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Role of the father in the family
The role of the father in the family
An essay on orphanages
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Some of us are born with incredible abilities, and can do great things. Yana is not a person who will change the world, and she knows it. Yana was an orphan in Cambodia, taken in by Father João, who raised her and taught her more than the kids in the city. Yana was offered an accounting job because of her education, but, knowing that she is not one to achieve greatness, decided she should be the one to help others do incredible things. So she started an orphanage herself.
Yana was preparing Rojões à Moda do Minho, a meal that Father João had taught her to make. Yana had been modifying the recipe over the years, attempting to achieve the taste of Father’s Rojões à Moda do Minho, to no avail. While cutting the pork, Yana received a call from one Father’s other children. When she picked up the phone, Yana immediately knew something was wrong when all she could hear were silent sobs. When Yana was informed from Cheayean that Father João had died, Yana broke down into an inconsolable heap, not responding to anything. It took 4 hours for Yana to finally stop crying and come to her senses; she ordered a plane ticket to Portugal right away, to go to Father João’s funeral.
At the funeral, Yana saw all of the other children Father João raised in his orphanage, that is, except for two. Sokheng and Traeore were not at the funeral, because they had died a few years before.
Sokheng was the eldest of the orphans, he always looked out for the younger kids, and he had an instinctual sense of justice. One time during the Water Festival, some boy took Yana’s water gun that Father João had bought for her; Sokheng ran down the boy, took the water gun back, and broke the boy’s nose. He served a day in prison for assault, but he didn’t care, because in...
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... quality meal every now and then?” “Yeah, it was so good!” “Well, one night I put some leftovers from my meal under my bed, for the boy. I woke up hearing breathing next to my ear. The boy was lying next to me, and I screamed when I first saw him. The thing is, he had no arms or legs, and he didn’t have a tongue either. After I started screaming, he just disappeared. Poof.”
Kong interrupted. “Wait, no arms or legs?! What?” Yana confirmed her previous statement.
“Well at least he’s gone now, right Yana?” “Yes, I guess so.” But like Kong at Traeore’s funeral, Yana was holding something back. Yana hadn’t been able to sleep at night for the last week, because the feels the boy behind her, hissing in her ear while she tries to sleep. She’d wake up to see notes by her bed, telling her to carry on the “tradition” of João’s way of feeding orphans Rojões à Moda do Minho.
To keep her daughter’s “virtue” intact Macaria beats her. In this way the mother establishes complete control over Marcela’s sexuali...
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
... and full of energy” (183). This is the first connection between Aminata and her first son Mamadu. It is a physical connection, between mother and son. Although Mamadu was sold from her, Aminata still feels connected to her son. “I looked again at the boy, and thought about how good it would have felt to have my own son alive and strong... I wondered what Mamadu would have looked like, if he had been allowed to stay with me” (327). Aminata thinks about him and his appearance and location. Aminata’s second child, May is born to her when Chekura is not with her. Nevertheless Aminata narrates, “I loved every inch of my daughter and worshipped every beat of her heart...” (345). This quote shows how Aminata loves and cares for May and has established a mother-daughter bond.
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
Suffering from the death of a close friend, the boy tries to ignore his feelings and jokes on his sister. His friend was a mental patient who threw himself off a building. Being really young and unable to cope with this tragedy, the boy jokes to his sister about the bridge collapsing. "The mention of the suicide and of the bridge collapsing set a depressing tone for the rest of the story" (Baker 170). Arguments about Raisinettes force the father to settle it by saying, "you will both spoil your lunch." As their day continues, their arguments become more serious and present concern for the father who is trying to understand his children better. In complete agreement with Justin Oeltzes’ paper, "A Sad Story," I also feel that this dark foreshadowing of time to come is an indication of the author’s direct intention to write a sad story.
...en-year-old girl”. She has now changed mentally into “someone much older”. The loss of her beloved brother means “nothing [will] ever be the same again, for her, for her family, for her brother”. She is losing her “happy” character, and now has a “viole[nt]” personality, that “[is] new to her”. A child losing its family causes a loss of innocence.
To understand fully the implicit meaning and cultural challenges the film presents, a general knowledge of the film’s contents must be presented. The protagonist, Tita, suffers from typical Hispanic cultural oppression. The family rule, a common rule in this culture, was that the youngest daughter is to remain unwed for the duration of her mother’s life, and remain home to care for her. Mama Elena offers her daughter, Tita’s older sister Rosaura, to wed a man named Pedro, who is unknowingly in mutual love with Tita. Tita is forced to bake the cake for the wedding, which contains many tears that she cried during the process. Tita’s bitter tears cause all the wedding guests to become ill after consuming the cake, and Tita discovers she can influence others through her cooking. Throughout the film, Tita’s cooking plays an important role in all the events that transpire.
Here he presents use with some of the main characters who are Nayeli, Tacho, Vampi, Yolo, Matt, and Atomiko. The girls have been affected by the absence of the town’s men who have left the small town to seek work in the United States. The purpose in presenting us with the information of why these men have left the town is to present the fact, of why so many others in small towns like this one have left their towns, in search for work. He also provides a personal account of the everyday life of the people of Tres Camarones in a way that the reader can get a better idea of life in a small Mexican town. One of the main characters Nayeli is a dreamer, who fantasizes about living in a U.S. city and whose father that has left the town to the new world to seek work. The father was the town police man and someone who Nayeli looked up to. Nayeli and her friends take on a task to bring back seven men from the United States, for the purpose of helping to deal with the narcols that have threaten the daily life of the town’s people. But also feel that it is there duty to repopulate the town and prevent it from dying out. At this point the story takes on a different meaning and a new direction of heroism to save the town from the bad men. But the journey has many borders that the girls and one guy have to encounter in order to be successful. There are many different social and
In the favela of São Paulo, Brazil, 1958, Carolina Maria de Jesus rewrote the words of a famous poet, “In this era it is necessary to say: ‘Cry, child. Life is bitter,’” (de Jesus 27). Her sentiments reflected the cruel truth of the favelas, the location where the city’s impoverished inhabited small shacks. Because of housing developments, poor families were pushed to the outskirts of the city into shanty towns. Within the favelas, the infant mortality rate was high, there was no indoor plumbing or electricity, drug lords were governing forces, drug addiction was rampant, and people were starving to death. Child of the Dark, a diary written by Carolina Maria de Jesus from 1955 to 1960, provides a unique view from inside Brazil’s favelas, discussing the perceptions of good
The entire book was leading up to the murder of the notorious Mirabal sisters which also put into perspective how oppressed these people were. Not only did this book give the reader an insight on the life of a citizen of the Dominican Republic between the years of 1930 and 1960 but, it showed how an oppressive government could affect the people in both negative and positive ways, using the sisters as examples. Obviously, negative aspects included citizens being jailed and killed by their own government. In a situation such as this, fear was in every person, whether they were brave enough to join the resistance or not. Families were torn apart, as shown in the book. Minerva, Maria Teresa, and their husbands, along with Patria’s husband, were taken from their children, home, church and family to be jailed for going against the government. Alvarez vividly describes the hurt that came to the families when they were broken apart. In jail, the sisters and husbands were also physically ill. They were being starved and being diagnosed with pneumonia which was not unheard
Food has been a great part of how he has grown up. He was always interested in how food was prepared. He wanted to learn, even if his mother didn’t want him to be there. “I would enter the kitchen quietly and stand behind her, my chin lodging upon the point of the hip. Peering through...
Any interpretation of this story is due to the reader’s personal emotions and feelings toward his or her own Papa. This story can be either a dance between him and his father, thus bringing them closer together. However, there is a darker side of this poem, on this side it is an unsettling fight between a boy and his drunken father and all the intimacy of the dance does not make an impression on the reader and is overshadowed by the anger they feel.
Since Sister was affected the most by certain actions of the family, Welty narrated this short story through Sister’s point of view to show how the function of the family declined through these actions. Sister was greatly affected when her sister broke the bonds of sisterhood by stealing her boyfriend and marrying him. Secondly, Sister was affected by the favoritism shown by her family towards her younger sister. Since her sister was favored more than her, this caused her to be jealous of her sister. For example, Sister shows a lot of jealousy by the tone she uses when describing what Stella-Rondo did with the bracelet that their grandfather gave her. Sister’s description was, “She’d always had anything in the world she wanted and then she’d throw it away. Papa-Daddy gave her this gorgeous Add-a-Pearl necklace when sh...
goes to her mother to tell her of Pedro’s intention to meet with her and ask for her
Ponte, Carmo. “Incest and the Female Character in Eça de Queirós’ ‘A Tragédia de Rua das