane of a boy, tortured as the village idiot, is rescued by Antonia to become a productive member of the farm; later, he and DeeDee, Farmer Daan’s sexually abused and mentally limited daughter, who has similarly been rescued by Antonia and Danielle, fall in love and are married. For all of their shortcomings, the couple’s shy approach to one another, and joys for the simple provenance offered by Antonia as their protector, provide an emblem of the nurturing powers in the female household. Audiences squirm with delight as they watch these discarded members of society flourish with embarrassing innocence.
We watch Danielle’s transformation from adolescence to womanhood and find nothing alarming or disconcerting about her lesbianism and her decision to become pregnant without benefit of marriage. Antonia, always acceptant of life’s realities, continues to care for Danielle’s needs by providing emotional and intellectual support in the search for an appropriate man to father the child.
Much later, Danielle’s child is raped by DeeDee’s brother, who had also been raping DeeDee, prior to her rescue from her father’s malevolent and abusive household. Justice is swift. Antonia, magnificent in her outrage, sweeps across the farm and into the village pub where the males are gathered. With rifle pointed at the rapist’s head, she orders him out of town. [Her form of justice is less brutal than that of Danielle, who, having witnessed the rape of DeeDee by the same man, thrusts a pitchfork into his groin.]
Antonia’s farm grows and expands with new life. Seasons come and go, bringing death and rebirth. Happiness and tragedy exist side by side, as exemplified by the opposing viewpoints of Antonia’s positive spirit, and the pessimistic outlook held by Antonia’s life-long friend, Crooked Finger (Mil Seghers), the melancholic, Nietzche-quoting philosopher, who finds life impossible and unbearable. Whether we are watching Antonia’s mother die, or the Catholic Mad Madonna howling at the moon when she should be loving the Protestant man separated from her by the floor in the building they share, or feeling the appreciation of Farmer Daan’s wife’s for Antonia’s strengths--strengths that she herself does not possess--we are woven in the magic of a remarkably simple and yet complex fabric.
Elinor Golden has had trouble reading and writing ever since a golf ball hit her in the head as a child and left her with permanent minor brain damage. Otherwise quite intelligent and fully functional, she has stumbled through school unable to perform assigned tasks, unwilling to make the nature of her problem any more public than she has to, and often alone with it, since few teachers, even those who know the problem, know how to help her. Even her father, a doctor, is baffled.
It is 1943 and, as the U.S. enters the war, her attention is diverted to problems bigger than her own. She joins a volunteer corps that keeps watch for enemy planes approaching the New England coast. In the course of this purposeful work, she is paired on watch with a young teacher who finds a way to help her read by having her trace letters with her finger. Both her new work and her new reading strategy empower her, and help her cope with the crisis of her parents' separation and the departure of her lifelong friend, Jed, for Dartmouth.
She leaves school and joins a group of paid volunteers to do war work, discovering new areas of competency and satisfaction after years of feeling like a failure. At the same time her friend, Jed, discovers something new in her, and friendship turns to romance as personal hope blossoms in the midst of trouble and war.