Showing 41 - 50 of 79 annotations tagged with the keyword "Adoption"
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.
Franklin Hata, comfortably retired from his medical supply business, reflects on his life--a life that spans several continents, three cultures (ethnic Korean brought up in Japan and emigrating in adulthood to the U.S.), service as a medic in World War II (in the Imperial Army of Japan), adoptive fatherhood, and a fizzled out romance with a well-to-do suburban Caucasian widow. At first out of place in the wealthy New York suburb where he settled, Hata has worked hard to achieve acceptance there, taking pains to fit in, creating no disturbances, never complaining, even when provoked by thoughtless schoolchildren or narrow minded adults.
The major disappointment of his adult life has been his tempestuous relationship with his adopted mixed-race daughter, Sunny, who left his home to live on her own when only a teenager. Even failed parenthood, however, has been absorbed by Hata. For although Hata claims that he had always wished to "pass through with something more than a life of gestures," (299) in fact he has labored to maintain equilibrium with a carefully designed "gesture life" of daily routine and superficial social niceties.
In the idleness of retirement and the solitude of his large, empty Tudor home, disturbing memories impinge on these routines and force a re-evaluation of his life and his relationship with the estranged Sunny. As a young medic during World War II, Hata had undergone an emotional and moral crisis when he fell in love with one of the Korean "comfort women" brought into his care in the Japanese army camp (in Burma) to which he was assigned. In the midst of rape and murder, Hata had to make choices, and these choices he can no longer justify to himself.
Further, he comes to understand that his relationship with his daughter has been colored by those long ago events. "In a way, it was a kind of ignoring that I did, an avoidance of her as Sunny -- difficult, rash, angry Sunny -- which I masked with a typical performance of consensus building and subtle pressure, which always is the difficult work of attempting to harmonize one's life and the lives of those whom one cherishes." (284)
Six childless women from the United States are in an unnamed Latin American country (filmed in Acapulco, Mexico), fulfilling a residence requirement while they wait to adopt babies. The owner of the hotel they stay in (Rita Moreno) and her brother, a lawyer, both make a profit from this delay. The film explores the experiences of the six women and of the people of the place from which their children will come, a place of which they see only a small part of the surface.
The Americans' stories are juxtaposed with that of a young woman who cleans the hotel rooms, who gave up her own baby for adoption "up north," and a pregnant fifteen-year-old middle class girl whose mother takes her to Miami, presumably for an abortion. The film also looks at the implications of political activism which is, for the men in the film, necessary but, for the women, appears to come at the cost of security and domestic stability.
The hotel owner's son criticizes the adoptions as a form of "Yankee cultural imperialism," yet even as we are persuaded by his view, we are swayed by the film's telling contrast between the futures offered by the American women and the lives of the city's glue-sniffing street children. The film ends with two of the women about to receive their adoptive children.
As much about the abusive treatment of women, and the clash of traditional and contemporary mores as it is about the HIV/AIDS pandemic, this beautifully crafted novel tells the story of a nineteen-year-old Mosa (for mosadi--woman) who has already lost two brothers to AIDS. The reader is caught up in the mega-deaths and non-mention of the dreaded acronym, AIDS, as the story unfolds. At their brother’s gravesite Mosa’s one remaining living brother is halted as he shovels in the final loads of earth: "All around him were fresh graves . . . He looked at the not fresh, fresh graves, and noted the dates of birth. Young people who had died prematurely . . . He had known about their long illnesses, their deaths and their funerals." (p. 20)
The author is the first (and only) female judge of the High Court of Botswana and a human rights activist. She is internationally renowned for bringing about the Dow Case, which challenged Botswana nationality laws; she argued successfully for revisions allowing women to pass their nationality on to their children.
In this collection, Judith Arcana brings together her long-standing feminist activism, especially for reproductive health and abortion rights, and her gifts as a poet. Although Arcana's activism dates back to the early seventies, most of the poems in the book were written between 1998 and 2004. They draw from "the lives of women and girls I know or have simply encountered" (xi).
The collection is divided into four sections: "Separating argument from fact," "Information rarely offered," "Don't tell me you didn't know this," and "Here, in the heart of the country." Spoken in first, second, or third person, these poems evoke the myriad individual situations in which women of childbearing age become pregnant, and the trajectories their lives may take as a result.
The title of the collection derives from one of its poems ("What if your mother") and the related, immediately preceding poem, "My father tells me something, 1973" (6-7). Arguing back to those who confront her with, "What if your mother had an abortion? . . . they mean me," the speaker/poet answers, "then I say she did . . . . "What if, what if. / What's the point of asking this phony question?"
From the preceding poem, the reader has learned, along with the speaker listening to her father in 1973, that the poet's mother had an abortion in the Depression era, early in marriage. With this juxtaposition of poems we are introduced early in the book to the complexity of the issues surrounding pregnancy, parenthood, and abortion and to the timeline of a continuing national and personal debate. This complexity is the subject of the collection.
Summary:Having remarried after a long and partly happy life with a woman who bore him three sons, novelist Campbell Armstrong lives in rural Ireland with his second wife. He learns that his first wife, who works in Phoenix, has advanced lung cancer and, with his second wife’s blessing, goes to spend time with her and their grown sons. In the course of that trip, he reflects on their life together, their romance, his alcoholism and its effect on their family, their move to the U.S., their losses, and the remarkably enduring affection between them and, surprisingly, between the first wife and the second.
The story is told by a man living in "the drooling ward," part of a California mental institution. The narrator has been in the ward over 25 years; he helps feed and care for the others. He calls himself a "feeb"--feeble minded--but believes himself to be better than the droolers and certainly better than the stuck-up "epilecs" who though they seem normal throw such terrible fits. He feels as if he could get released from the hospital at any time, but he would rather stay. He tells of the two times he left the hospital. The first time, he was adopted by a couple that ran a ranch. He was forced to do many chores and the man beat him. He snuck off and returned to the home. The second time, he ran away with two "epilecs," but they were hungry and afraid of the dark so returned.
Summary:Toward the end of the Spanish Civil War, Manuel’s biological father, Jorge de Son Major, dies, finally recognizing him in his will. His social father, Jose Taronji, had been killed only two years before. Manuel, newly rich but philosophically impoverished, seeks a secular spiritual father in "Jeza", an imprisoned rebel leader, and Jose’s comrade. When Jeza is killed, Manuel informs his wife, Marta, and together they plan a final revolt. They use Jorge de Son Major’s boat, Antinea, to deliver rebel documents, then make one final, "crazy," fatal stand, to honor and mourn Jeza, to remember and create themselves.
A surgical resident named Thor Bitterbaum happens to be in attendance when the fatally wounded President John Kennedy arrives at Parkland Hospital in Dallas. He immediately remembers the work of a scientist who had performed some successful cloning experiments. In the twinkling of an eye, he locates a liquid nitrogen container and freezes a sample of the President’s tissue. He then locates G. K. Kellogg, a multimillionaire who is willing to foot the bill to clone President Kennedy. Kellogg’s plan is to reproduce the major events of Kennedy’s life so that his "son" has essentially the same experience as JFK and grows up to be elected President of the United States.
Not surprisingly, some things go wrong with the plan, but, in general, the whole bizarre scheme works out as G. K. and "Uncle" Thor intend it to. Joshua Francis Kellogg, the cloned child, eventually learns his origin, rebels against his "father’s" plan, blows his cover by writing a book about his experience, but ultimately becomes a successful politician just as G. K. had envisioned.
This mystery novel interweaves the stories of two Victorian households: the cheerless Sabbatarian residence of Zachary Thorpe and the lively, off-beat home of artist Valentine Blyth. Thorpe’s rebellious son Zack’s friendship with Blyth begins an interfamilial connection that Blyth unknowingly deepens when he adopts a deaf girl he finds in a country circus.
Blyth and his disabled wife Lavinia fear the living birth father of the girl they name Madonna will discover her existence and take her away. Their desire to hide Madonna is thwarted by a rough stranger, Mat Marksman, who seeks the man who impregnated and abandoned his sister--Madonna’s mother, who died soon after giving birth. Zachary Thorpe, Sr. is revealed as Madonna’s father, just in time to prevent a problematic romance between the half-siblings.