Showing 1281 - 1290 of 1376 annotations tagged with the keyword "Family Relationships"
Williston (Will) Barnett, the damaged son of an old Southern family, is the protagonist of this rambling, picaresque novel. While living in New York, Will meets Kitty McVaught, a young Alabama woman whose father owns the world's largest Chevrolet agency. Will, who suffers from bouts of amnesia and fugue states, follows Kitty back to Alabama and meets her family, including her mother, who believes the South lost the Civil War as a result of a Jewish conspiracy; her older brother Sutter, a failed physician and self-proclaimed pornographer; her sister Val, a devoted Roman Catholic who works among the poor black children; and a 16 year old brother Jamie, who is terminally ill.
Will's mission in this novel is to discover why his father committed suicide when Will was 12 years old, and thereby achieve some healing of his own memories, but most of the action in the novel involves various members of the McVaught family, especially Sutter and Val, who represent the warfare between animal desire (Sutter) and angelic spirit (Val) in this fallen world. The novel's climactic scene takes place in Santa Fe, where Jamie undergoes a deathbed conversion. Afterward, Will presumably returns to Alabama to marry Kitty and do something constructive with his life.
A comprehensive and quite readable biography of Anton Chekhov (1860-1904) by an eminent scholar of Russian literature. Five aspects of Chekhov’s life (as presented here) stand out as particularly interesting: First, the central importance to Chekhov of his self-image as a physician, even in the latter part of his career when he had given up the regular practice of medicine.
Second, the theme of philanthropy (especially in medical and educational areas) that runs through his entire life. For example, even while he was dying of tuberculosis himself, Chekhov was still actively involved in raising money to build a tuberculosis sanitarium at Yalta for poor writers. Third, the fascinating portrait of a person who was extremely compassionate and emotional, yet very reserved and reluctant to express his feelings to others, even to close friends.
Fourth, his long denial (even to himself, perhaps) that he suffered from tuberculosis, even though the diagnosis must have been medically obvious. For example, he began having episodes of coughing up blood as early as 1887 or 1888. Fifth, Chekhov’s fascinating decision to marry Olga Knipper (1901) at a time when he was already gravely ill and an invalid, after having shown no interest in matrimony (and a generally flippant attitude in his relationships with female friends) throughout his adult life.
Summary:David Moolten's poems demonstrate the medical (and poetic) virtues of simplicity, clarity, skillful observation, and attention to meaningful detail. They reveal and transform the poet's experience--from "a brief Christmas display / Of bells and lights" when he feels the silence of his father's joy "as I pull out the Lionel / Strangled with tinsel . . . " ("Freight"), through a call from the rehabilitation hospital during which his shattered brother "cried like static into the phone" ("'Cuda"), to "The Night" in which the poet stares through the window of memory at his and his wife's younger selves and tries "to whisper in their ears / They don't know where they're going" as they "lean into each other / Like two hands shielding a small flame . . . . " Among the other particularly appealing poems in this collection are "Chemistry Set," Motorcycle Ward (see this database), "Voyeur," "1968," and "Omission."
This short dramatic monologue is in the form of a public lecture by Ivan Ivanovich Nyukhin, the "husband of a wife who keeps a music school and a boarding school for girls." Nyukhin begins by indicating that his wife has insisted that he lecture today on the harmful effects of tobacco, though he himself smokes. He invites those who are not prepared for a dry, scientific lecture to leave, but then keeps postponing the topic while he talks about how forceful and dominant his wife is.
He longs "to take off this vile old frock that I wore to my wedding thirty years ago" and assert himself. Yet, he can't; his wife is waiting in the wings. At the end of the monologue, Nyukhin begs the audience not to "tell" on him: "tell her that the lecture was... that the booby, that is me, behaved with dignity."
As she turns 39, Alden begins a four-year quest to have a child. Despite her need and desire, she wonders whether having one will keep her from her work, writing. She and her husband Jeff go from not-really-trying, through temperature charts, to a series of painful and expensive procedures, all to no avail.
The memoir describes not only Alden's search for a child but for herself as well. Her relationship with her mother, her immersion in the counterculture ("in a middle-class way"), the importance of writing, her attempts to keep her own life under control, and her satisfying marriage are important elements in the memoir.
Summary:Many of the poems in this volume bring historical figures to life; these include figures as varied as "Wallace Stevens, Walking," "The Death of Shelley," "Rembrandt's Head," "Immanuel Kant," and "David Hume and the Butterfly." Some, such as "The Miracle," "Dr. Beaumont's Miraculous Hole," and "The Corpse in the White House," focus on specifically "medical" aspects of history. Dr. Young also includes a number of poems that arise from his own experience as a practitioner; e.g. "The Rodeo Queen," "The Medusa," and "Night Call."
Summary:Su, a highly regarded journalist in a southern city, is going through a rocky menopause. In addition, her longtime partnership with her lover, Bettina, is faltering; she is having trouble writing; and she finds herself falling in love with octogenarian Mamie Carter, whose bridge club also metes vigilante justice on perpetrators of domestic violence. Into Su's hectic life appears Sister Gin, a mysterious figure who leaves notes challenging Su's work and sense of herself.
John Binkerson ("Binx") Bolling is a young man from a "good" New Orleans family who for some years has devoted himself to money, sex, and watching movies. During Mardi Gras, when the novel begins, he wakes up to the vague feeling that something more is needed in his life.
We meet his Aunt Emily, a Southern noblewoman, and his cousin Kate, who is said to be somewhat unstable since her fiance's death some years earlier; she is currently engaged to the virtually invisible Walter. The action also takes us to the bayous, where Binx visits his remarried (Catholic) mother and her family, including his sickly adolescent stepbrother, Lonnie. (Binx's father died in World War II; Binx, himself, has survived service in the Korean Conflict.)
Subsequently, Binx takes a trip to Chicago with Kate; on the train she offers to have sex with him, but he refuses. Binx and Kate must then respond to Lonnie's unexpected death. In the end Binx decides to give up his business as a bond dealer and go to medical school, and he and Kate decide to marry.
Summary:This essay is found in her collection, Reasonable Creatures: Essays on Women and Feminism. In this particular chapter she rips apart the contemporary fetish of family values and the cult of the nuclear family, exposing these arbitrary socio-political constructions for what they are: "just another way to bash women, especially poor women."
The title refers to the lineage of women who form the unusual community surrounding the central character’s life in the decades following World War II. When we first meet Antonia (Willeke Van Ammelrooy), she is an elderly Dutch woman announcing to herself that today is the day she will die, and when the film concludes, indeed, she does. However, what transpires in-between presents a rich story of birth, death, disability, love, hatred, and, above all, a tenacious sense of nurturing regeneration in spite of harsh and difficult obstacles.
Audiences are swept into a pastoral epic filled with the pathos and joy of human life. In the unfolding flashback, Antonia and her teen-aged daughter, Danielle (El Dottermans), return to her rural birth setting on the day her own mother dies, and where she will become the life force for her daughter and, eventually, for the entire village.
Two women running a large farm seems at first daunting, but we discover that Antonia is a farmer in what might be called a feminist sense: she cares for everything that grows. Not only do her crops thrive under prudent management, but so do the vulnerable, infirm and damaged figures who are brought into her garden and house for recovery.
For example, Loony Lips, an awkward Ichabod Crane of a boy, tortured as the village idiot, is rescued by Antonia to become a productive member of the farm; later, he and DeeDee, Farmer Daan’s sexually abused and mentally limited daughter, who has similarly been rescued by Antonia and Danielle, fall in love and are married. For all of their shortcomings, the couple’s shy approach to one another, and joys for the simple provenance offered by Antonia as their protector, provide an emblem of the nurturing powers in the female household. Audiences squirm with delight as they watch these discarded members of society flourish with embarrassing innocence.
We watch Danielle’s transformation from adolescence to womanhood and find nothing alarming or disconcerting about her lesbianism and her decision to become pregnant without benefit of marriage. Antonia, always acceptant of life’s realities, continues to care for Danielle’s needs by providing emotional and intellectual support in the search for an appropriate man to father the child.
Much later, Danielle’s child is raped by DeeDee’s brother, who had also been raping DeeDee, prior to her rescue from her father’s malevolent and abusive household. Justice is swift. Antonia, magnificent in her outrage, sweeps across the farm and into the village pub where the males are gathered. With rifle pointed at the rapist’s head, she orders him out of town. [Her form of justice is less brutal than that of Danielle, who, having witnessed the rape of DeeDee by the same man, thrusts a pitchfork into his groin.]
Antonia’s farm grows and expands with new life. Seasons come and go, bringing death and rebirth. Happiness and tragedy exist side by side, as exemplified by the opposing viewpoints of Antonia’s positive spirit, and the pessimistic outlook held by Antonia’s life-long friend, Crooked Finger (Mil Seghers), the melancholic, Nietzche-quoting philosopher, who finds life impossible and unbearable. Whether we are watching Antonia’s mother die, or the Catholic Mad Madonna howling at the moon when she should be loving the Protestant man separated from her by the floor in the building they share, or feeling the appreciation of Farmer Daan’s wife’s for Antonia’s strengths--strengths that she herself does not possess--we are woven in the magic of a remarkably simple and yet complex fabric.