Showing 131 - 140 of 147 annotations tagged with the keyword "Domestic Violence"
Katie, the twelve-year-old protagonist and narrator, lives with her sister, Diane, and their father, a military man with a violent temper, on a military base in Texas. She remembers their mother, now dead, as a kind, gentle presence, able to temper their father's violence, though Katie begins to realize that the mother had also lived in apprehension of his outbreaks.
The story develops Katie's strategies for coming to terms with the loss of her mother, the fact that her mother never succeeded in protecting her from her father's violence, and eventually the loss of her sister who runs away. She begins to learn how to negotiate with her father and seek and receive nurture both from others and from herself.
In Roddy Doyle's novel, Paddy Clarke Ha Ha Ha, young Patrick is so distressed over his parents' fighting with each other that he stays up all night trying to prevent their quarrels. Like many children whose parents break up, Patrick thinks he is somehow responsible, but he does not understand what is going wrong or why. He loves both of them, especially his mother.
He acts out his anxiety over the discord between his parents by often getting into fights and by being mean and abusive to his younger brother. For awhile he thinks that if he were to run away, his parents would stay together. He thinks of questions to ask them so they will talk to him and not fight with each other. But his father leaves for good, and Paddy is left with the teasing chant of his schoolmates: "Paddy Clarke, Paddy Clarke, Lost his Da, Ha, Ha, Ha."
Doctor Marigold, named for the man who delivered him, is a "cheap-jack" who hawks sundries from a traveling cart he inhabits with his wife and his daughter Sophy. The mother beats Sophy, but Marigold, feeling powerless, does nothing to stop her. When the child dies of a fever, her guilt-wracked mother commits suicide.
Doctor Marigold's lonely fortunes reverse when he adopts a deaf and mute girl whose mother is dead and whose stepfather, owner of a traveling circus, beats her. Marigold acquires the child for three pair of braces (suspenders), names her Sophy, invents his own system of sign language to teach her to read and converse with him, and finally sends her to a "deaf-and-dumb establishment" in London to complete her education.
When Sophy falls in love with another student, her father encourages her marriage, while feeling it as a terrible loss. Sophy writes him of her baby's birth and of her fear that the child will be deaf. The story culminates in Sophy's return and Doctor Marigold's realization that his granddaughter can hear.
Medea killed her brother and left her father in order to follow Jason and his captured Golden Fleece to Corinth. They marry and have two sons. As the play opens, Medea is distraught with jealousy because Jason has repudiated her to marry the daughter of Creon, King of Corinth. He insists that his new status will be for her own good and that of her children.
Medea and her sons are to be banished, but she begs a day's reprieve. She contrives to poison the princess bride with gifts that catch fire, consuming her and her father too when he tries to save her. In her madness, Medea "reasons" that she must kill her beloved children in order to avenge herself upon her husband.
The boys' cries can be heard from off stage as she slays them with a sword. The grieving Jason wishes that he had never begotten his sons, just as Medea wishes that she had never followed him out of her home.
In 1877, Richard Maurice Bucke (1837-1902) (Colm Feore) becomes the superintendent of the asylum in London Ontario, where physical restraints are used. His lovely but tense wife (Wendel Meldrum) is grudgingly deferential to his professional needs. They are parents of a happy little girl. Bucke travels to a Philadelphia conference to read a paper on his liberal ideas about care of the mentally ill, but he senses the intolerance of the audience and storms out.
An odd "free thinker" in the audience--who turns out to be the great American poet Walt Whitman (Rip Torn)--admired the paper. Whitman invites the doctor to meet his mentally disturbed brother kept at home rather than in an asylum. Smitten with Whitman and his philosophy, Bucke brings him to Canada.
At first, his wife and the town are suspicious of the famous stranger, but they gradually change their minds. The asylum replaces its coercive methods of care with exercise, music, and talk. The film closes with a lively summer cricket match between the asylum (patients and workers) and the town.
Black and Blue is a novel portraying the new life of Beth Crenshaw, formerly Fran Benedetto, after her escape with her son Robert from a passionate marriage that had turned into an abusive nightmare. It chronicles how she left, why she stayed, and what she gave up--materially, professionally, emotionally--in her attempt to find a safe new life.
The book, written in the first person, includes many flashbacks as she chronicles the early signs of her husband Bobby’s rage that turned on her, her successful attempts at denial, the years of hiding her secret, her attempts at protecting her son from the knowledge of his father’s malevolence, and the final destructive act that gave her the courage to leave. Winding her way from New York to Florida, covering her tracks, helped by an underground network of women committed to saving battered women’s lives, Beth attempts to start over, always with the background noise of her history and ubiquitous fear of her husband’s appearance.
He does, of course, eventually show up at her home--Robert misses his father and phones him--and after beating her one last time, takes Robert with him. At the story’s end, we find Beth in a new marriage with a new daughter Grace, but her life is forever marred: "There’s not a day when I haven’t wondered whether I did the right thing, leaving Bobby. But of course if I hadn’t, there would have been no . . . Grace Ann. Your children make it impossible to regret your past. They’re its finest fruits. Sometimes its only ones."
A very accessible collection of poems with wonderful use of language and very strong imagery. Some, in particular "Baby Random" and "Between Rounds" offer a nurse’s perspective on caregiving. Other themes include abuse and abusive relationships, married and unmarried life, and in general the seeking and giving of refuge. There are also recurring figures/persons throughout the collection which give the work an almost narrative flow.
This docudrama traces the life and work of Maine midwife, Martha Ballard (Kaiulani Lee), through the account of her own diary from 1785 to 1812. She and her surveyor husband, Ephraim (Ron Tough), moved from Massachusetts to the frontier of Maine during the Revolution; the rapid social changes in their new republic are felt at the domestic level. Ballard cared for many sick people, more than a thousand women in labour, and their infant children. She also becomes a witness for a woman who was raped by a judge.
A local doctor makes a brief appearance as a bungling meddler; other doctors perform an autopsy of her own deceased niece, which the midwife attends; but most often Ballard works alone. Her five surviving children leave home, and she comes to relate the experiences of her patients to those of her own life.
Her husband shares the slow decline into age surrounded by the frictions of proximity with an uncaring son and his months in debtors' prison. The recreation is interspersed with interviews and voice-over with historian and author, Laurel Ulrich. Ulrich describes her discovery and fascination with the Ballard diary, the difficulties in interpretation, and the still unanswered questions.
This first novel is written in English by a native Indian who makes her home in India. It is the tale of Esthappen (Estha for short) and his fraternal twin sister, Rahel, and their divorced mother, Ammu, who live in the south Indian state of Kerala. Ammu, a Syrian Christian, has had no choice but to return to her parental home, following her divorce from the Hindu man she had married--the father of Estha and Rahel.
The story centers on events surrounding the visit and drowning death of the twins' half-English cousin, a nine year old girl named Sophie Mol. The visit overlaps with a love affair between Ammu and the family's carpenter, Velutha, a member of the Untouchable caste--"The God of Loss / The God of Small Things." (p. 274)
Told from the children's perspective, the novel moves backward from present-day India to the fateful drowning that took place twenty-three years earlier, in 1969. The consequences of these intertwined events--the drowning and the forbidden love affair--are dire. Estha at some point thereafter stops speaking; Ammu is banished from her home, dying miserably and alone at age 31; Rahel is expelled from school, drifts, marries an American, whom she later leaves. The narrative begins and ends as Rahel returns to her family home in India and to Estha, where there is some hope that their love for each other and memories recollected from a distance will heal their deep wounds.
Showalter identifies clusters of syndromes, or mini-epidemics, which she suggests represent late-twentieth century manifestations of the entity which was called hysteria in nineteenth century western culture. Opening with the history of psychiatry's involvement in hysteria in the time of Charcot and Freud, she traces the replacement of hysteria or conversion reaction by modern hysterical analogues such as: chronic fatigue syndrome, recovered memory, Gulf War syndrome, multiple personality syndrome, satanic ritual abuse, and alien abduction.
In separate chapters she examines each of these entities--how it presents, how it fits into her theory of mass hysteria as a cultural response to the millennium, and how it is being handled by health care professionals. Showalter contends that "Redefining hysteria as a universal human response to emotional conflict is a better course than evading, denying, or projecting its realities." (p. 17)