Showing 51 - 60 of 131 annotations tagged with the keyword "Developing Countries"
Summary:In these selected works of the Afro-Cuban poet Nicolas Guillen--ranging from his early sound experiments through his more overtly political poetry to his final works--the Afro-Cuban experience of everyday life and its socio-historical and contemporary political underpinnings are constants. From slavery on to the natural and urban settings of Cuba, to the international places and communities of poets, politicians and activists shaping contemporary Cuban life, to the twinned invasions of Cuba by soldiers and tourists, and to the triumph of the Cuban Revolution, Guillen portrays a life where everything, including love, is colored by suffering and rebellion.
A stray dog bites the left ankle of 12-year-old Sierva Maria de Todos los Angeles. She and her peculiar parents live in a country near the Caribbean Sea during colonial times. Her father belongs to the class of decaying nobility. He is a weak man with poor judgment. Her scheming mother is a nymphomaniac who abuses cacao tablets and fermented honey. Sierva Maria is more or less raised by the family's slaves whose culture she assimilates. The youngster has luxuriant copper-colored hair and a penchant for lying--"she wouldn't tell the truth even by mistake" according to her mother. (p. 16)
Before long, the dog dies of rabies. When Sierva Maria begins exhibiting bizarre behavior, no one is quite sure of the cause even though everyone seems to have his or her own theory. Is the girl displaying signs of rabies? Is she possessed by a demon? The physician Abrenuncio doubts either diagnosis. The powerful Bishop believes the girl may require an exorcism. Perhaps Sierva Maria is simply eccentric or maybe even crazy. Ninety-three days after being bitten by the dog, she is locked in a cell in the Convent of Santa Clara.
The Bishop appoints his protégé, 36-year-old Father Cayetano Delaura, to investigate the matter. The priest is immediately infatuated with the girl. When the Bishop learns of Cayetano Delaura's love for Sierva Maria and his unacceptable actions, the priest is disciplined and then relegated to caring for lepers at the hospital. The Bishop next takes matters into his own hands by performing the rite of exorcism on Sierva Maria. After five sessions, she is found in bed "dead of love." (p. 147)
Summary:Sympathy for Mr. Vengeance tells the story of Ryu (Ha-kyun Shin), a young Korean man who cannot hear or speak, whose sister Han Bo-bae is dangerously ill with kidney disease. Because Ryu and Bo-bae are poor and there is no social system of health coverage in Korea, Bo-bae is not able to receive the transplant she needs to survive. Ryu wants to give his sister one of his own kidneys but he has the wrong blood type. When Ryu is laid off and given a lump sum in severance pay, he seeks out black-market organ transplant. He agrees to give one of his kidneys and ten million won (roughly US $10,000) in exchange for a kidney for his sister. Ryu awakens from anesthesia to find that his kidney has been removed and his money stolen by the black marketeers.
In this tale, Selzer juxtaposes the wealthy chair of the Department of Radiation Therapy, Dr. Arnoldo Cherubini, with Luis Figueira, a scavenger of refuse in the teeming Brazilian city they both call home. Cherubini lives in splendor in the wealthy hillside district, while Luis lives in a ramshackle hut by the sprawling municipal dump. What brings the two together is the discovery by Luis of discarded cesium, which had been inadvertently left in an "outmoded" x-ray machine taken to the dump.
Luis believes his discovery to be miraculous--a piece of a star. He buries his treasure each night, only to uncover and behold it the next evening. Fearing that the guards at the dump will steal his prize, Luis takes it to the home he shares with his sister and her family.
Soon, his avaricious brother-in-law finds the treasure and greedily sells pieces of it to the local slum-dwellers. Luis, with hands rotting, eventually seeks, but then refuses medical attention from Dr. Cherubini. The doctor makes a few half-hearted efforts to aid his patient, but returns to his insular world. Luis returns to the dump and dies shortly after in the arms of his lover.
This short novel is based on the student-led Mexican uprising of 1968. The reader discovers that the protagonist, Nestor, is in a hospital bed one year after the government's brutal suppression of the rebellion, recovering from a stabbing at the hands of a "prostitute-assassin" he had confronted in his post-rebellion duties as a "yellow journalist." With plenty of time to think about the failures of the previous year, Nestor decides to finish off the revolution from his sick bed, and elicits the help of his heroes, both actual and fictional, to carry out his plan.
The various heroes Nestor calls upon include "the hound" from Hound of the Baskervilles and Sherlock Holmes; the Earp brothers and their companion, Doc Holliday; the four Musketeers; the Light Brigade; and various other anti-colonialists and anti-imperialists, including Norman Bethune (see film annotation, Bethune: The Making of a Hero), the Tigers of Malaysia, and the Mau-Mau. These characters are summoned by Nestor (and Taibo) as a means to revivify the "Movement of '68" that ended in the massacre of 49 students, the wounding of 500 others, and the detention of 1500 persons on October 2nd of that year.
Jorge Castaneda notes in the preface to this novel, "only fairy tales or adventure stories could heal the wounds and keep the promises of the streets . . . "(p.vii). It is the imagined hero's power to reconfigure events to which the desperate Nestor turned in his attempt to heal the past.
Described as an autobiographical novel, this book is narrated in the first person and reads like a memoir. But it is a "memoir" charged with atmosphere, imagery, and longing. The narrator is an American woman, a mother of three children, and the wife of an academic. After an absence of 17 years she has returned to Niger--the country in northwestern Africa where she had lived with her three small children and husband, while the latter was completing his doctoral dissertation. Now she is visiting her oldest child, Zara, who has been living for the past two years in Niger, and working in a medical clinic.
As the narrator reacquaints herself with the culture and climate of the country, she re-visits--in memory--young motherhood, her relationship with the six-year-old Zara, and her interactions with the people and surroundings. The novel shifts back and forth between the past and the present Niger while the narrator attempts to integrate her experiences: she sees the country and her daughter through new eyes.
She is overwhelmed with guilt about what she calls her "inattention" (17 years ago) to the lives of the Nigerans around her; guilt about her failure to learn the native language; guilt toward her children, for her own self absorption. "After all, what was I doing the year we lived in Zinder [the city where they had lived]? That is the question that looms between Zara and me . . . Of what was I thinking? It is not enough to say that instead of working in a clinic [as Zara now does] I was spending my days with Lizzie and Tulu and herself. That doesn't answer it. All of Zinder waited beyond the gate." (71)
The narrator watches with admiration and envy as Zara interacts comfortably, even intimately, with the native women and their children, speaks the language fluently, and negotiates her way with self assurance in this foreign land. Not only does the narrator feel inept, she feels that she has "lost Zara to a world in which I am entirely a stranger." (73) Thus cultural dislocation becomes the trigger for intense reflections on the nature of parenthood, and the female experience of marriage, pregnancy, motherhood, and aging. These reflections are magnified by the narrator's loss of her own mother, who has recently died.
The native women that she meets through Zara help her to understand that some of these experiences transcend cultures, even though their surface manifestations may differ. For example, the often hyper-critical attitude toward first born children, and the refusal of native parents to even utter the name of the first born child relates to the shame associated with this evidence that the mother has lost her virginity. "Shame is the right word, exactly," thinks the narrator, "and I wonder now that I have not stumbled on this knowledge before." (77) But more than the "thorough and irrevocable . . . violation of the space around one's skin" it is the associated separation from the mother that the narrator recognizes as being at the core of sexual awakening; it is this inevitable separation from her own daughter that she is now trying to absorb.
The narrator, Anju, and her cousin, Arundhati (Runu for short) are both young married Indian women who are pregnant for the first time, due to give birth within a few days of each other. The difference is that Anju lives in the United States and Runu in India. They write letters to each other, and when the story begins, Anju is planning a special telephone call to Runu because this is the day they are both due to get the results of their amniocentesis.
As Anju anticipates the phone call, she provides information about both women. She grew up in a relatively affluent family in Calcutta, went to college, and moved to San Diego with her husband, Sunil. Runu was less wealthy, and married into a large and traditional Brahmin family in the provinces. Runu is strictly controlled by her mother-in-law.
Anju receives her test results: her baby, a boy, is healthy. But Runu is expecting a girl, and because of this her family decides that she should have an abortion. She is devastated, and is planning to run away. Anju encourages her, but Anju's husband becomes angry, arguing that perhaps Runu should be obedient and have the abortion.
They argue, but then Anju remembers the ultrasound earlier that day, when she saw her son for the first time, and realizes that Runu must have had the same experience, and like her would do anything to protect the fetus. The story ends with her planning to help Runu to come to America, and imagining, almost certainly unrealistically, the future of their children together.
Cosima Nolinas (Codi) trained as a physician, but decided during her residency to give up medicine. As the novel opens, she is returning to her hometown, Grace, Arizona, to teach high school biology and care for her physician father, Doc Homero, who is suffering from Alzheimer's disease. Her younger sister, Hallie, has just left for Nicaragua to help with agricultural development. Codi's journey back to where she grew up reinforces a sense of aimlessness which she attributes to the death of her mother when she was three years old, to the miscarriage of an unwanted pregnancy when she was fifteen, and to her father's remoteness. She intends her stay to be temporary.
But gradually she is drawn into the community. She restarts a relationship with Loyd [sic] Peregrina, the Native-American father--though she never told him--of the child she lost in high school. She joins the town's struggle against a mining company that has polluted the town's water supply and now plans to dam the river. As her father's condition deteriorates, she learns more about the history of his connection with the town and, by examining the results of a life-long study he has done on a genetic anomaly affecting children born to second-generation inhabitants of Grace, she learns that her own hereditary background is far more deeply rooted in the town than she had known.
Codi's narrative is interspersed with her father's confused but illuminating memories of her childhood, and with the letters she receives from Hallie, who has always been the motivated and determined sister. When Hallie is kidnapped and then murdered by the contras, Codi's first response is to run away once more, but in laying her sister to rest and telling Loyd about their lost child, she realizes that she has found her home and--in her fierce and practical education of the new generation of Grace adolescents--her purpose.
Southern Baptist missionary Nathan Price brings his wife Orleanna and his four young daughters to the Belgian Congo in 1959, just before its turbulent passage into independence as the state of Zaire. The Prices’ stay in the tiny village of Kilanga occasions escalating conflicts of cultures and values. The differences between the social, religious, and political habits of the United States and Africa are a source of both wonder and strife.
Orleanna and most of her daughters develop bonds with the people of Kilanga whose dimensions are much deeper than they first realize. At the same time, the family finds itself increasingly at odds with each other. All the women are engaged in a passage to personal identity and independence from Nathan: Orleanna, the dutiful minister’s wife; materialistic teenager Rachel; fervent, idealistic Leah, who emulates her father until it’s impossible to continue; her brilliant twin sister Adah, who walks with a limp and perceives the world in palindromes; and adventurous five-year-old Ruth May.
While all the women are changed by Africa, Nathan becomes more and more zealous in his refusal to change. The novel draws Nathan as a man whose identity has been definitively shaped by a World War II trauma that launches him on a downward psychological spiral from which there is no exit.
The novel is broken into seven books, all but the seventh bearing the titles and epigraphs from books of the Hebrew Bible and Apocrypha. Within the sections, the story is told as a round robin, with the Price women contributing alternating first-person narrative.
The daughters’ stories begin in 1959 in Africa and record events as they happen, gradually working their way forward to the 1990s. Their mother, in contrast, tells her story retrospectively, writing from Sanderling Island, Georgia, long after her return from Africa. Nathan is the only family member who never narrates.
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.