Losing Isaiah Sparknotes

Halley Berry stars in the film Losing Isaiah, as Khaila depicting a drug addicted black mother who, under the influence of cocaine, lives in a crack house, and abandons her infant son in an alley filled with trash. Waking the next day, realizing what she has done to the child, Khaila heads to the area where she discarded the three-day-old kid only to realize the child is no longer there; for years she presumes the child is dead. However, the child's discovered by an unsuspecting sanitation worker, who takes him to the hospital, where an unsuspecting white female social worker Margaret is employed, played by Jessica Lange bonds with the African American child Isaiah played by Mark John Jeffries. Margaret cares for his physical and emotional

needs in the hospital as he goes through cocaine withdrawals during his hospital stay.
Ultimately the social worker and her husband Charles played by David Strathairn adopt the child. Khaila gets sober and confides in a friend that she abandoned the child years early earlier. The friend does a vital records searches and discovers her son is alive, and a bitter custody battle ensues. This film served as a great catalyst for understanding the crucial milestones that are essential to infant and toddler's ability to thrive. As well as the importance of emotion, physical, and physiological implications which enhance or disrupt a child's ability to feel safe and secure in their environment and ultimately progress confidently in their quest for autonomy.
Isaiah’s life begins with what is portrayed as insurmountable odds, for instance, as mentioned above he is born addicted to crack cocaine, his mother is an active drug abuser, their living conditions are filthy, and unsafe, not conducive to raising and infant and neither are her parenting skills.

Early on in the movie Khaila attempting to make a connection with her child. Holding him close to her breasts as he suckles milk contaminated with the toxins of illegal narcotics because even after giving the addiction continues to obscure her judgment. According to Schaal, Marlier, & Soussignan (2000), “an infant’s taste is influenced by the mother’s diet during pregnancy and breastfeeding.” (as cited in Wong et al., 2015, p. 74). Therefore, since Isaiah’s mom's diet consisted mainly of crack cocaine he longed for the taste of the drug long after they were separated. Additionally, according to the Academy of Pediatrics (AAP), “the mother’s milk provides energy and fats. The nutrients encourage healthy physical growth as well as lowers the chances of premature death as a result of sudden infant death syndrome” (as cited in Wong., Hall., & Hernandez, 2015, p. 72). Kahia’s unhealthy choices represented in the movie interfered with the fundamental attributes required for Isaiah to receive viable nourishment vital for not only promoting physical maturation but healthy brain growth as

well.
Although obstacles exist Isaiah’s life takes a drastic turn as Margret bonds with him holding, sing, rocking and massaging the child as the fight for his life continues. As reported by ((Diego, Field, & Hernandex-Reif, (2005), “premature and high-risk newborns gain more weight when caregivers massage the child and hold them close to their bodies” (as cited in Wong et al., 2015, p. 74). Moreover, the theorist (Erikson) (1959) posits that it is [crucial] to infant development for the child to develop a strong trust for the caregiver and the environment in which they interact. The theorist further encourages caregivers to routinely heed to the child’s [cries] and comfort in times of [fear], and anxiety, asserting when these fundamental needs are met the child begins to gain a conducive understanding of [trust vs. mistrust] (as cited in Wong et al., 2015, p. p. 78). Under Margret’s care Isaiah continues to thrive reaching significant development milestone through his toddler years. In compliance with his age, Isaiah’s fine motor skills appear appropriate. By the toddler stage the child should exhibit the capacity to [manipulate objects] and by age three exhibit [increased body strength] and coordination (Wong et al., 2015, p. 92). For instance; Isaiah’s pictured assembling blocks at around the age of two, as well by age three the child’s portrayed balancing himself on his father shoulders.
Margret comforts Isaiah as his “Moro reflexes” which is characterized by scream and flail his body becomes activated, as a result of [loud noises] (Wong et al., 2015, p. p. 78). The reaction becomes evident during her daughter’s school performance as the kid becomes startled by the sound of symbols during the act. Margret responds by holding him close and soothes Isaiah during his time of distress. The interaction portrays a profound example of fostering a loving and trusting relationship. As well, when she and Isaiah become separated from one another, as he’s seen leaving with the babysitter she reassures him, with a gentle voice of her return at the end of the day. As the movie progresses, Isaiah’s toddler years becomes the focal point. As Kahia see’ her son with the babysitter at a park, approaches, picks her son up, and calls his name. Isaiah looks into to her eyes almost as if he remembers the familiar sound. According to (Kisilevsky et al., 2003) “at birth children recognize their mother’s voices in contrast to different sounds” (as cited in Wong et al., 2015, p. 74).
Further exploring attachment issues Kahia’s parental right are reinstated, and Isaiah now resides in her home. Unfortunately, he is not adapting well to the new and unfamiliar environment. Now separated from the caregiver, which he has grown to look towards as his source of comfort and security, as well as developed a close physical and emotional bond. Isaiah enters preschool while in Kahia’s care and shows signs of avoidant behavior refusing to interact with other children in the classroom. According to Erikson (1963), “the primary task for the preschool child is to develop initiative, or develop self-confidence in performing” (as cited in Wong et al., 2015, p. 122). According to Bowlby (1979) and Ainsworth, Blehar, Waters, and Wall, when a child becomes separated from the individual whom they have formed a [loving and secure bond] the child undergoes bouts of [distress] (as cited in Wong et al., 2015, p. 77). Isaiah is depicted crying uncontrollably, refusing to eat, talk, isolating, and his sleep cycle disrupted; while he resides with his biological mother.
All though Khaila won the custody battle, in the end, her love for her son and her understand of the bond Isaiah and Margret formed awarded Khaila the courage and the fortitude to do what she perceived as in the best interest of the child. Which, entailed honoring the loving psychological, physical, and emotional bond with her biological son and his adoptive mother. She places Isaiah back in the care of Margret, with the understand that she would remain an active participant in his life.