Showing 451 - 460 of 631 annotations tagged with the keyword "Children"
When Gerald is three, his mother, a drug addict, leaves him alone one time too often and he accidentally sets the apartment on fire. His mother is imprisoned for negligence, he goes to the hospital, and thereafter lives with "Aunt Queen," a great-aunt who exercises considerable authority from her wheelchair, and gives him all the love his mother hasn't.
When he is 9, however, his mother returns with a new sister and a man who claims to be the sister's father. They want to take him "home"; Gerald wants to stay with Aunt Queen. The matter is settled unhappily when Aunt Queen dies of a heart attack.
Gerald soon learns to despise his stepfather for his violence and, eventually, for the abuse of his half sister, which she hides out of fear until she's driven to confess it to Gerald in hope of his protection. Their mother remains in denial about that problem as well as her own and her husband's addictions to alcohol and drugs.
Caring for his sister, however, keeps love in Gerald's life. In defending her one last time, the apartment catches fire and his stepfather is killed. As he, his sister, and his mother ride away in the ambulance, a flicker of hope survives in the darkness for another new chapter in family life, this time without violence.
This is a rich and diverse anthology of poetry and of prose extracts, both fictional and non-fictional, about becoming a parent. It is organized into three chronological sections: "First Stirrings," about becoming and being pregnant (or of having a pregnant partner: the father’s perspective is refreshingly well-represented throughout), "The Welcoming," about labor and birth, and bringing home the newborn, and "Now That I am Forever With Child," about being the parent of an infant.
Each section contains a cross-section of views, from, for instance, Elizabeth Spires’s languid letter to the fetus inside her to Rosemary Bray’s candid account of her ambivalence about being pregnant; from Julianna Baggott’s thoughts on the Madonna and child, and A. S. (Antonia Susan) Byatt ’s rather frightening description of giving birth in a British hospital in the 1960s, to Hunt Hawkins’s sad poem about holding his dying newborn daughter; and from Jesse Green’s memoir as a gay parent adopting a son to Kate Daniels’s prayer for her children.
The anthology ends with the powerful poem by Audre Lorde that gives its title to the book’s last section. Lorde encapsulates the astonishing change of focus and identity at the heart of becoming a parent.
This delightful, provocative collection is subdivided into five sections that are not easily categorized. Rios, who grew up in the borderland culture of Nogales, Arizona, writes about this culture and his childhood (sections 1,5), family and local legends (section 1), the Sonoran desert and its animal life (section 4) and the complexities and wonder of human experience and human relationships (all sections). Rios deals with both the real and the imagined, often moving from the former to the latter. Deceptively simple language lures the reader into the rich, original landscape of the poet’s vision.
Frank Carveth (Art Hindle) has a wife, Nola (Samantha Eggar) who is mentally ill (the exact nature of her "breakdown" is never made clear, but it is implied that she was abused as a child). Nola is an in-patient at the Somafree Institute of Psychoplasmics run by Dr Hal Raglan (Oliver Reed). Raglan treats patients by engaging in intense role play encounters in which he takes the part either of parent or child to the patient.
The result of his approach is the somatization of emotional problems, his logic apparently being that allowing psychopathology to manifest in the (medically treatable) body liberates the less accessible psyche from illness or harmful emotions. So, for instance, a man with unresolved anger against his father develops sores all over his body during therapy. Their healing enacts his catharsis.
There are problems, however: another patient attributes his terminal cancer to Raglan's therapy, saying "psychoplasmics . . . encouraged my body to revolt against me and it did." Most terrifying of all is Nola's rage. It expresses itself in the form of strange buds that appear on her abdomen. These develop into external wombs, or amniotic sacs, from which she keeps giving birth to deformed and malevolent children.
These children, "the brood," literally enact her rage, escaping from Somafree to attack and kill anyone who is the object of Nola's anger, including both her parents and, eventually, Dr. Raglan himself. When the brood turns on Candy, Frank and Nola's actual daughter, Frank strangles his wife, and her evil offspring die with her.
A dark comedy about an upper-middle class blended family living the technology overloaded, mall-mad contemporary American life in a small midwestern town until catastrophe strikes. Jack Gladney teaches Hitler studies at the College-on-the-Hill. He is married to his fourth wife Babette, who reads tabloids to the blind and teaches posture classes to senior citizens. Together, they have four children, and a quirky extended family.
Interspersed in the noisy, chaotic family relationships is the central questions that obsesses Jack and Babette: who will die first? Death is everywhere in this story--on TV, radio, at the mall, in Hitler studies, and at home. Then an industrial accident releases an "airborne toxic event"--a lethal cloud of Nyodene D. to which Jack is exposed.
Absurd, witty, and almost plausible, the catastrophe answers his question about who will die first, but tells him nothing about death itself. What is the meaning of death, and, by implication, life? In the final section, dying Jack goes to hospital and meets nun Sister Hermann Marie and questions her about her faith. She explains that her piety is only a pretence: . . . "we are here to embody old things, old beliefs. The devil, the angels, heaven, hell. If we did not pretend to believe these things the world would collapse." (p. 318)
The speaker had a childhood disability--"my strange, unruly hands"--that made tying his shoes a task to be dreaded, symbolizing failure. He addresses a caregiver who patiently ("for three years, for an hour each day") had taught him to tie his shoes. She reassured the child, "The doctors don't know / everything. You will be normal // someday. Normal."
The caregiver has also experienced bodily difficulties--from curvature of the spine caused by childhood spinal [tubercular] meningitis. She tells the child about her out of body experience ("You told me you'd died once") when she had seen herself on "the table," the "frantic" doctors calling her back "to the particular / boundaries of the flesh." She allowed them to bring her back.
Now, the adult speaker, no longer disabled, ties his shoes "by instinct," "my mind giving itself // up to the common world / of things" but when he focuses on the task, he slows down and remembers his caregiver; he becomes aware of his body, he becomes aware.
Reta Winters, a 44-year-old translator and writer, faces a crisis in her otherwise ordinary and loving family life when her oldest daughter Norah suddenly and without explanation decides to live on the streets of Toronto, with a sign around her neck that reads GOODNESS. The novel, written in Reta's voice, is the story of her and her family's efforts to cope and make sense of this event. But it is also the story of the everydayness of her life and her feminist ruminations on the writing process, motherhood, friendship, and marriage.
It is 1965. Graduate student, Adam Appleby (the name is significant), twenty-five years old and father of three, is terrified that his wife, Barbara, is pregnant again. He loves her and is faithful, but their commitment to Catholicism turns their sex life into a furtive obsession, encumbered with calendars, thermometers, and guilt.
This day in his life, like all others, is spent in the British Museum, researching an interminable thesis on 'the long sentence' in minor English writers. But Adam cannot concentrate for frustration, anxiety (over Barbara's delayed period), and financial despair. When a young descendant of a minor writer tries to seduce him in exchange for a steamy manuscript that could easily make his career, Adam discovers a shocking willingness to compromise on his principles.
Daughter of a wealthy businessman, tall, beautiful Emily Stockwell Turner falls out of love with her stolid professor husband, Holman, halfway through their first semester at a small college for men in northern New England. She is lonely and miserable in this remote place. Encouraged by her confidante and fellow faculty wife, Miranda, she embarks on a secret affair with the college musician, Will Thomas.
Divorced and sexually experienced, Will initiates Emmy into the powerful romance of physical love. But their on-again, off-again relationship is fraught by its own secrecy, Holman's jealous suspicions, Will's infidelities, Emmy's lies, Miranda's disingenuous disinterest, and the not-so-irrational hatred that Freddy, Emmy's four-year old son, bears Will.
Emmy and Will take ever greater risks with their clandestine encounters; eventually they admit to being truly in love and she decides to join him in his move to New York City. But Holman falls ill and nearly loses his contract position at the University when he tries to kill a student demonstrator whom he wrongly suspects of being Emmy's lover. Emmy postpones her departure indefinitely, because Holman "needs" her more.
At the height of campus unrest over Vietnam, Brian Tate, the conventional, politically moderate, foreign policy professor at Corinth (clearly Ithaca), has an office affair with his blonde graduate student, Wendy, but only after the vapid flower-child has pursued him relentlessly for months. Brian’s wife, Erica, learns of his infidelity when she reads Wendy’s ungrammatical but explicit letter.
Miserable at home with their two shockingly difficult adolescent children, Erica is unemployed because Brian disapproves of her working. She confronts him; Wendy apologizes to her; Brian lies; Wendy is forced to have an abortion; Brian moves out; Wendy moves in; Erica grows thin and ages prematurely. She takes up with an old friend who has become a wan new-age ’guru,’ but he is often impotent.
Wendy becomes pregnant again, terrifying Brian into believing he must marry her. But she spares him this punishment by moving to a California commune with Ralph, who, unlike Brian, does not care about biological origin of her child. Hoping to return, Brian visits Erica; she is expecting him with wary resignation.