Showing 81 - 90 of 118 annotations tagged with the keyword "African-American Experience"
Summary:Life on the Line relates the experience of 228 writers who express in their work the deep connection between healing and words. Walker and Roffman have organized their anthology into eight topical chapters: Abuse, Death and Dying, Illness, Relationships, Memory, Rituals and Remedies, White Flags From Silent Camps, and a chapter of poems about the nuclear accident at Chernobyl. This hefty volume contains a very broad selection of contemporary poems, stories, and essays by both well-known and relatively unknown writers on the experience of illness and healing.
This short story is an examination of a young African- American girl’s first encounter with her own menstruation. She is totally ignorant about this natural biological event, thus is very frightened and believes that she is sick, even dying. She has no one to turn to, having been raised by her grandmother who has kept her ignorant. When she is discovered in the bathroom, bloody and afraid, her grandmother accuses her of having an abortion, which we learn was the cause of her own mother’s death. The story is a wonderful exemplar of how many women come to believe that female biology is something secretive yet powerful, natural yet mysterious, exalted yet slightly shameful.
Summary:This documentary presents a pastiche of illness narratives, the stories of seven women (including the filmmaker and the associate producer) who have struggled with mental illness, including depression, bipolar disorder, and multiple personality disorder. Intercut with the interviews are reenactments of key events in the women? lives; vivid depictions of sometimes frightening, sometimes exhilarating mental states experienced by the women; films and still photographs from the womens' childhoods, and archival film footage. In the process of exploring their illnesses and recoveries, the women discuss experiences that hurt them (rape, misdiagnoses, racism) as well as those that helped them heal (creativity, caring, therapists, and spirituality).
Summary:Fifteen-year-old Frankilee's sense of justice leads her to conspire with her mother to kidnap Angelica Musseldorf from a home where there is every evidence she has been consistently beaten and abused. With reluctant cooperation from her father, they take the girl in, confront the parents, and install her in Frankilee's room for an indefinite stay. Angelica, who asks to be called Angel, is not only scarred, but needy--indeed, over time, demanding. As her parents shower her new roommate with attention, clothing, lessons, Frankilee struggles with her deepening resentments. She confides them to Wanita, the family cook, an African American whose long service to the family has given her a place of special affection.
The novel is set in a small, Southern town. Velma Henry, a long-time civil rights activist and feminist, sits in a hospital gown on a stool listening to the musical voice of Minnie Ransom. Old Minnie is a healer; she heals people by contacting the points of physical or psychical pain in her patients and relieving them. She is helped by her spirit guide, Old Wife. Scars heal and wounds close in minutes under her touch.
Velma needs her help because she has just tried to kill herself, sick of the painful fight for change that never comes. Her healing takes a long time, for Minnie must first convince her that she wants to be cured. The two are surrounded by tourists, doctors, and passers-by. They are in a clinic that focuses on traditional medicines of all kinds. The novel describes the inner-healing process of Velma, the efforts of Minnie and the thoughts of people looking on or associated with the scene.
Meridian is set in the American South during the 1960s and early '70s. The heroine, Meridian, is a black woman from a southern town. She marries, has a child, gets a divorce, sends her child away, and ends up working in a voters' registration campaign, encouraging African-Americans to register. Meridian is different from her co-workers in that she interacts with people as individuals, rather than by stereotyping them. For example, while others lecture black families about the importance of voting, Meridian sits and talks with them, trying to address their basic needs of food, heat, and affection.
As years pass, her co-workers quit and move into comfortable houses. She moves deeper south, living in whatever housing the community can afford to give in exchange for her constant work on their behalf. Frequently, after staging a rally or other event, Meridian develops partial paralysis. She grows more and more ill. A halo-like light surrounds her head as she thinks of the history of her people and of her role in that history. She ultimately heals herself and moves to the next small town.
Summary:These poems stem from Coles's studies of the lives of poor black children in the South, and Native-American children in the Southwest and Alaska. In his Introduction to the first section of the book, Coles writes, "The words in this section tend to be soldiers." These tough, sad, hopeful, and militant poems give voice to children and adults on the firing-line during the civil rights movement of the 1960's. The poems in the second section, which arise from Coles's work among Native-Americans, are quieter in tone, more radiant, lyrical, and even transcendent.
This documentary, narrated alternately by the daughter-filmmaker and mother whose stories it tells, focuses on how two women move apart and together while experiencing, respectively, adolescence and mid-life. The mother has cancer, a mastectomy, and then rheumatoid arthritis, and these experiences intertwine thematically and structurally with the narrative of the mother-daughter relationship.
Another provocative juxtaposition cross-cuts scenes from the daughter's modeling career (and the social and erotic body that context constructs for her) with scenes of the mother's illness, stigmatization, and erotic daydreams. Both women come to a new awareness of the social meaning of mastectomy within heterosexual and same-sex contexts by the documentary's end; they also come to a place of recognition of the mother's personal and social value and the nature of their relationship.
This is the story of Shed, a boy growing up in Idaho at the turn of the century. Shed, who believes he has a Native-American mother, is berdache, the Native-American third sex. Though physically male, he has feminine attributes and is bisexual. For the first half of the novel, Shed is trying to figure out who he is. He lives in a whore house run by Ida Richilieu, a bossy but deeply caring woman who acts as his mother. His own mother disappeared, hunting down a man who raped Shed. Shed later finds her body in the mountains.
One day he leaves Ida's place to visit his mother's people. On the way, he meets Dellwood Barker, a white man, who talks to the moon. Shed discovers a photograph of his mother in Dellwood's things and assumes that Dellwood is his father. Nevertheless, they fall in love and begin a sexual relationship. Dellwood believes in Moves Moves, the substance in sperm that gives life. The two separate so that Shed can go to the Indian reservation. He gets shot while there, but an old Indian man saves his life by breathing his soul into him.
Shed returns to Ida's where Ida, Shed, Dellwood (who stumbles back into Shed's life), and a whore named Alma Hatch, form a new family. Together they fight the racism and bigotry of the Mormons who take over the town. Ida and Alma get lost in a snow storm. Alma dies and Shed and Dellwood have to amputate Ida's legs which are badly frostbitten. They help her to heal by giving her the energy of their Moves Moves. By the end of the novel, Shed is content with his identity.
The narrator is an aging, male gynecologist who works in a small North Carolina town. The National Health Service sends a young doctor, Rachel, to work in the clinic. From Boston, she is unused to the town's racial politics. She learns slowly to understand the motivations and concerns of her patients. As she campaigns for condom distribution, she ends up insulting the white men who run the town by calling them racists.
The narrator protests that they have power in the town only because no blacks ever run for office and that their policies are meant to distribute wealth evenly. He encourages Rachel to be more gentle and womanly. She will get her way more easily if she smiles. But Rachel eventually turns her back on the narrator, too, when in order to get a violent black man out of the clinic's lobby he calls the man "boy" and threatens to call the police. Rachel moves in with a black man. The town has revenge when a hit and run driver kills her lover and Rachel is hounded out of town.