Showing 551 - 560 of 635 annotations tagged with the keyword "Power Relations"
This short story was written by Willa Cather around 1905 when she was living in Pittsburgh; it is the only one of her stories with that city as a background. During her time there she taught in a high school and she said the story was based on experience with two boys in her classes. It also has connections to her own background of growing up in a small town in Nebraska where she hungered for a broader life experience.
Paul, a sensitive high school student, felt very frustrated with his home life and his family's expectations that he would grow up to work in a factory or the steel mills as his father and most of his neighbors did. He was not close to anyone in his family and had no neighborhood or school friends. Instead, he spent his evenings ushering at the symphony hall or backstage at a local theater.
Paul dreamed of living the life of the performers he saw. He was without discipline and without direction. He had problems at school and was surly when called before a school committee. Eventually he was pulled out of school and sent to work by his father. He devised a scheme to steal money from his employer and then ran away to New York City where he stayed at the Waldorf Astoria, living for a few days the life of his dreams. When he realized that he would have to return home and accept his punishment he killed himself. The poignancy of the story is intense.
Raina is 17, living alternately on the streets with a boyfriend addicted to hard drugs and at home with an abusive mother, also an addict. She has been victimized by a succession of her mother's live-in boyfriends and lost a young brother to an accidental overdose: he swallowed some of his mother's pills while the mother slept and seven-year-old Raina was watching him.
Margaret Johnson is 45, Raina's teacher at an underfunded, overcrowded public school where Raina's life of squalor is more typical than not. Her own story is told in chapters that alternate with Raina's story and with the texts of autobiographical compositions Raina gives her but refuses to discuss. Only when Raina finds herself pregnant, shortly after her boyfriend has been killed in a drug-related accident, does she take Ms. Johnson up on her repeated offers of help.
She lives at the teacher's home for awhile, runs away to her own home, unused to kind treatment and afraid she'll disappoint the teacher and be thrown out, goes to a shelter, has her baby, and finally returns, having nowhere to go. Ms. Johnson, with some hesitation, takes her and the baby in and the three begin to work out a life together, knowing it will involve difficult change, but willing to bet on love against the odds.
Gottlieb, nearing thirty years old, discovered her childhood diaries in a closet in her parents' home as she searched for some chemistry notes to aid in her quest to attend medical school. This book is "based on diaries" she wrote when she was diagnosed with and underwent treatment for anorexia nervosa. It is the writing of a precocious, strong-willed preteen who enjoys chess, being unique, writing, and getting straight A's in school, yet who is lonely and desperate to fit in and be popular.
Lori is eleven years old, lives in Beverly Hills, California with her fashion-conscious, loves-to-shop mother, her somewhat distant stockbroker father, her older brother David who now is into music and friends and not-Lori, and her best friend Chrissy, a pet parakeet. Lori's diary entries are filled with astute observations of adults (teachers, parents, relatives, medical personnel, even a television star she meets, Jaclyn Smith) and classmates.
She is wry and witty. An early entry gives an English essay she rewrote to get an "A". These "power paragraphs" are generously and hilariously sprinkled with "proper transitions" such as "to begin with", "moreover", and "on the other hand" that her teacher insists are necessary for readability. This essay provides telling insights about Lori's perceptions of her family, particularly (note transition word) her mother's superficiality.
Lori is surrounded by messages of the glories of thinness for women. Every female she encounters, from peer to adult, is on a diet, counts calories, avoids desserts and gossips about how other women and girls look. The culture is not only anti-obesity, but pro-superthinness. Hence it is logical that Lori, angry about being taken from school to go on a family trip to Washington, D.C., begins her rebellion and search for control by skipping meals and dieting.
She gets the attention she craves from her parents. Her schoolmates ask her for diet advice and admire her weight loss. Self-denial, obsession with calories (that she believes can even be gained by breathing), and secret exercising lead to an alarming weight loss in this already skinny kid.
Her mother takes her to the pediatrician, who prescribes whole milk which Lori refuses. He refers her to a psychiatrist, who eventually hospitalizes her for behavior modification, observation, and a possible feeding tube. At the hospital, Lori meets medical students, nurses and fellow patients, but becomes progressively more depressed, dehydrated and lonely. She attempts to run away and makes a suicide gesture. Finally, she sees herself for what she has become--an emaciated stick figure.
The author of this memoir is a poet and writer who developed systemic lupus erythematosis (SLE) during her first year at the University of Pennsylvania. Initially, her condition was difficult to diagnose, which led to her first negative encounters with physicians and the health care system. Later, Ms. Goldstein developed unusual neurological manifestations of SLE. Once again, she had trouble convincing her doctors that her symptoms were not only real, but also disabling. She was fortunate enough to come across a few good physicians who respected her as a person and earned her trust.
Despite her chronic illness, Ms. Goldstein thrived throughout college and graduate school. She approached each new challenge with such a positive attitude that some of her doctors considered her emotionally unstable. (I guess they thought it would be more "normal" for her to lose hope and turn herself into an invalid.) Her graduate work in literature focused on the new field of literature and medicine.
In mid-19th century England, a small group of religious women called the Household of Hidden Stars follow Muley Moloch, an itinerant prophet, across the world to establish a life for themselves in New South Wales. Catherine, Moloch's wife, gives her account of their story many years later in 1898.
Moloch is an illiterate shoemaker-turned-prophet who claims to perform miracles. His goal is to prepare the way for the Second Coming of Christ. To accomplish this, he and his group of 8 or 9 women set out to lead exemplary lives in the wilderness, yet they do not attempt to make converts.
When Catherine becomes pregnant, she and the others think her pregnancy is a miracle. (In reality, Moloch has had sex with her while she was desperately ill and unaware of what was going on.) They name the child Immanuel and believe that he is the Second Coming of Christ.
Muloch considers the local Aboriginal people to be demons and treats them as such. One day he sees Immanuel talking to a "demon" and shoots the man dead. Immanuel, already fed up with all the craziness, runs away. At this point the women finally seize control of their own lives and tell Moloch that he must leave. As the years progress, the women remain together. One by one they die of consumption, until only Catherine and Louisa are left.
This is the story of the ill-fated romance of Marguerite Gautier, a beautiful and brazen young courtesan of Paris, and Armand Duval, her passionate aristocratic lover. After becoming his mistress, Marguerite grows emotionally attached, returning Armand’s love and living with him in the country in order to recover her health.
Estranged from his family and deeply in debt, Armand is confronted by his father who demands an end to the illicit relationship. When Armand defies him, Monsieur Duval convinces Marguerite to release her beloved to secure his future and protect his reputation. Marguerite dies alone and in agony from consumption.
Millie is a "baby nurse," hired as a domestic helper and live-in night nurse who cares for other women's infants up to the age of two years. She is "condemned by life to love many babies and lose them all" (1). Millie is described as old, but we are not told how old, or of what else her life has consisted; probably little, since she appears to have cared for one child after another, and has no home apart from where she is employed.
The story begins as she starts a new job, caring for Mrs. Jones's baby daughter. She adores the baby, but is tense and possessive, strongly dislikes the Jones's noisy six-year-old boy, and complains to Mrs. Jones about the other servants. Reluctant to let the baby grow up, she does not encourage her development, and she is overly defensive and protective of the child.
As the baby gets older, Millie becomes more and more anxious until, after a fight with one of the other servants, Mrs. Jones fires her. The story ends where it began, in the waiting room of the employment agency as Millie seeks a new position, a new baby to love and lose.
Fred McCann is an energetic man in his thirties, something of a playboy, when the Second World War breaks out. He becomes a soldier, and in an Italian village one day he goes to a pump for a drink of water. The pump is booby-trapped and explodes. He is blinded and loses all four limbs. The story traces the development of a relationship between Fred and Alice, his nurse in the military hospital.
As he learns to submit to being entirely helpless, reliant on Alice for all his needs, he gradually begins to adapt to his new condition. Then Alice changes everything by having sex with him. At first their new and obsessive relationship makes him happy, restoring some of his old sense of himself as a man. When Alice is moved to another duty and replaced by a sadistic male nurse, Fred is so devastated and makes such a scene that he gets Alice back.
To celebrate her return, Alice sneaks some whiskey into his room and they get drunk. She then says something that appalls him: she calls him her "thing" and confides that she has always hated men, who look at her and touch her and have power. Fred is nauseated, seeing himself reduced to nothing more than a "a phallus on its small pedestal of flesh." He realizes now that he is no longer a man, and later that night he manages to drag himself out into the garden, where there is a small pool in which he drowns himself.
Alice Goodwin is the wife of Howard, a midwestern dairy farmer, the mother of two daughters aged five and three, and the nurse at a local elementary school. She and her friend, Theresa Collins, a family therapist who lives in the nearby suburbs, take turns watching each other's children. One morning, while Alice is momentarily distracted, Theresa's two-year-old daughter, Lizzy, falls into the pond on the Goodwin farm. Despite Alice's attempts to resuscitate her, she dies after three days in the hospital.
Not long after, while she is severely depressed, Alice is arrested on (false) charges of sexually abusing some of the schoolchildren in her care. Confused, and thinking only of Lizzy's drowning, Alice says to the police, "I hurt everybody." They take this to be a confession.
She spends three months in prison awaiting trial, until Howard sells the farm to pay her bond. The novel gives us both Alice's experiences in prison--in a world she had hardly imagined--and Howard's struggle to take care of their children. Theresa, who seems never to have blamed Alice for her child's death, helps him and they develop a powerful bond. The novel ends with the trial, in which Alice is exonerated, and their family's tentative beginning of a new, urban life.
In short chapters that alternate between remembered scenes of abuse, reflections upon those scenes, and tributes to the natural beauties and human kindnesses that tempered years of domestic violence, the author provides a galling, but not sensationalistic, record of what child abuse looks and feels like. Only when she was older and mostly beyond the reach of a father who routinely beat and sexually abused her and her siblings did the author find out that her father had been dismissed from a police force for gratuitous violence and had subsequently submitted to electroshock treatments for mental illness.
The title describes the nature of the narrative; in its deliberate discontinuities it testifies to the stated fact that there are places where memory has left a blank. Much of the telling is an attempt to piece together a story of recurrent violence, felt danger, and arbitrary rage that seemed at the time both regular and unpredictable.
The sanity of the narrative testifies to the possibility of healing. The writer makes no large claims for final or complete release from the effects of trauma, but does strongly testify to the possibility of a loving, happy, functional adult life as healing continues.