Word: mothers
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Dates: during 1990-1999
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...each child, with items such as"Freedom and Responsibility," "Instinct andIntellect" and "Downfall of Civilization" neatlylisted in columns--that so closely paralleled herfather's safety checklists for his airplanes. The"Downfall of Civilization" lecture was especiallypopular, and "was prompted by our father'sencounters with air conditioning, television, popart or Mother's Day and Father's Day." Her fatherwas not against all fun--Lindbergh jubilantlytells of her father giving her a piggy-back rideto the rhythm of a nursery rhyme, and of lettingher "on very brief and special occasions" braid "askinny gray pigtail that hung lopsidedly over hisear." Nonetheless...
Perhaps the most moving section of the book isthe chapter titled "The Lost Baby," in whichLindbergh explores the depths of her own loss, aswell as her mother's. The highly publicizedkidnapping of Charles Lindbergh, Jr. was notspoken about in their household, as she describes:"I think...there was a common understanding amongthe siblings, during my grown-up years, that thisbaby [Charles Lindbergh, Jr.], like the 1927flight to Paris, was part of an era that hadnothing to do with us." Yet when Lindbergh's ownfirst son passed away at the same age that CharlesJr. was abducted, the story of her brother...
...fully,and her desire to share that journey with us.Lindbergh writes that "Although it is now morethan twenty years since he died, we are stilldirected and dominated by our father's strength ofcharacter. And although she is more than ninetyyears old...we are still redeemed, gentled andsustained by our mother." In this moving familyportrait, we as readers are both sustained andredeemed by the strength and honesty ofLindbergh's voice
...actors, on the whole, are an extremely intelligent bunch who obviously understand the subtle emotional levels of the characters. The characters are for the most part men and women attempting desperately to fit themselves into acceptable family roles and stereotypes (the alcoholic father, the oppressed and dreamy mother, the shy, confused son, etc.), and the American Repertory Theatre players do a fine job of establishing both the stereotype and the substance of every character...
...however, The Marriage of Bette and Boo is a play about parents and, more specifically, about in-laws. The differences between Bette and Boo's parents and their very different senses of familial responsibility provide Durang with endless amounts of comic fuel. Karen MacDonald (playing Margaret Brennan, Bette's mother) stomps across the stage as a wildly exaggerated version of an over-domineering mother in complete denial that anything is wrong with her family; Thomas Derrah mumbles his way convincingly through Margaret's stroke-victim husband Paul's virtually incomprehensible speeches. In contrast to Margaret Brennan's fruitless and overeager...