Showing 421 - 430 of 452 annotations tagged with the keyword "Parenthood"
Geek Love is the saga of a traveling carnival, the owners of which try to save it from financial failure by using ingested chemicals and toxins to create the birth of amazing freaks for the show. The outcome is a family that is both proud and vain about its specialness. The narrative unfolds the intricacies of greed and jealousy that tear the family asunder, resulting in the deaths of some members, the madness of others, and the escape of one.
It is Olympia, the hunchback albino dwarf, who lives on to tell the story of the Binewski clan. Central to the heyday of the carnival is Doc P, a physician of questionable credentials who performs bizarre operations in the traveling hospital that moves with the carnival. The story moves relentlessly toward a climax and denouement that is sufficiently unimaginable to be consistent with the cast of characters.
It is the voice of the woman in bed that makes this poem, and she is a tough character as she reveals herself, physically and otherwise. "I won’t work / and I’ve got no cash. / What are you going to do/about it?" she demands in the first few lines. She implies that she is a loose woman and perhaps even comes on to the physician: "Lift the covers / if you want me . . . ." and later, "Corsets / can go to the devil-- / and drawers along with them-- / What do I care!"
The woman shifts subjects rapidly, between poverty and sexuality, hinting that she might be pregnant again, writing off her two sons. At the end, she delivers a proud challenge to the physician who has come to see her in the abandoned house: "Try to help me / if you want trouble / or leave me alone-- / that ends trouble. // The county physician / is a damned fool / and you / can go to hell! // You could have closed the door / when you came in; / do it when you go out. / I’m tired."
A grown daughter recounts how her mother suddenly left her family for another man and moved away. The author feels alternately puzzled and betrayed by her mother's leaving. With her mother's help, she explores the complex connections between her mother's action and her mother's experience of having a stillborn child many years before.
She describes how each family member reacted to the discovery that the child was stillborn, how the nurses took the baby away and wouldn't let her parents hold him, and how little they actually grieved over or talked about the baby afterward. In her role as protector of her family, shielding everyone else from the pain of the stillbirth, the author's mother lost something central of herself. She left her family in order to begin to find it.
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.
This first novel is written in English by a native Indian who makes her home in India. It is the tale of Esthappen (Estha for short) and his fraternal twin sister, Rahel, and their divorced mother, Ammu, who live in the south Indian state of Kerala. Ammu, a Syrian Christian, has had no choice but to return to her parental home, following her divorce from the Hindu man she had married--the father of Estha and Rahel.
The story centers on events surrounding the visit and drowning death of the twins' half-English cousin, a nine year old girl named Sophie Mol. The visit overlaps with a love affair between Ammu and the family's carpenter, Velutha, a member of the Untouchable caste--"The God of Loss / The God of Small Things." (p. 274)
Told from the children's perspective, the novel moves backward from present-day India to the fateful drowning that took place twenty-three years earlier, in 1969. The consequences of these intertwined events--the drowning and the forbidden love affair--are dire. Estha at some point thereafter stops speaking; Ammu is banished from her home, dying miserably and alone at age 31; Rahel is expelled from school, drifts, marries an American, whom she later leaves. The narrative begins and ends as Rahel returns to her family home in India and to Estha, where there is some hope that their love for each other and memories recollected from a distance will heal their deep wounds.
Novelist Isabel Allende's daughter, Paula, died after entering into a coma following an acute attack of a porphyria disease. Allende was at her daughter's side in a hospital in Spain, where Paula was living with her husband, and later in Allende's home in California, where Paula spent the last months of her life.
When Paula first lost consciousness, Allende began writing for her an account of her illness, which soon grew into a memoir of Allende's own life: "Listen, Paula, I am going tell you a story, so that when you wake up you will not feel so lost" (p. 3), Allende begins. As Allende tells of her childhood, political and feminist awakenings, and her growth as a writer, she also watches Paula sink deeper and deeper into coma. She remains insistent, however, that Paula will recover, works in secret with a sympathetic physician to wean Paula from the respirator that breathes for her, then flies her back to California for rehabilitation.
In the end, though, she faces the reality that Paula will not recover, and, as she finishes telling Paula the story of her own life, she discovers that she has found the strength to let Paula go. Paula dies in a sunny room in Allende's house, surrounded by family and friends.
Ben Jonson wrote this elegy after the death in 1603 of his eldest son, Benjamin, aged seven. The poet addresses the boy, bidding him farewell, and then seeks some meaning for his loss. Jonson blames himself, rhetorically at least, arguing that he hoped too much for his son, who was only on loan to him. Now that the seven years are up, the boy has had to be returned.
Jonson tries to argue that this is only fair and his presumptuous plans for the boy's future were the cause of his present sense of loss. He then questions his own grief: why lament the enviable state of death when the child has escaped suffering and the misery of aging? He cannot answer this question, simply saying "Rest in soft peace" and asking that the child, or perhaps the grave, record that his son was Jonson's "best piece of poetry," the creation of which he was most proud. He concludes by vowing that from now on he will be more careful with those he loves; he will be wary of liking and so needing them too much.
The narrator of this 37-line poem describes childbirth and its immediate aftermath, when she is recuperating in the hospital with her baby. The first 14 lines focus on the "theatre of pain"--the actual and conceptual space in which the pain of childbirth is experienced. Childbirth is painful, all-absorbing, surreal: " a dream of world . . . wave after wave knocking me down" until, after the anesthetic, "I was on an island where no wind blew . . . ."
Then, suddenly, the poem shifts, when, "with a final push you were born," and we realize that it is the child whom the poet is addressing. As the baby is born, the new mother is no longer alone; she and the baby are part of the same process, "leaving the two of us half drowned and clinging to the shore . . . ." "We would meet," she says, "meet for the first time." While the baby’s birth is "engraved upon the world forever . . . " paradoxically, the outside world is "completely, most completely, unaware of you."
As the narrator/new mother recovers in her hospital room, the day’s routine impinges on this intense experience and she becomes aware once again of her surroundings. Life and death go on around them; the world is oblivious, even as her own life has been altered forever. And yet the nurses too seem to recognize the tremendous implications: "amazed, . . . lifting you high into the air," they cry, "Welcome to the World!"
Summary:This essay is found in her collection, Reasonable Creatures: Essays on Women and Feminism. In this particular chapter she rips apart the contemporary fetish of family values and the cult of the nuclear family, exposing these arbitrary socio-political constructions for what they are: "just another way to bash women, especially poor women."
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.