By Amanda Webster
Courageous, sincere and eventually uplifting, The Boy Who enjoyed Apples is a compelling and wonderfully written account of lifestyles with an consuming ailment, and a gritty, relocating testomony to a mother's love.
When it turned transparent that Amanda Webster's eleven-year-old son Riche was once not only a bit too thin yet dangerously in poor health, humans have been frequently surprised.
Do boys get anorexia? they might ask. How did he get it?
That used to be the query Amanda requested herself, too. She had knowledgeable as a physician; she knew that each sickness has a reason. And if her son had an consuming affliction, she puzzled what the reason could be yet whatever she and her husband Kevin had done—or did not do?
Quick guilty either Kevin and herself, fearful approximately how her different young children have been coping, Amanda additionally came upon herself at odds with a clinical institution that hardly understood Riche's sickness, some distance much less easy methods to deal with it. And as she launched into the lengthy, agonising technique of saving her son's existence she stumbled on herself struggling with not only Riche's demons yet her personal.
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41 If Emile is significant in the context of the relationship between politics and aesthetics in Rousseau's oeuvre, it is because of his programmatic faith in "natural" or "negative" education, which dictates that through infancy and adolescence his Pupil be consciously isolated from virtually all contact with the wider and supposedly corrupt social world. The Tutor conducts his model education in a totally controlled environment remote from the corruptions of urban life—an environment, moreover, in which the exercise of power is all the more sinister because, although ubiquitous, it is also invisible: [L]et him [the Pupil] think he is always the master, but you will always be.
As he indicates in a brilliant sentence, Rousseau was aware of this—"Making his Misanthrope fall in love was nothing; the stroke of genius was in making him fall in love with a coquette" (75)—but he resents the resulting ridiculousness of the figure. It is as if Rousseau, in this case at least, wants to deny the possibility of the divided self or subjectivity in the modern psychoanalytic sense of the word; in the face of so much evidence in himself and others, Rousseau clings to the dangerous illusion of homogeneity and transparency within and without, of full accessibility of self to self and of self to others.
Finally, there was in Foucault's life and work a visible ambiguity in the attraction of anonymity or of self-effacement, on the one hand, and openness to a public role, on the other. The ambiguity is effectively summed up in the cryptic final remarks of an interview he gave in English in 1983. In response to a query as to how he felt about "a popular status" consecrated by a column on him in Time magazine, he deliberately left open the question of the relationship between an author and his work as well as that of the degree to which a private life should be made public: "As far as my personal life is uninteresting, it is not worthwhile making a secret of it.