Showing 81 - 90 of 316 annotations tagged with the keyword "Mother-Daughter Relationship"

Breath, Eyes, Memory

Danticat, Edwidge

Last Updated: Oct-26-2009
Annotated by:
Stanford, Ann Folwell

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Set against the backdrop of the violent post-Duvalier years in Haiti, this novel traces the development of Sophie, the product of a violent rape. Having been raised lovingly by her aunt in a village near Port-au-Prince for 12 years, Sophie is suddenly sent for by her mother (who had immigrated to the United States as an asylum seeker). Living in New York, Sophie discovers that her mother is haunted by violent nightmares, a remnant of the trauma she had suffered before fleeing Haiti.

Part Two opens as Sophie, now 18, falls in love with her neighbor, a musician named Joseph. Her mother, upon finding out about Sophie's love interest, begins the humiliating tradition of her mother, "testing" Sophie's virginity by inserting a finger in her vagina to make sure the hymen was not broken. After several "tests," Sophie painfully breaks her own hymen with a pestle and immediately runs off with Joseph.

Part Three of the novel opens about a year later, when Sophie has left her husband and returns to Haiti with her baby daughter. Here, she begins learning about her mother's past as well as telling her aunt and grandmother about her own current sexual dysfunction and her bulimia. Sophie and her mother reunite and reconcile in Haiti and later return to the States where Sophie returns to Joseph and begins a kind of therapy that includes rituals from Haitian, African, and Chicana traditions.

Meanwhile, Sophie's mother becomes pregnant (by her long time lover and friend) and increasingly agitated, finally committing suicide. At the funeral, in Haiti, Sophie runs into the cane field where her mother had been raped some 20 years earlier. As she is screaming her grief and rage, she tears at the cane stalks. Rather than attempting to stop her, Sophie's aunt and grandmother watch her, finally asking, "are you free?" and then insisting, "You are free!" (p. 233)

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Annotated by:
Nixon, Lois LaCivita

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Not quite the familiar home-for-the-holidays genre of a dysfunctional family, this one has a twist.   April is a late-teen "problem" daughter who has run away to New York City where she lives with her boyfriend, Bobby (Derek Luke).  April, played by a grungy, pigtailed, and probably tattooed Katie Holmes, has invited her parents, siblings, and grandmother to Thanksgiving dinner.  This reunion, we gather, is the first since April left home.  The family is coming to her lower East Side tenement, a situation that bristles with possibilities.  

Moving back and forth from April's low rent apartment to tension in the crowded car as it moves from a scenic suburb to cityscape, viewers are able to watch both April's unskilled efforts as she struggles with the slippery turkey, a can of cranberry sauce, crepe paper decorations, a broken oven, etc. and an inexplicable drama slowly unfolding in the crowded car.  In spite of crisis situations in both settings, the separate family members do get together for a dinner that neither could have planned. 

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Mr. Pip

Jones, Lloyd

Last Updated: Jul-05-2009
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Thirteen-year-old Matilda lives on a south Pacific island with copper mines. Rebels and other more official warriors are tearing the place apart. A blockade has made resources scarce and communication impossible; fathers are absent at distant work. Along with everything else, the local school collapses. 

Mr. Watts, the only island white man, offers to take over the education of the children, but he has no experience, few materials and just one book: his treasured copy of Charles Dickens’s Great Expectations. He begins reading a few pages every day. Captivated by the story, the children repeat it to their mothers when they go home each night.  

Matilda believes that she loves Mr. Dickens more than anyone else and she is both bemused and irritated by her stern mother's suspicion of the strange, possibly godless, white man and her feigned disinterest in Pip. Parents are invited to the school to pass on their own expectations about learning. Students accept these moments with pride and embarrassment.

The political chaos deepens, homes are destroyed, and the book vanishes. But Watts (nicknamed Mr. Pip) turns the loss to advantage by helping the students to recover fragments in a lengthy effort of collective recollection.

The ever menacing warriors return. Little more than frightened children in an incomprehensible conflict, they indulge in senseless brutality and killing. With courage absorbed from her mother, Matilda escapes, rediscovers her father, and finds a scholarly future—a life she embraces because of Mr. Dickens and Mr. Pip.

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Summary:

This collection of stories offers a sidelong view of medicine from the perspective of a thoughtful, experienced doctor of internal medicine at a teaching institution (UCSF) in an urban setting that brings a wide variety of types of patients to his door.  In a context of evident respect and admiration for even the quirkiest of them, Watts admits to the kinds of personal responses most have been trained to hide-laughter, anger, bewilderment, frustration, empathetic sorrow.  The cases he recounts include several whose inexplicabilities ultimately require action based as much on intuition as on science.  He includes several stories of illness among his own family and friends, and makes it clear in others how his professional decisions affect his home life and his own state of mind.  

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The Abandoned Doll

Valadon, Suzanne

Last Updated: May-19-2009
Annotated by:
Nixon, Lois LaCivita

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

In this and other works, French artist Suzanne Valadon steps outside the boundaries established for women artists in the male-dominated world of art. Portrayal of the gazed-upon female nude was reserved for men who conventionally painted them as objects: ageless, beautiful, seductive, passive, and vulnerable. Women painted flowers and children, not nudes.

Not only does Valadon violate traditional expectations, she presents an adolescent nude who, like most adolescents, is self-absorbed with her appearance. She is not positioned for the viewer's gaze, but for her own self-appraisal. The pubescent child/woman sits at the edge of the bed intent upon her own image in a handheld mirror. In contrast, a fully clothed woman, probably her mother, sits behind her on the bed gently towel-drying the girl's shoulder and arm.

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Deenie

Blume, Judy

Last Updated: Mar-14-2009
Annotated by:
McEntyre, Marilyn

Primary Category: Literature / Fiction

Genre: Novel for Young Adults

Summary:

Deenie is an attractive seventh-grader whose mother, determined that her good looks not be wasted, is pushing her toward modeling. When she tries out for the cheerleading team, however, Deenie's gym teacher notices her slightly crooked posture and refers her to an orthopedist who diagnoses adolescent idiopathic scoliosis. Both Deenie and her mother are horrified. Deenie decides an operation to "fix it" is the lesser of two evils when the alternative is to wear a brace for four years, but the doctor assures her the brace is the appropriate treatment.

Wearing the brace, initially merely a source of embarrassment, frustration, and anger, gradually makes Deenie aware of other kids with whom she has avoided contact because of various "handicaps." Her relationships within the family and among friends shift because of this new self-awareness and of others' varied capacities to accommodate to her new limitations.

The most gratifying discovery for her is that the boy with whom she has been developing a first romance does not find the brace a barrier either to friendship or to the tentative intimacies of early love. The subtheme of developing sexuality complements the novel's focus on body image as a crucial aspect of adolescent psychology.

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Body Language

Studer, Constance

Last Updated: Mar-10-2009
Annotated by:
Davis, Cortney

Primary Category: Literature / Nonfiction

Genre: Memoir

Summary:

Body Language, a beautifully crafted and expansive memoir by retired nurse Constance Studer, spans a range of issues within the narrative of the author's life: a childhood marred by a medical procedure--a hasty frontal lobotomy that left her father incarcerated in a mental institute-- and, in later years, by her own illness, one caused by the Hepatitis B vaccine.  These two events are the bookends that frame Body Language, a memoir that examines family life, nursing, medicine, medical ethics, personal survival and illness in language that is poetic and compelling.  Studer, a writer as well as a nurse, intersperses her own story--which is novel-like in its intensity--with literary allusions, research material and knowledge culled from her years as a nurse in Intensive Care.  In her memoir, she writes not only with the authority of one who has been on both sides of the bed, as professional caregiver and as suffering patient, but also as a family member who has witnessed how unwise and unchallenged medical decisions might affect generations. 

What I especially admire about this memoir is that it is not simply a "telling about."  Instead Studer brings us into the action of the narrative, for example giving us imagery and dialogue as her father prepares for the surgery that he doesn't know will deprive him of memory and sense ("Holy Socks" p. 21).  She also intertwines many narrative strands, giving us the fullness of her family history and her professional adventures, so that when we reach the narrative of her own illness we have a sense of a life, a full life, that has been forever altered.

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Hotel du Lac

Brookner, Anita

Last Updated: Feb-12-2009
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Pseudonymic writer of romantic novels, Edith arrives at her Swiss hotel on lac Leman. She had been sent by friends to extract her from a situation, which at first is not clear.  The month ahead looks bleak and long.

With a keen eye, she observes her fellow guests, almost all female: beautiful, slender Monica with an eating disorder masked as indulgence of her tiny dog; a deaf, lame dowager ousted from her own home by a churlish daughter-in-law; a narcissistic mother and daughter whose amiable but inane conversation slowly begins to engulf Edith. These encounters ought to be fodder for her writing and they lead Edith to contemplate her own relationships with parents, aunts, women, men, and love.

Part of the narrative is conveyed in detailed letters to “dearest David,” letters that, we later learn, are never sent. Edith and David must be lovers, but soon it emerges that he is married and intent on staying that way; their affair is secret – possibly even to David. Even later, the reader discovers that Edith was on the verge of marriage to sensible, kind, older Geoffrey. But at the last minute, she left him literally standing at the altar--to his horror and that of those friends who have since packed her off to Switzerland.

A well turned out, wealthy male guest appears on the scene, Phillip Neville. He guesses Edith’s identity and challenges her to be less romantic and more selfish. He points out the value of marriage in terms of career, social standing, and simple companionship. Then he startles her by proposing. No love exists between them, they both admit. Nevertheless, Edith is on the verge of accepting his offer and his crass, unromantic view of the world, when a tedious, banal observation changes everything. She opts for freedom in romantic solitude.

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Unaccustomed Earth

Lahiri, Jhumpa

Last Updated: Jan-06-2009
Annotated by:
Nixon, Lois LaCivita

Primary Category: Literature / Fiction

Genre: Collection (Short Stories)

Summary:

The unusual title is borrowed from Nathaniel Hawthorne's story, "The Custom House," to suggest a shift in fortune when immigrants "strike their roots into unaccustomed earth."  Set almost entirely in the United States (the unaccustomed earth), eight separate stories are connected most obviously by cultural dissonances affecting characters who are Indian or have Indian parents.  Three of the stories, however, are linked by a strong narrative connection that is unexpected, profound, and unforgettable.

For Indian readers, the narratives describe complexities about migration patterns, cultural issues, alienation, and generational differences. The stories deal with well-educated children of immigrants who become offspring their parents barely recognize.  For other readers, the stories reveal situations about families and customs that are strangely familiar, especially those stories dealing with relationships between parents and children.
 
The forces of globalization have created and accelerated shifts that can seem staggering to all parents intent on preserving cultural patterns and traditions. Whether Indian or not, most parents experience a sense of alienation while watching their children flourish in a world that increasingly appears unfamiliar and foreign.

Not surprisingly, the stories concern strains and challenges affecting mixed relationships and/or mixed marriages and stresses on disapproving and disappointed parents, while others focus on children succumbing to drugs and alcohol(for the latter, see annotation of "Only Goodness").  All deal with some kind of emotional loss, but provide connections to feelings experienced by children and their parents in life's quiet and more kinetic negotiations.
 
The first story is about Ruma, a well-educated woman who lives in Seattle with her work-alcoholic American husband, and child, Akash.  Generational and cultural contrasts are revealed in overt and more subtle ways when her recently widowed father arrives for a short visit. Even though Ruma's complete assimilation into her non-Indian home as well as her on-going worries about her father's loneliness are major considerations, another story thread is spun, one that quietly reveals the father's thoughts about himself and a new relationship made recently during a vacation in Europe. Ruma's assumptions about her father, his loneliness, his possible dependency on her, and the Seattle vacation as a possible signal for relocating to her household turn out to be entirely wrong. 
 
The last three stories follow a boy, Kaushik, and girl, Hema, into adulthood.  In the first story, "Once in a Lifetime," Hema recalls her first memory of Kaushik when he was 9 and she was 6. The occasion was a farewell party for Kaushik's parents who were returning from the United States to live in Calcutta. The mothers, who grew up in Calcutta, but met in Cambridge, Massachusetts had become very close and were saddened by this separation.

Seven years pass before Kaushik‘s parents return to the Boston area and stay with Hema's family. Hema found the now 16-year old young man appealing, but brooding and totally uninterested in her. Even though Hema expected Kaushik to be Indian-like in behavior, he was more Americanized than she was. That the family had flown first-class shocked Hema's conservative family as did their new smoking and moderate drinking habits.

After a long search, and to the relief of Hema's parents, Kaushik's family found a  modern house on the North Shore.  Before they moved to their new home, Kaushik surprised Hema with confidential information-- his family had left India to seek treatment in Boston for his mother's breast cancer.  All medical efforts had been unsuccessful and his mother had only a short time to live.  Hema promised to keep this disclosure secret and grieved for the woman she had come to admire and love.
 
The second story in the link, "Year's End," is narrated by Kaushik.  With the opening line, "I did not attend my father's wedding," readers know that Kaushik‘s mother has died.  His father, in Calcutta for a visit, had married Chitra, a woman with two young daughters, and all would be returning to the North Shore house to live. Most of the chapter recounts the ordeal of the mother‘s dying, Kaushik‘s tremendous sense of loss, and the loneliness experienced by him at Swarthmore College.  No mention is made of Hema by the desolate narrator except to remember he had hated every day spent under her parents' roof, but later had come to think of that time with nostalgia.  

"Going Ashore" brings Hema and Kaushik together in Rome where she has a study grant and a visiting lectureship and he is on vacation from his work as an award-winning photo journalist.  Hema's parents have arranged for her to marry Navin in Calcutta.  Navin has accepted a teaching position at MIT. Until her unexpected reunion with Kaushik and the intense love affair that follows, neither had experienced any real connection with another person.  The story about them in Rome seems to represent an independence from the cultural forces that have shaped their lives, but this independence is short lived.  Ultimately, she is unable to set aside the expectations imposed by her parents.  The consequences of their final separation are more than any reader might imagine.

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Annotated by:
Miksanek, Tony

Primary Category: Literature / Fiction

Genre: Collection (Short Stories)

Summary:

New York is the setting for thirteen linked stories that profile a long line of curious and sometimes loony doctors who are passionate about medical science but often lack common sense and good judgment. Beginning with Dr. Olaf van Schuler in the seventeenth century and continuing over more than 300 years with generations of his descendants (the Steenwycks), missteps and madness loom large in this inquisitive and peculiar medical family.

Most of these doctors share common goals: They strive to eliminate pain. They attempt to expand the scope of medical knowledge. They seek the soul. In their quest for cures and enlightenment, many of these physician-scientists, their relatives, and patients embrace off-beat diagnostic techniques or unproven remedies: phrenology, magnetism, bloodletting, hypnosis, radium-emitting apparatus, electrical shocks, and lobotomy.

In "The Siblings," a doctor performs a lobotomy on his sister. She dies a few months after the operation. In "The Story of Her Breasts," a woman develops rheumatoid arthritis that may or may not be caused by her silicone breast implants. She also experiences guilt and worry after encouraging her 18-year-old daughter to undergo breast augmentation. In "The Baquet," hope is undeniable and a miracle cure is mesmerizing. In the book's final story, "The Doctors," two physicians - a father and his daughter - grapple with their strained relationship and the man's progressive deterioration that might be due to Creutzfeldt-Jakob disease.

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