Showing 1 - 7 of 7 annotations tagged with the keyword "Parenting"
Summary:In her memoir, The Last Strawberry, Rita Swan describes the illness and death of her sixteen-month-old son, Matthew. As practicing Christian Scientists, Swan and her husband observe their son’s sudden symptoms and unusual behavior but do not visit a pediatrician. Instead, they hire Christian Science “practitioners” whose goal is to effect a cure through prayer. These prayers, however, fail, and Matthew’s condition quickly deteriorates. After days of unsuccessful faith-based treatment, Swan decides, in desperation, to bring her son to a hospital, where he is diagnosed with advanced spinal meningitis. Swan recalls, “We brought our Christian Science books to our comatose child in the intensive care unit. We read, whispered, prayed, and cried over him for hours every day, whether our Church believed it was right or not” (37). Matthew eventually died in the hospital in July 1977.
A sudden cramp shoots down the spine and then, stillness... (p. 9)
An unbearable stinging had settled into her shoulder neck ember... (p. 10)
She felt an invisible wound wrapping her up and suffocating her... (p.10)
A slight numbness that starts in the shoulder and extends along the arm to the elbow until it reaches the back of her right hand, the fingers where it all started. (p. 12)
Inflammatio. In flames. En llamas. Ardor without romance. (p. 10)Quickly, then, the story shifts from Ella’s dissertation odyssey to her diagnostic odyssey. As she makes her way along this journey during the first chapter, other characters come into the picture: El, Ella’s long-term boyfriend and forensic scientist, is one. The others in her family history are “the Father,” “the Mother,” “the Brother,” and “the Twins”—none are ever named (neither, really, is Ella or El because they are “she” and “he,” respectively in Spanish). Except for the Twins, each of the subsequent four chapters center on one of these characters and how they figure into the family history. Just as in the first chapter, the stories are told through and around the health challenges each character faced; all harrowing, many life-threatening, and some metaphorical.
Summary:Poet Felice Aull has three poems in "Lullabies & Confessions," an anthology of poems about parenting published by University Professors Press. In her poems, Aull often bravely sheds her professional mantle to reveal personal experiences, deeply observed.
Summary:David Sheff (Steve Carell) and Nic Sheff (Timothée Chalamet) never had a stereotypical father-son relationship, one moment sharing a joint by a Volvo 240, another speaking Klingon in a small-town café in California. The fallout of divorce proceedings and long-distance shared custody seemed to solidify their relationship further; only Nic’s summer and holiday stays in LA with his mother could separate him from his journalist father–that is, until he starts experimenting with drugs. Beginning with marijuana and alcohol, Nic eventually finds himself using meth in his teens, his intellectual precocity feeding an existential need to escape. His substance use disorder, with meth at the forefront, takes hold of his life. Over the course of roughly five years, Nic fluctuates between relapse and sobriety, resulting in two failed attempts at college, multiple instances of theft and deceit, a car chase, and a hospital admission, supposedly at Bellevue Hospital. David Sheff is all the while present to varying degrees, supporting his son in his efforts at rehabilitation while being decimated by anxiety over his child’s well-being and multiple disappearances. His concern often undermines his other responsibilities, namely being fully present in the lives of his current wife, Karen, and his two young children, Jasper and Daisy. This tension reaches its climax when Nic’s mom calls David imploring for help in getting Nic treatment. David, having reached a breaking point, refuses, saying, “I don’t think you can save people” [01:42:33]. Soon thereafter, Nic graphically overdoses for the second time and miraculously survives. The film ends with David and Nic embracing in the courtyard of a rehab facility while the second movement of Górecki's Symphony no. 3 plays in the background. Before the credits, the audience learns that, at the time of the film’s final production, Nic had been sober for 8 years.