Showing 81 - 90 of 188 annotations tagged with the keyword "Scapegoating"
Vanya and Uncle Nicolai, two orderlies in a morgue, are preparing for funeral the body of Trepov ("Known everywhere simply as Trepov" (63), a hated officer because of whom "more [Russian] people were murdered than absolutely necessary." Trepov is the pawn of "the Little Father" (64); both very well may be cruel administrators of an invading force, not necessarily Russians themselves, although this is not clear.
What is clear is that Vanya, the younger orderly, despises Trepov. After finishing the dressing of the cadaver in military finery, replete with "all those gilt-enameled medals" (64). Vanya suddenly closes the door, to Uncle Nicolai’s bewilderment. Even more surprising is Vanya’s determined slapping of Trepov’s face three times. With tacit approval from Uncle Nicolai, Vanya then kicks Trepov. Finally, Vanya slaps, with all his strength "the corpse’s face again. Now we can go, he stammered, his face flushed with the thrill of it." (65)
Vanya goes to bed thinking about the son his wife is expecting (since there was no ultrasound between 1908 and 1912 when Csáth most likely wrote this story, this detail remains mysterious) and how he will boast to him about "that day’s doings." And then he falls fast asleep, "breathing evenly, deeply, like all healthy people" (65).
This 15-line poem considers how, through the ages, dwarves have been ridiculed. Something about their appearance makes us, in our "big, proper bodies" laugh at them. We "snicker" at the immensely obese as well, even as we are aware of the danger to their health. Then the narrator takes us one step further: "And imagine the small political base / of a fat dwarf."
In the final stanza, the "we" becomes restricted to the narrator and his friends, who are socializing over dinner and can "hardly contain" themselves. But does that let the rest of us--the complicitous larger audience--off the hook?
As much about the abusive treatment of women, and the clash of traditional and contemporary mores as it is about the HIV/AIDS pandemic, this beautifully crafted novel tells the story of a nineteen-year-old Mosa (for mosadi--woman) who has already lost two brothers to AIDS. The reader is caught up in the mega-deaths and non-mention of the dreaded acronym, AIDS, as the story unfolds. At their brother’s gravesite Mosa’s one remaining living brother is halted as he shovels in the final loads of earth: "All around him were fresh graves . . . He looked at the not fresh, fresh graves, and noted the dates of birth. Young people who had died prematurely . . . He had known about their long illnesses, their deaths and their funerals." (p. 20)
The author is the first (and only) female judge of the High Court of Botswana and a human rights activist. She is internationally renowned for bringing about the Dow Case, which challenged Botswana nationality laws; she argued successfully for revisions allowing women to pass their nationality on to their children.
The story takes place in the mid-19th century in a remote settlement of Queensland, Australia. One day as a group of children are playing at the edge of the village, a remarkable figure stumbles out of the bush. This dark, unkempt person (Gemmy) turns out to be a white man who fell from a ship 16 years earlier (when he was a 19 year old sailor) and has lived with an aboriginal tribe ever since. He hardly remembers English, and his culture and sensibility have become those of his adopted people.
At first Gemmy creates a sensation in the settlement and people want to help him, despite his obvious savage mentality (after all, he isn't even embarrassed by nakedness!). He goes to live with the McIvor family, whose daughter, Janet, and nephew, Lachlan Beattie, were among the children who found him. While Mrs. McIvor accepts Gemmy with Christian love, her husband Jock is skeptical.
In fact, it soon becomes clear that there are major tensions in the village regarding Gemmy. Has he really become "one of them" (a black)? Can he be trusted? He seems harmless enough--almost a pleasant imbecile--but perhaps it is all a subterfuge. Perhaps he is in contact with THEM.
Among the European settlers, there are two views of how to handle the blacks. One group believes they should simply be wiped out--every one of them killed--because they are savage, worthless, and couldn't possibly become (real) Christians. A second group has a more romantic view. They think the black people could be "tamed" and become their servants. They envision themselves as owners of large plantations (as in the southern United States) worked by multitudes of happy and harmless black servants.
Representatives of both groups try to win Gemmy's confidence and obtain information regarding the whereabouts and plans of the black tribes. He, however, remains silent about these matters, although pleasant and deferential toward everyone. An uneasy truce holds until one day two aboriginal people are observed visiting with Gemmy on McIvor's property. This creates an uproar, which eventually leads some of the God-fearing whites to commit acts of vandalism and to injure Gemmy.
To preserve the peace, the McIvors send Gemmy to live with Mrs. Hutchence, an eccentric woman who lives on the margin of the settlement. However, he soon disappears into the wilderness, but not until he retrieves--and destroys--what he thinks are the seven pieces of paper on which Mr. Frazier, the minister, had written Gemmy's life story soon after he had emerged from the bush.
The story takes place in Jakarta during the last year of Sukarno's presidency. Despite the near collapse of the Indonesian economy, President Sukarno continues to spend money on massive projects and mobilize the nation against foreign imperialists, especially the United States and Britain. The Great Leader has pronounced this "the Year of Living Dangerously."
The main protagonists of the novel are several foreign newsmen, in particular, Hamilton, a newly arrived representative of the Australian Broadcasting Service, and Billy Kwan, a free-lance cameraman, also from Australia. Billy is an achondroplastic dwarf, an intense man whose secret fantasy life includes a belief that dwarfs form a separate race.
Billy's onetime hero, Sukarno, has now led Indonesia to the brink of revolution. Billy befriends Hamilton, to whom he also attributes heroic qualities, and the two become inseparable for a while. However, both Hamilton and Sukarno prove that they have clay feet. Hamilton does this by co-opting Billy's fantasy girlfriend. In the climactic last weeks before the Indonesian coup d'etat, Billy is radicalized and decides to take direct action. Realizing that his course of action may be fatal, Billy tries to publicize Sukarno's misuse of power by unfurling an anti-Sukarno banner from a government building in Jakarta. He is killed in the attempt.
In 1848 a member of the Irish gentry named Robert Devereaux is convicted of treason and sentenced to 14 years imprisonment for publishing articles that advocate the violent overthrow of English rule in Ireland. This novel is purportedly based on the journal that Devereaux kept during his years as a prisoner (1848 through 1851).
It begins when he is transported from Ireland to Bermuda, where he spends many months in a prison "hulk." The authorities have to handle him carefully, though, because he is both a gentleman and a symbol of Irish resistance. They do not want to have a martyr on their hands. Thus, when Devereaux develops severe asthma in Bermuda, they send him to Van Diemen's Land (Tasmania), where he is given a "Ticket-of-Leave"; i. e. he is allowed to live as he wishes in the colony, provided he adheres to certain restrictions and agrees not to attempt escape.
Once in Van Diemen's Land, Devereaux is reunited with other prominent political prisoners. He also meets and falls in loves with Katherine, an Irish Catholic woman, far lower in social class. (Devereaux is a member of the land owning Protestant Ascendancy.)
To be close to Katherine, Devereaux buys a hop farm with an English prisoner named Thomas Langford. The lovers intend to escape to New York together, but Katherine is pregnant. She dies shortly after delivering a healthy son. The despondent Devereaux eventually escapes as the journal ends.
Jimmie Blacksmith is the son of a white man and an Aboriginal woman in late 19th century New South Wales. A Methodist minister teaches him Christian ideals and Western ambition. Thus, he sets out to make a life for himself in the cash economy and to marry a white woman, who he believes is carrying his child.
For a long time Jimmie quietly overcomes one barrier after another, and calmly accepts the continuous taunting and humiliation of Christian whites, who believe that Aboriginal people are dirt. However, he finally snaps. Exploited by his boss and betrayed by his wife, he simply cannot take it anymore. Jimmie then goes on a killing spree that seems to confirm the whites' worst fears.
It is 1938, Germany. A Jewish family--lawyer husband, Walter (Merab Ninidze), wife, Jettel (Juliane K?ler), and young daughter, Regina (Lea Kurka, Karoline Eckertz )-- must leave their homeland. Walter establishes a base as a tenant farmer in the British colony, Kenya, sending for his wife and child later. We see Walter in Kenya, sick with malaria, being nursed by Owuor (Sidede Onyulo), a native Kenyan who serves as a live-in cook. Juxtaposed are scenes of Jettel in Germany--fashionably dressed, socially active, secure in the presence of her parents, and not looking forward to living in Africa.
The remainder of the story takes place in Kenya after Jettel and Regina join Walter, who tries to scratch out a tenant farmer's livelihood on the barren, red earth. Walter is stoic but Jettel is miserable in the strange new country, where she cannot speak the languages (English and Swahili) and desperately misses her family. Her dissatisfaction strains the marriage. Adding to the strain on both Walter and Jettel is their worry over what will happen to their parents, who remained behind in Germany. Regina, however, adapts quickly, in part because she responds to the affectionate welcome offered her by Owuor.
When war breaks out between Germany and Great Britain, the family is interned (still in Kenya)--they are considered to be enemy aliens. Men are separated from women, but the women are housed in a former resort hotel where conditions are not too unpleasant. Jettel pleads with the British administrators to find a position for her husband so that they can leave the camps--after all, she points out, they are Jewish and no friend of Hitler. A young officer overhears her, seizes the opportunity to take advantage of Jettel's vulnerability, and in exchange for her sexual favors, helps the family to leave internment and resume farming in a new location.
When the war ends, Walter looks for an opportunity to return to Germany and to work in his profession (law). He is idealistic, believing he has a responsibility to help build a decent society in Germany while Jettel, on the other hand, has grown to like their life in Kenya and deeply distrusts the country that rejected them and murdered their parents.
Ian Young spent the summer of 1970 as a medical student working at a hospital in the province of Kabylia in Algeria. He was assigned to the Maternity department, where he worked primarily with two Bulgarian doctors. Most foreign medical personnel in Algeria at the time came from Eastern bloc countries, as "Islamic Socialism" was the official political system in the newly independent (1962) North African country. According to Young, obstetrical care for the mostly Berber women of the area was brutal, disorganized, antiquated, and dangerous.
Dr. Vasilev, the head of the department, is a passive and indecisive man, who spends most of his day reading the newspaper. Once roused from his lethargy, which doesn't happen very often, he demonstrates competence and concern for his patients. His colleague, Dr. Kostov, is an aggressively brutal man who introduces himself to pregnant patients by shoving his fist into their vaginas.
Both doctors excuse their behavior by saying, "We just can't do it here they way we do it in Bulgaria." For the most part, they do not use sterile technique, and although anesthetics are available, neither Kostov nor Vasilev typically use them. The Algerian nursing staff provides at least a modicum of organization and care in this dreadful environment.
At first Young approaches the situation with disbelief and anger. He then attempts to improve the quality of care, first by introducing a flow sheet for obstetrical care, and later by submitting a report on the poor conditions to the hospital director.
Mild-mannered Dr. Vasilev supports him, but no one uses the new flow sheets, and the Director considers the report a personal (and political) affront. Meanwhile, Ian Young presents the reader with a seemingly endless series of fascinating patient cases and interesting stories about hospital personnel, as well as about his excursions to various parts of Kabylia.
In this collection, Judith Arcana brings together her long-standing feminist activism, especially for reproductive health and abortion rights, and her gifts as a poet. Although Arcana's activism dates back to the early seventies, most of the poems in the book were written between 1998 and 2004. They draw from "the lives of women and girls I know or have simply encountered" (xi).
The collection is divided into four sections: "Separating argument from fact," "Information rarely offered," "Don't tell me you didn't know this," and "Here, in the heart of the country." Spoken in first, second, or third person, these poems evoke the myriad individual situations in which women of childbearing age become pregnant, and the trajectories their lives may take as a result.
The title of the collection derives from one of its poems ("What if your mother") and the related, immediately preceding poem, "My father tells me something, 1973" (6-7). Arguing back to those who confront her with, "What if your mother had an abortion? . . . they mean me," the speaker/poet answers, "then I say she did . . . . "What if, what if. / What's the point of asking this phony question?"
From the preceding poem, the reader has learned, along with the speaker listening to her father in 1973, that the poet's mother had an abortion in the Depression era, early in marriage. With this juxtaposition of poems we are introduced early in the book to the complexity of the issues surrounding pregnancy, parenthood, and abortion and to the timeline of a continuing national and personal debate. This complexity is the subject of the collection.