Showing 91 - 100 of 189 annotations tagged with the keyword "Scapegoating"
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.
Sapphira was a fashionable young woman in Winchester when she married Henry Colbert, a man beneath her station, and moved to a rugged backwoods village, where they have lived for more than 30 years. Twenty of Sapphira's slaves came with them. This caused somewhat of a sensation among the poor, non-slave owning population of the region, where even to this day the Colberts are admired but not well-liked. Henry successfully took over the village grinding mill, while Sapphira assumed the role of local granddame. They had three daughters, all of whom married and moved away. However, Rachel's husband died, and she returned to Back Creek with her two young children.
Sapphira and Rachel are lay nurses who often visit and comfort the sick. Sapphira appears to do this work out of a sense of noblesse oblige, but Rachel feels empathy for the sick and less fortunate. She sets herself above nobody. Rachel is also an abolitionist at heart (as, to some extent, is her father), but Sapphira is firmly convinced that slavery is not only necessary, but also moral. Henry, a rather ineffectual male presence in this story, has responded to Sapphira's haughty regime by gradually withdrawing. In fact, he has largely abandoned the Big House to live at the mill, which he justifies by claiming the lack of a reliable foreman.
Sapphira suffers from severe dropsy. Her swelling is so bad she can no longer walk. She is jealous of a young slave named Nancy, with whom she believes Henry is having an affair. Much of the novel describes Sapphira's attempts to get rid of Nancy, first by selling the girl in Winchester, and later (when Henry refuses to sell) by importing her ne'r-do-well nephew to rape and destroy Nancy. This doesn't work either, primarily because Rachel takes Nancy under her wing and arranges her escape to Canada via the Underground Railroad.
This is a play about gullibility, evil, and jealousy. Iago, the embodiment of evil intent, resents not having been promoted. In the opening scene, he announces his intention to avenge the wrong done him by Othello and Cassio. He devises elaborate schemes to turn Othello against Cassio by implicating Cassio in tryst with Desdemona, Othello's bride.
The scapegoating plan works and in a jealous rage Othello smothers his beloved. When he learns he has been duped, Othello kills himself. The author of the tragic deaths, Iago, is ordered by the new general, Cassio, to torture and execution.
Dr. Robert Weiss passes through the town of Sankt Vero in the Tirol and rents a room from the Lukasser family. During the night, the Lukasser's son, Niki, develops acute appendicitis; the visiting doctor operates right there on the kitchen table, saving the boy's life. Years later, when war rages in Europe, the Jewish doctor returns to Sankt Vero and knocks on the Lukasser's door. He tells of soldiers forcing men, women, and children into railroad cars, and how he himself--he who had saved Niki years before--needs asylum.
To hide Dr. Weiss, Mr. Lukasser boards him up in a small room in the back of the hayloft, a space one meter wide and three meters high. For two years, the doctor exists in this box. Niki and his friend, a blind girl named Sigi, bring Dr. Weiss food once a day and, for ten minutes or so, they stay and talk. Sustained by Niki and Sigi's lives--the stories of their discoveries of sexuality, cruelty, and love--the doctor survives.
Although Sigi is blind, she has the insight to recognize and try to alleviate the doctor's growing depression by encouraging him to tell his own stories. It is through these stories and through the doctor's observation of Sigi and Niki's blossoming adolescence and struggles with morality that we experience both the doctor's confinement and the powerful conflicts and transformations that rage behind the doors of Sankt Vero.
Summary:This historical novel tells two biographical stories side by side and then brings them together in an unexpected way late in the book. Arthur is Sir Arthur Conan Doyle, physician and writer, known especially for his Sherlock Holmes stories. His story starts with his childhood in Edinburgh and his closeness to his mother (Mam). His father is described as a gentle failure of a man.
This is a story about Bea, a single woman professor who has just had a caeserian section for an 11 pound boy, and her hospital roommate, Corinne. Bea describes her own discomfort with Corinne’s race, while admiring Corinne’s pride and nurturance toward her newborn son. As the story progresses, Corinne is betrayed by the medical world in a multitude of ways: misdiagnosis, racist treatment, denial of medical treatment, and incompetent care, resulting in Corinne’s sepsis and her son’s eventual death.
At the end of the story, after Corinne and Bea are discharged from the hospital, Bea tries to visit Corinne and deliver the pictures of her child that Corinne hadn’t been able to afford. But at the last minute, Bea turns away. Although she wants to help, she feels wholly inadequate, and believes she will only cause Corinne pain. Ironically, Bea remembers her last night in the hospital, how she covered her ears as Corinne’s baby whimpered, and as her own breasts surged with milk for the crying child. Even though her instincts and body tell her what to do for Corinne, she is not able to listen.
In March, 1981, in Vermont, Charlotte Bedford goes into labor. She has decided to give birth at home with the help of a midwife, Sybil Danforth, but complications develop. Charlotte has a seizure, her heart stops, and she does not respond to CPR. The fetus is still alive, so Sybil delivers him successfully by Cesarean section, with a kitchen knife. But the bleeding when Sybil makes the incision convinces her assistant that the patient’s heart was still beating. She reports this to the police and Sybil is put on trial for involuntary manslaughter.
The story of the trial is told by Sybil’s daughter, Connie, fourteen years old at the time and now an obstetrician-gynecologist. The acquittal comes at a price: the midwife finds herself no longer capable of delivering babies, and both she and her daughter are given a new insight into the uncertainty which underlies so many of medical decisions. At the end of the novel we are left uncertain whether or not Charlotte was still alive when her baby was delivered.
Nathan was born with a strawberry birthmark on his chest, which both repels and comforts him. Sometimes it is an intricate and unique part of himself that sets him apart from other people and has the power to make him feel special. On the other hand, its very strangeness makes it repulsive to others, especially to women. At his girlfriend’s urging he decides to have the birthmark removed. Despite his doubts, he goes through with the surgery only to realize he has made a big mistake. He blames his girlfriend for his decision.
Matvey Terekhov lives with his cousin Yakov, who runs an inn. Matvey was once extremely religious and ascetic, but now has left asceticism behind. Yakov, on the other hand, is obsessively religious. At one point Matvey initiates an argument with Yakov about a religious issue. Yakov is overcome with anger and Aglaya, Yakov’s wife, hits Matvey over the head with a bottle, and kills him. Husband and wife are sent to prison in Siberia. While Yakov loses his faith after the murder, he regains it in prison.
A lieutenant named Alexander Grigoryvitch Sokolsky arrives at the home of Susanna Moiseyevna Rothstein, a Jewess and owner of a vodka distillery. Sokolsky has come to collect the 2300 rubles that Rothstein owes his married cousin. In fact, his cousin doesn’t actually need the money, but Sokolsky is helping his cousin get his debts paid so that he can then borrow the 5000 rubles that he needs to marry his fiancée.
Susanna, a luscious, free-spirited young woman, receives the lieutenant and offers him supper. She entices the IOUs from him, but then refuses to pay up. The next morning Sokolsky returns to his cousin’s house without the money, but presumably sexually satisfied. Kryukov, the cousin, rants and raves. What an outrage! He determines to visit the Jewess himself and demand payment. He does so and, likewise, only returns the next morning, penniless.
After a week, Sokolsky borrows the money from his cousin and leaves. After another week, Kryukov gets an uncontrollable itch to visit the Jewess again. When he arrives at her mansion, there are many men around, including Sokolsky, who evidently has hung around Susanna’s house for a week, having completely forgotten about his fiancée. Krykov’s final words are: "How can I judge him since I’m here myself?"