Showing 181 - 190 of 392 annotations tagged with the keyword "Trauma"
Southern Baptist missionary Nathan Price brings his wife Orleanna and his four young daughters to the Belgian Congo in 1959, just before its turbulent passage into independence as the state of Zaire. The Prices’ stay in the tiny village of Kilanga occasions escalating conflicts of cultures and values. The differences between the social, religious, and political habits of the United States and Africa are a source of both wonder and strife.
Orleanna and most of her daughters develop bonds with the people of Kilanga whose dimensions are much deeper than they first realize. At the same time, the family finds itself increasingly at odds with each other. All the women are engaged in a passage to personal identity and independence from Nathan: Orleanna, the dutiful minister’s wife; materialistic teenager Rachel; fervent, idealistic Leah, who emulates her father until it’s impossible to continue; her brilliant twin sister Adah, who walks with a limp and perceives the world in palindromes; and adventurous five-year-old Ruth May.
While all the women are changed by Africa, Nathan becomes more and more zealous in his refusal to change. The novel draws Nathan as a man whose identity has been definitively shaped by a World War II trauma that launches him on a downward psychological spiral from which there is no exit.
The novel is broken into seven books, all but the seventh bearing the titles and epigraphs from books of the Hebrew Bible and Apocrypha. Within the sections, the story is told as a round robin, with the Price women contributing alternating first-person narrative.
The daughters’ stories begin in 1959 in Africa and record events as they happen, gradually working their way forward to the 1990s. Their mother, in contrast, tells her story retrospectively, writing from Sanderling Island, Georgia, long after her return from Africa. Nathan is the only family member who never narrates.
As this highly original and provocative film once again demonstrates, John Sayles is not a traditional storyteller. Audiences are caught in the detective story focusing at one level on murders and abuses committed more than 20 years ago; but the filmmaker guides their attention to the survivors, the current and very ordinary folks inhabiting the small border town where secrets are closely kept.
Imagine a blank canvas on which seemingly unrelated splotches of paint appear; then imagine those splotches as members of various ethnic groups inhabiting Frontera on the U.S. side of the Rio Grande. First, we have custodial white men who hang around the local coffee shop or fish on previously-owned Indian land transformed recently, and with some controversy, into a lake by the construction of a dam. Then we have Mercedes Cruz (Miriam Colon), a successful business woman and council member who curiously shows little compassion for "wetbacks" and those relapsing into the Spanish language. Her daughter, Pilar (Elizabeth Peña), of whom she is a constant critic, is a school teacher and single mother of two teenagers, a figure whose importance will increase as the composition develops.
Also, there is Otis Payne (Ron Canada), the African-American owner of the town’s black bar, a refuge for that minority group; and there is his estranged son, a rigid and unyielding colonel at the nearby base. Finally and less developed, are the Indians whose land has been claimed by the town’s ruling forces.
As fragments from the past and present provide dimension and meaning, increasingly the disparate colors are transformed into a representational form with clear connecting lines. Shapes and textures gradually become familiar and palpable. Within the context of good and evil, narrative lines blur and thicken. With tantalizing flashbacks, past and present fuse, allowing puzzle pieces to fit together; then engaged audience members realize that the narrative threads have twisted to expose unimagined patterns of sacrifice and love.
This film, like Nair’s earlier films (Salaam Bombay!, Mississippi Masala) presents serious social issues for viewers to consider, but the story this time, is set in a happier context. As the title reveals, a wedding is central. Monsoon is added to account for two kinds of turbulence: the weather on the day of the wedding and discomforting family factors such as pedophilia, secret trysts, and class distinctions. For the Punjabi Verma family, it is Father of the Bride with the universal tension, stress, and chaos associated with such happy events, but also with distressing twists that are sorted out or washed away symbolically by the monsoon’s arrival.
"My mother danced all night and Roberta’s was sick. That’s why we were taken to St. Bonny’s." Thus begins Twyla’s narrative of her long-term, intermittent relationship with Roberta, another eight-year-old who shares her failing grades and "not real orphan" status at St. Bonaventure’s, the shelter where they live for a few months.
The two girls become fast friends despite the discomfort occasioned by the situation, their problematic mothers (Roberta’s is hyper-religious and unfriendly; Twyla’s is pretty but childlike, an embarrassment to Twyla because of her casual clothing and behavior), and their racial differences (one is white, one African-American). They also share a defining moment, in which they watch bigger girls assault Maggie, a disabled woman who works in the institution’s kitchen.
The girls meet by accident four more times; as young adults in a Howard Johnson’s, where Twyla works and Roberta stops in with two young men on the way to the coast for "an appointment with Hendrix"; in a grocery store in Newburgh, the blue-collar town on the Hudson river where Twyla lives (Roberta lives in white-collar Annandale); at a picket line against a busing plan (Roberta is protesting the busing; Twyla ends up picketing for it); and finally in a diner on Christmas Eve. Each time they meet, they piece together what has happened in their lives, but also return to the defining moment of Maggie, arguing about what really happened and what role they played in the abuse.
Lenny's development from childhood to adolescence concurs with India's independence from Britain and the partitioning of India into India and Pakistan. The interwoven plots give each other substantial meaning. Partly because Lenny's family are Parsees, a religious and ethnic minority that remained relatively neutral in post-Partition religious conflicts, she has access to people of all ethnicities and religions, both within Lahore and in other locales. More significantly, she has access to a wide variety of viewpoints both pre-and post-Partition through her Ayah, a beautiful woman whose suitors are ethnically and religiously diverse.
Lenny's passionate love of Ayah and the loss of innocence that accompanies their changing relationship through the Partition is an energetic center to the plot. Lenny's relationships with her mother, her powerful godmother, and her sexually invasive cousin are also important to the novel. Lenny's polio forms a significant early narrative thread. Other minor but compelling subplots include Lenny's parents' changing relationship, the murder of a British official, and the child marriage of the much-abused daughter of one of Lenny's family's servants.
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).
Ian Stevenson, a psychiatrist at the University of Virginia, has devoted his career to the study of cases suggestive of reincarnation. The cases consist of narratives of young children who claim to remember past lives. The cases occur primarily in India, Sri Lanka, South Asia, West Africa, Lebanon, and among Northwestern Native Americans, in cultures and religions in which reincarnation is accepted. Stevenson and his colleagues have collected over 2000 such narratives, but only a much smaller number provide what he considers "strong" evidence.
In the latter cases, Stevenson has performed detailed, nearly contemporaneous investigations that appear to rule-out communication of any kind between the child's family and the relatives of the recently deceased person the child claims to be. In addition, many of the "strong" cases have birth defects or birthmarks at the exact sites of traumatic injuries in the deceased person's life.
This book is a shortened and popularized version of a scientific monograph entitled Reincarnation and Biology: A Contribution to the Etiology of Birthmarks and Birth Defects (also published by Praeger Press in 1997). Stevenson categorizes his cases by strength of evidence for a precisely located traumatic injury in the deceased person (i.e. simply remembered by the family, identified in medical records, or verified at autopsy). He also categorizes cases by the size and nature of the child's defect or birthmark.
In each chapter he presents a series of short narratives summarizing cases in a particular category, and comments on the weight and possible interpretations of the evidence. In Chapter 26 Stevenson analyzes a variety of explanations (including normal and paranormal possibilities), and concludes that the strongest of his cases are best explained by accepting the hypothesis of reincarnation (i.e. the discarnate personality of a recently dead person influencing the personality of a newborn child).
This haunting memoir by a South African surgeon who has witnessed tremendous suffering across the globe is best read as his story, and not a war chronicle as the subtitle would suggest, since large chunks of the book are not about war in the dressing station sense of the term. That said, however, the war that rages inside the author continues throughout the book and gives the reader glimpses of wisdom gained during Kaplan's remarkable journey of life amidst death. The book is culled from journals of writing and sketches that he kept throughout his travels.
Kaplan's first crisis occurs when he joins fellow medical students in an anti-apartheid demonstration in Cape Town and, following the lead of a more senior student, Stefan, tends to the wounded and frightened after riot police attacked the demonstrators. Kaplan then gets the call of not only medicine as service, but surgery as service, when, as a neophyte doctor, he saves the life of a youth shot in the liver by the police.
This feat should not be underestimated, though the author writes with humility. Indeed, in recounting later incidents in which patients die, the odds tremendously stacked against the patients surviving anyway (a woman with disseminated intravascular coagulopathy and multiple organ failure, or the Kurdish boy in a refugee camp with a great hemorrhaging, septic wound), the author's self-chastisement is a painful reminder of how the physician suffers with each loss.
After a beautifully written prologue which begins, "I am a surgeon, some of the time" (p. 1), the book proceeds chronologically, each chapter named for the location of the action. Kaplan leaves South Africa to avoid military service and the fate that befell Stefan, who becomes an opioid addict after euthanizing a torture victim in a horrible scene of police brutality and violence. Kaplan's post-graduate training in England and BTA (Been to America) research stint heighten his sense of cynicism about hierarchy in English society and capitalistic forces in American medical research.
Ever the outsider, Kaplan first returns to Africa (treating victims of poverty, deprivation and violence), then sets off to war zones in Kurdistan, Mozambique, Burma (Myanmar), and Eritrea. In between, he works not only as a surgeon, but also a documentary filmmaker and a cruise ship and flight doctor. He avoids the more established medical humanitarian relief efforts, such as Médecins Sans Frontières, and instead prefers to work where no other ex-pat physician will go--enemy territory, front lines, and poorly equipped dressing stations.
Along the way he decides the number of people he has helped as a surgeon, particularly in Kurdistan, has been small compared to the potential to intervene in broader public health measures (he meets a Swiss water treatment engineer) and occupational health exposés to help abused victims (e.g., of mercury poisoning in South Africa and Brazil). The book ends with Kaplan studying to become an expert in occupational medicine, though, incongruously, in the heart of London's financial district where he treats stress-related illness.
This collection of nonfiction writings by fiction author Amy Tan includes multiple genres: essay, email, responses to journalist's questions, eulogy, love poem, university presentations, travel journal entries, and a commencement speech. Hence Tan terms the work "musings." Consonant with the multiple genres are multiple topics, ranging from memoirs of childhood and young adulthood, writing tips, fun portraying a dominatrix in a writers' rock-n-roll band, work on the film version of The Joy Luck Club, and past and present tragedies and struggles.
Much of the book, however, centers on medically-related themes. Prominent themes are: her diagnosis of neuroborreliosis--a form of late-stage Lyme disease--detailed in the final essay entitled "The Opposite of Fate"; her traumas such as the torture and murder of her best friend; the death of her father and brother from brain tumors; a car and a skiing accident; the cancer death of her editor and, woven throughout, the complicated psyche of her mother, Daisy Tan.
Daisy's extreme emotions ruled the family, and her behaviors, such as threatening not only suicide but also murder (she held a knife to Amy's throat), caused profound responses in her daughter. Probably one of the most adaptive responses was Amy Tan's use of their complex relationship in developing the nuanced mother-daughter relationships that characterize her fiction. Daisy's decline and death from Alzheimer's disease are also detailed here.
Summary:Toward the end of the Spanish Civil War, Manuel’s biological father, Jorge de Son Major, dies, finally recognizing him in his will. His social father, Jose Taronji, had been killed only two years before. Manuel, newly rich but philosophically impoverished, seeks a secular spiritual father in "Jeza", an imprisoned rebel leader, and Jose’s comrade. When Jeza is killed, Manuel informs his wife, Marta, and together they plan a final revolt. They use Jorge de Son Major’s boat, Antinea, to deliver rebel documents, then make one final, "crazy," fatal stand, to honor and mourn Jeza, to remember and create themselves.