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MOTHERS TABOO

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Larry didn't pay money for chores. "Instead I'll be glad to take you hiking or even go on a fishing trip,” he had said. Since then he had met Larry's wife and even had a tour of their big old house which used to be a church manse. Imagine, the place was over 140 years old.

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The first time they had met was last year when Kenny began a paper route. Kenny had marched up the front steps. "Would you like to take the weekly? He had asked. "I guarantee good service, how about it?" No doubt, frank portrayals of the tedium and pain involved in raising young children serve the important function of normalizing the bouts of impatience, frustration and anger that are par for the course for parents. Sympathetic representations of such unflattering moments help reassure young mothers that their own struggles to maintain composure and cheer are not idiosyncratic. But reviewers see much more in the film: it breaks a code of silence, they say, freeing us from the harmful cultural prohibition on speaking the truth about the challenges of motherhood and how hard it can really be for women to embrace it. This assessment is almost unanimous: The film “unravels the myth that motherhood comes naturally to women” and shatters “one of our culture’s most enduring and least touchable taboos: the selfish, uncaring, ‘unnatural’ mother—one who doesn’t shift easily to care-taking, who does not relish her role, who not only begrudges but resents her children” ( the Guardian); it is “breaking the taboo on regretful motherhood” ( the New Republic); it “understands the secret shame of motherhood,” challenging “Hollywood’s ideas about what women owe to their children—and to themselves” ( the Atlantic). The film unsettles “the comfortable fantasy of selfless motherhood and whose interests it most serves” ( Vanity Fair). Leading the assessments of the film’s significance is Gyllenhaal herself, who, in an interview with the New York Times, described maternal ambivalence as “a secret anxiety or terror” and said she was driven to make the film out of a desire to “create a situation where … these things were actually spoken out loud.” On this view, the film does not merely bring to light a particular form of suffering, it performs an ideological service of historic proportions. For its courage to portray such an apparently unsympathetic mother tenderly, without condemnation or judgment, the film has received much critical acclaim, some deserved. “Leda is often rude and unkind,” Lydia Kiesling wrote for the New York Times Magazine, but the performances “allow the viewer to inhabit her desperation, rendering judgment irrelevant.” The combined result is a rare, truly realistic representation of motherhood through the ages: “a crafty treatise on maternal ambivalence” (the Washington Post), “an astute portrait of the painful expectations of womanhood” ( Paste).

He kept his eyes steady, a little sad at his mother's discomfort. Maybe this wasn't the right time to ask. But he had to know.

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Warren, Richard J. (2016-06-06). Incest in Medieval Literature: Literary Depictions of Incest from Beowulf to Shakespeare. Muddy Pig Press. ISBN 978-0-692-73282-3. Archived from the original on 2023-08-25 . Retrieved 2023-08-25. Appel, Alfred Jr. (1969-05-04). "Ada: An Erotic Masterpiece That Explores the Nature of Time". The New York Times. ISSN 0362-4331. OCLC 1645522. Archived from the original on 2023-08-21 . Retrieved 2023-08-25. Boys Don’t Cry’ is a harrowing look at repressed sexuality and gender identity. The film is based on the real-life story of Brandon Teena, an American trans man who was brutally raped and killed in Nebraska. Brandon, played by Hillary Swank, adopts a male identity and moves to Nebraska, where he falls in love with Lana. They remain lovers despite Lana discovering Brandon’s true identity. Their romance is painful and uncertain as violence consumes their blissful but brief and fleeting span of time. If your idea of powerful cinema happens to be one that has the power to devastate and disturb you emotionally, then this is your kind of film. To himself he said softly, "OK dad, I'm ready now. Let's go." And he felt good inside as his paddle dipped in the water...This is the film I show people when they say that Martin Scorsese is a very unemotional director. Few love stories have been as emotionally devastating and brutally painful as ‘The Age of Innocence.’ It tells the story of Newland Archer – a young and ambitious lawyer engaged to a woman from a highly respected family. However, things change when Archer falls in love with his fiancee’s cousin, Ellen. Their repressed emotions intensify the passion and intimacy of their relationship, making their eventual fate a deeply tragic one. It’s brutal, inexplicably painful, and too powerful to even talk about. Marry James?" Kenny's look was nasty. He waited for an answer as he noticed his mother's nervousness. She always looked around the room when she was stumbling for words. Mullan, John (2008-10-03). "Ten of the best books on incestuous relationships". The Guardian. ISSN 1756-3224. OCLC 60623878. Archived from the original on 2023-08-18 . Retrieved 2023-08-25. The film follows Leda Caruso, a middle-aged English professor on holiday in Greece, and traces the circumstances that lead to her collapse, previewed in the opening scene, on the water’s edge at night. Caruso, the mother of two daughters in their early twenties, is a comparative literature professor. After the manner of a particularly insufferable kind of undergrad, she cannot help but make sure you know where exactly she teaches by repeating, in a cleaned-up middle-class English accent, that she is from “Cambridge, near Boston.” Also in the manner of a certain kind of undergrad, she has traveled all the way to Greece to mark up a copy of Dante on the beach. There she becomes fascinated with a fellow vacationer, Nina (Dakota Johnson), a young mother of a child of almost three named Elena. The mother and daughter belong to a clan of outer-borough New York City riffraff with ties to the island, complete with gold chains, tattoos and copious quantities of drugstore-variety water-resistant eyeliner. (From the beginning, the film’s aesthetic is fully committed to arthouse gravitas but the portrayal of the family, in particular, frequently threatens to slip into caricature. Think My Big Fat Greek Wedding meets Jersey Shore: “Hey, what’s the big deal?” Nina’s Greek father-in-law says to Leda with a Corleone drawl: “You do us this favor today, we’ll do a favor for you tomorrow…”) In their first encounter on the beach, Leda stares as Elena pours water over the lithe, swimsuited body of Nina, who is lounging like an odalisque in nineteenth-century painting, languorous and detached. Leda seems to recognize something of herself in Nina’s manner, and especially in her relationship to the child. A subsequent series of disappearances—of the girl and then her doll—provokes Leda to interject herself into Nina’s life. In the first instance, Leda retrieves the wandering child. In the second, she takes and keeps the doll to herself. For the rest of her stay on the island Leda watches as the loss torments the child, who, inconsolable, clings violently to an increasingly exasperated Nina. Meanwhile, Nina and Leda become friendly—chatting at the beach and tourist market—and Nina seems to look at this older independent woman with some combination of coy admiration and envy.

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