Showing 41 - 50 of 109 annotations tagged with the keyword "Sexual Abuse"
A dark-eyed, ten-year-old Indian pauses for a moment in playing with her friend to explain that she is soon to be married, but would rather stay at home and in school. Her friend announces that she will never get married; she wants to become a policeman. Another smiling child in Yemen wants to be a doctor to help people. She looks forward to wearing the hijab. Little girls with great family burdens, and others who have no families, all expect to become mothers themselves. They talk about their daily routines.
A confident child in Peru cooks, cleans, does laundry, and then washes, dresses and feeds her younger siblings, before putting on her crisp uniform and going off to school. Two shy girls from Africa describe the painful ritual of circumcision--and a "cutting" ceremony is observed from a modest distance. One talks about her separation from her mother and life as a slave.
Interspersed are scenes of the children playing. Commentary emphasizes how soon these little girls must become women and how much of the world's work and how little of its wealth belong to them.
Summary:This novel is a coming of age narrative, written from the perspective of Bone, the out-of-wedlock (hence, bastard) young daughter of one of the fiercely proud, dirt-poor Boatwrights of Greenville County, South Carolina. The story moves from Bone's very young recollections of life with her waitress mother Anne and her numerous aunts, uncles, and cousins; through her mother's brief marriage and quick widowhood; to her volatile, painful marriage to Daddy Glenn, whose jealousy of Bone, combined with his own destructive evilness, leads the story to a heinous climax of sexual abuse.
Subtitled Women Novelists of Color and the Politics of Medicine, this book draws on novels by eleven women to illustrate how physical and emotional states of health and illness are linked directly to social justice. The book is divided into two parts. The first five chapters deal with individual characters, their illnesses, and sometimes their healing: Toni Cade Bambara's The Salt Eaters, Paule Marshall's Praisesong for the Widow, Gloria Naylor's The Women of Brewster Place: A Novel in Seven Stories, Leslie Marmon Silko's Ceremony, Toni Morrison's Beloved and The Bluest Eye, Louise Erdrich's Tracks, and Sapphire's Push are among the works Stanford uses to examine women who have become ill because of broken ties to their histories and communities, because of racial hatred, or because of domestic and sexual violence (see this database for annotations).
The second part of the book finds novels examining medicine itself. Stanford uses Ana Castillo's So Far from God, Gloria Naylor's Mama Day (annotated in this database), Leslie Marmon Silko's Almanac of the Dead: A Novel (annotated in this database), and Octavia Butler's Parable of the Sower and Parable of the Talents again to raise connections between patients and social conditions but also to ask questions about bioethics and uncertainty, medicine and epistemology, and how medicine might resist dehumanizing trends through the "myriad possibilities of communitas" (218).
Pook, Dante, and Wyatt inhabit the social margins of an inner-city school in Oakland. Pook's family has disintegrated from drug trade, Dante needs a heart operation he can't afford as a result of his now-dead mother's addiction to crack cocaine, Wyatt, slowed and ostracized by obesity, provides a frequent refuge for the other two at his mother's rundown dockside café. The three of them are no strangers to the violence of drug-infested neighborhoods, Wyatt manages to smuggle a gun into the schoolyard despite metal detectors, but none of the boys is eager to use weapons. They are "homies," committed to each other's survival, and intensely loyal.
Radgi, a younger, smaller homeless kid, follows them for occasional handouts and eventually is taken into Dante's apartment where his father, a dock worker, is frequently absent. All are threatened repeatedly by "Air Touch," a leader in the local drug trade who deals with smugglers and rich white patrons. Another occasional friend is Kelly, a Korean boy whose father runs a convenience store in the "hood."
The plot follows the fortunes of the boys after they witness the police beating Air Torch, see him toss his gun and briefcase away before being apprehended, and pick up both as they run for home. In the briefcase is a load of cocaine ready for sale. They have to decide whether to sell it to get the money for Dante's operation or pour it down the toilet. They sell the gun with the help of Kelly who, discovered by Air Torch, is killed, along with his father.
Eventually, after some hair-raising close calls, the boys get rid of the drugs, assemble in Dante's apartment, and discover that the petite Radgi, who they thought was bloated from starvation, is a girl, about to have a baby as a result of rape. Pook, who longs to be a doctor and has read a medical book sequestered among his few possessions, helps deliver the child, a "little brutha."
Summary:The editor solicited this collection of thirteen stories on the theme of entrapment from experienced young adult fiction writers. They represent a variety of kinds of entrapment: in a relationship too serious too early; in an abusive relationship; in a body distorted through the psychological lens of anorexia; in a dream world; in a canyon fire; in a web of secrets woven in an abused childhood; in a maze with a minotaur; in a habit of perfectionism; in the sites of urban violence; in dementia induced by post-traumatic stress (long remembered by a Viet Nam vet); in an unsought relationship with a lost and disturbed brother; in poverty. In each of the stories an adolescent protagonist encounters some challenge either to find his or her way out of a trap, or to understand others’ entrapments. The stories vary widely in setting and style, but held together by this theme, they serve to enlarge understanding of the ways in which any of us may find ourselves entrapped, and how “liberation” may require both imagination and compassion.
Set in 19th-century Japan, the film’s action centers on the experience of the young doctor Yasumoto (Yuzo Kayama) in his work as an intern at a hospital-clinic for the poor run by the experienced and wise Dr. Kyojo Niide (Toshiro Mifune), nicknamed "Red Beard." Coming from a wealthy and influential family, and fresh from a Western-influenced medical education at Nagasaki, Yasumoto had believed he was on the path to become physician to the shogun (equivalent to a king).
He is initially insulted and deeply unhappy with conditions at the distinctly inglorious clinic. The poverty and suffering (and smell) of the clinic’s patients disgust him, and he tries his hardest to get fired. The mysterious Red Beard, however, is extremely patient, and simply waits. While he waits, we see Dr. Yasumoto slowly being converted as he is brought into close contact with the suffering in the lives of several patients.
Initially rebellious and emotionally unable to watch patients die or assist in surgery, Yasumoto gradually becomes a seasoned and enthusiastic member of the clinic’s medical team and announces that Red Beard is his idol. At the end, when Yasumoto is actually offered the position of physician to the shogun, he refuses, in order to continue his work at the clinic.
Written in a style resembling religious litany, this is the tale of a disastrous teen-age marriage and its criminal consequences. The setting is California. Maria is a poor Mexican-American who meets and attracts Russell, a working class Anglo. Although ambivalent, Maria sees marriage to Russell as the path to American, white respectability. Her earlier hopes of achieving this status through her own efforts have been frustrated by the reality of poor academic performance. She is eager to get away from the household of her deeply religious mother. Russell is brooding, taciturn, and carries the physical and psychic wounds of an abused childhood--his father is a partially reformed alcoholic who deliberately burned Russell's hand.
The pair are ill-equipped for marriage or parenthood and Maria soon feels trapped. Their son, John, avoids provoking them by being a "good boy," hoping to prevent their frequent arguments. Russell's deprived childhood accounts, perhaps, for his obsessively jealous fixation on Maria. He is jealous even of the attention she gives their son.
The catastrophe that seems always close at hand finally occurs: Russell sets fire to his own child. The second part of the novel is told primarily from John's perspective as he undergoes a prolonged, painful rehabilitation and tries to find meaning in these events. It is also the story of the plastic surgeon who attempts to restore John's horribly scarred body and who has come to doubt the purpose of his profession (there is nothing he can do about destructive family relationships and psychic scars). Russell, who has been brutalized in jail, is released, seeking redemption. Fire, significant throughout the story, plays a final shocking (redemptive?) role.
Fraser’s subtitle is accurate; this book tells about a middle-aged woman rediscovering her difficult past of incest from her father and abuse, as a child, from another man. She tells her life story of growing up in a working-class neighborhood in Hamilton, Ontario, Canada, going to university, marrying, and becoming a journalist. All the while, anger and rage fuel her, but it is only after surgery (for fibroids) and psychotherapy that she can recall the abuse and has it corroborated by others. Fraser understands that her personality split into three personae; she uses her dreams, her writing (including six novels), and her childhood drawings to understand what happened to her. Finally she is able to forgive her father (although after his death) and continue with her successful career as a writer.
David Lurie is a scholar of the English Romantic poets, now professor of communications in Cape Town in newly post-apartheid South Africa. He is fired in disgrace for sexual harassment after having an affair with one of his students, Melanie Isaacs, or raping her (our definition of the act is deliberately blurred until later). He goes to stay with his daughter, Lucy, who kennels dogs and grows flowers on a smallholding in the Eastern Cape, and he passes his time helping Lucy's friend, Bev, in the euthanasia and disposal of sick and unwanted dogs.
Then he and Lucy are attacked by three black men who arrive at the farm. They pour lighter fluid over him and set him on fire, and they gang-rape Lucy. One of the attackers is a relative of Lucy's neighbour, a black man named Petrus, and protected by him. Lucy refuses to press charges or to leave, but Lurie drives back to Cape Town.
On the way, he stops at the home of Melanie Isaacs and meets her father, who invites him to stay for dinner. He apologizes to her father, who asks him some difficult questions about forgiveness and about being in disgrace. There are parallels between him and Mr. Isaacs in relation to their respective raped daughters. In Cape Town Lurie finds that his house has been broken into and everything stolen.
When Bev calls him to say that Lucy is not well he goes back to the farm, where he discovers that she is pregnant as a result of the rape, has decided to keep the child, and intends to agree to Petrus's offer of marriage: if she becomes one of his wives, in name only, she will be allowed to stay on the farm (which he will now own) under his protection.
She resists all her father's objections. He finds a room in the town near her farm, continues to help Bev killing the dogs, and, while he awaits the birth of his grandchild, works on an opera he is writing, about the abandoned mistress of the poet Byron, who yearns for a time that is past.
Lenny's development from childhood to adolescence concurs with India's independence from Britain and the partitioning of India into India and Pakistan. The interwoven plots give each other substantial meaning. Partly because Lenny's family are Parsees, a religious and ethnic minority that remained relatively neutral in post-Partition religious conflicts, she has access to people of all ethnicities and religions, both within Lahore and in other locales. More significantly, she has access to a wide variety of viewpoints both pre-and post-Partition through her Ayah, a beautiful woman whose suitors are ethnically and religiously diverse.
Lenny's passionate love of Ayah and the loss of innocence that accompanies their changing relationship through the Partition is an energetic center to the plot. Lenny's relationships with her mother, her powerful godmother, and her sexually invasive cousin are also important to the novel. Lenny's polio forms a significant early narrative thread. Other minor but compelling subplots include Lenny's parents' changing relationship, the murder of a British official, and the child marriage of the much-abused daughter of one of Lenny's family's servants.