The Effect Of Gamma Rays On Man-In-The-Moon Marigolds Analysis

Sometimes we heard moans from the back room and I helped wring out cloths and Doris brought water in a glass held to her mother’s lips (17-22)” it is the first time we see the children in a serious manner as they take care of Doris’s mother. While the war may be a faraway thought, Doris’s mother having cancer directly affects the children and they have to deal with reality for a short time.

In addition, the author helps the reader understand the selfishness of the mother when the reader finds out she have stole the Persian Carpet “several months before” (230) the divorce and puts the blame on Ilya, the poor blind man. Furthermore, the visit of the children is supposed to signal a fresh start for the family. The mother even emphasizes she wants the girls to come “live with [them]” (229). Yet again, even if they meet in order to reunite, characterized by a situational irony, they see themselves separated because of her mother selfish decisions.

Losing a parent is presumably an unthinkable concept for those lucky to have them alive, but sometimes the title of “parent” dies long before a body is placed in the ground. Toi Derricotte author of “Beginning Dialogues” unfortunately had to experience both the death of her mother’s title of “parent”, as well as her literal death. Derricotte’s parents had divorced when she was eighteen, and her father did not seem to play much of a role in her life; she was left to be raised by her mentally abusive mother. Her mother also had a tough road to walk growing up, having to face and deal with brutal issues like racism and bulling. Persevering through those tough times may be the underlining reason behind Derricotte’s mother’s negativity and abuse towards her daughter. Perhaps she just grew a thick skin at a very young age and had never learned how to feel, accept, or administer love. Derricotte’s had said: “She told me all my life she loved me, as if she completely forgot the hundred slights, humiliations, threats, and insinuations. Of course she loved me;

Friendships tend to change over time, for better or worse. This is illustrated in Toni Morrison’s short story Recititaf. The relationships of Twyla and Roberta are a rollercoaster from the moment they meet at the orphanage, to their confrontational meeting at the Howard Johnsons, to the picketing during segregation, until the end when they try and sort things out. One of the ways to show the rocky relationship of the two is through their dialog when they discuss their mothers.

“It was only yesterday she had thought with a shudder, that life might be long.” (Chopin 17). “"Poof!"… gave a revealing look at the victims of domestic abuse and how they wrestle with overcoming their fear and their doubts after suffering years of abusive treatment.” (Toomer 5) Loureen unlike Mrs. Mallard, witnesses her husband’s death first hand during a marital argument. Loureen goes through denial questioning whether her husband’s death. She is happy her husband is dead but also feels guilty, because she knows how a mourning wife should react, but the joy of his demise is greater,” I should be praying, I should be thinking of the burial, but all that keeps popping into my mind is what will I wear on television when I share my horrible and wonderful story with a studio audience…”, Loureen’s husband, Samuel, was physically abusive, as revealed by Florence, Loureen’s best friend and neighbor. “Did that mother***** hit you again?” (Nottage 1563) This abuse, physical by Samuel and mental by Brently, is what allows Loureen in the drama “Poof!” and Mrs. Mallard in the short story “The Story of an Hour” to have the shared freedom they feel in the release from their respective abusive relationships.

Throughout the novel, it is Old Mrs. Hall who represents (with a cold bitter insistence) the traditional representations of the wife and mother. While Ruth’s marriage was in no way a radical departure from tradition, it does not seem to have been based (entirely) on an old paradigm that was rapidly becoming antiquated in the wake of modernity. To

Not only that but her questioning of gender role was a concern for her. After her parents were separated, her father’s expectations of her were no longer there and did not speak to one another. After a while, blaming one-self after a separation of the parents is always expected from young children and so Roberta’s feeling that the separation of her mother and father was due to her misbehavior at home allowed her to be not happy. The separation of her parents did not only cause Roberta to feel not happy but also her thinking was shaped in ways that blamed all men to be the exact same way and that on one could be the same. This can be related to what each child feels and thinks if that were to happen to their own family, and unfortunately in our current society there are people that still the same way as Roberta’s father and

What Janie’s grandma experienced was not warm, caring love. Getting love was the worst thing to ever happen to Nanny. The child conceived by the horrific effects of the rape, Leafy, was also sexually assaulted at a young age. One day Nanny explains to Janie, “But one day she didn’t come home at de usual time and Ah waited and waited, but she never come home all dat night… De next mornin’ she came crawlin’ in her hands and knees… Dat school teacher had done hid her in the woods all night long, and he had donerped muhbaby and run on off just before day” (Hurston 18). This shows that someone as sensitive as your first love and virginity can be the worst thing to ever happen to a little girl. Leafy gave birth to Janie and left the newborn with her mother, Nanny, to live the rest of her life drinking away the pain. When Nanny explains how Janie’s mother left it further highlights the idea of love being the worst tragedy in one’s life. The rape left Janie’s mother absolutely broken, to the point she could not raise the child. Janie never met her mother and never got the love she wanted from her maternal mom. The love and sexual interest the Crawford women hoped to get wasn’t what they

From the novel, Song of Solomon, the seemingly opposite mothers Ruth and Pilate go through marital problems, being shunned, trying pregnancies, and family members’ deaths. It is easy to feel sympathy towards these women because it seems they are subject to invisibility. The way they are portrayed leaves an impression on the reader and influences the way they feel about the character. Toni Morrison depicts Ruth through her lack of exposure, helpless marriage, and the lack of connection with her son, Milkman. By representing her in these ways it seems that Morrison is coercing readers to sympathize more with Ruth.

     The plays, The Glass Menagerie and A Raisin in the Sun, deal with the love, honor, and respect of family. In The Glass Menagerie, Amanda, the caring but overbearing and over protective mother, wants to be taken care of, but in A Raisin in the Sun, Mama, as she is known, is the overseer of the family. The prospective of the plays identify that we have family members, like Amanda, as overprotective, or like Mama, as overseers. I am going to give a contrast of the mothers in the plays.

In the story “Killings” by Andre Dubus, a mother has to deal with the heartbreaking, sudden loss of her young son. The story only provides brief glimpses of how Ruth, the mother, copes with this; whereas the film, In the Bedroom, helps provide a much better perspective of how depressed and misguided Ruth is over this loss. In “Killings”, Ruth is a protective mother who only wants the best for her son, she encourages Frank to discontinue fraternizing with Mary Ann, in fear it will interfere with his future. Although in the story Ruth attempts to place responsibility on those around her, the film In the Bedroom sheds light on how she feels she is responsible for her son's death.

The play The Effect of Gamma Rays on Man-in-the-Moon Marigolds by Paul Zindel shows that constant bullying as a child can damage a person’s self esteem and create problems for them later in life. Beatrice, the mother of the protagonist, is a victim of bullying as a young girl, given the nickname “Betty the Loon,”(18). Because of this, she continues to think lowly of herself well into adulthood. She denies it to herself and her daughters by telling them that she was “the head of the whole crowd,” but when faced with the idea of seeing people who knew her in school, such as the phone call from the principal at the end of Act 1, she breaks down and starts screaming that they are going to “laugh at [her and Tillie],” showing her low self esteem

In the poem ‘Moon’, Kathleen Jamie explores themes of abandonment, loneliness and disconnection. She does this by utilizing a clearly dysfunctional relationship between a mother and child. The child replaces the either mentally or physically absent mother with the presence of the moon. To explore the emotional distance between child and mother, the author uses dark and light imagery to empathize the child’s loneliness and to evoke the scene of a parent visiting they child late at night. Personification of inanimate objects illustrates the detrimental effects the unavailable mother has on the child’s mental wellbeing. The poem ends with dialogue from the protagonist, the child, pointing out that the moon is not her mother, as if to be

The bond between a mother and child is often spoken of as being unlike any other. Yet there are always exceptions to the rule where this connection isn 't as impenetrable as one might assume. This book is an example of this bond gradually becoming weaker over time. It shows how it affects the child, Bone, and leaves her vulnerable to the abuse of her step-father. Bone’s mother, Anney, had fallen in love with a man who abused her which at first, she’s unaware but eventually comes to realize but still chooses to stay with him. Throughout the book there are instances of Anney’s negligence in recognizing her daughter’s abuse and being of aid to her but wasn 't. In having to deal with her

Claudia expresses again and again how marginalized she and her sister perceived themselves to be, "Adults do not talk to us - they give us directions" (10). When Claudia thinks back to a childhood illness she suffered, she remembers her mother's irritation at finding her sick in bed. Claudia questions the reliability of her perceptions of pain and confusion, "But was it really like that? As painful as I remember? Only mildly. Love...eased up into that cracked window" (12). Claudia's mother's irritation is tempered with compassion; she coats Claudia's phlegmy chest with salve and "hands repinned the flannel, readjusted the