By Mark Shriver
In this intimate portrait of a unprecedented father-son dating, Mark okay. Shriver discovers the ethical rules that guided his mythical father and applies them to his personal life
When Sargent "Sarge" Shriver—founder of the Peace Corps and architect of President Johnson's warfare on Poverty—died in 2011 after a valiant struggle with Alzheimer's, millions of tributes poured in from associates and strangers around the world. those tributes, which extolled the day-by-day kindness and humanity of "a sturdy man," moved his son Mark excess of those that lauded Sarge for his big-stage, headline-making accomplishments. After an entire life looking for the trail to his father's luck within the public enviornment, Mark as an alternative turns to a look for the key of his father's pleasure, his devotion to others, and his feel of goal. Mark discovers notes and letters from Sarge; hears own tales from family and friends that 0 in at the 3 guiding rules of Sarge's life—faith, wish, and love—and recounts moments with Sarge that now tackle new price and poignancy. within the procedure, Mark discovers a lot approximately himself, as a father, as a husband, and as a social justice suggest. A reliable Man is an inspirational and deeply own tale a few son getting to know the genuine which means of his father's legacy.
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Extra info for A Good Man: Rediscovering My Father, Sargent Shriver
People kneel to Orsames in mere acknowledgement of his political power (even his mother does so), whereas Orsames is tempted to kneel to Urania shortly before he rapes her. There is much kneeling to Cleomena in the early part of the play, both by political subjects and the enamoured Thersander, but these gestures of deference disappear with the ﬁrst enthronement of Orsames. The ﬁrst subject to kneel to Cleomena, Vallentio, is the one who engineers her dethronement. Right at the end of the play, Thersander does kneel one more time to Cleomena, to show that he still loves her despite the murder attempt, but this gesture is now quite separate from the bodily language of political power: immediately afterwards, the King of Scythia ‘Gives’ (V.
Ix. 29a), kneels, and seems ‘frighted’ (IV. ix. 27), as do both he and Alcander (IV. ix. 64). The two men at ﬁrst refuse her invitation to touch her hands, since they are too terriﬁed. Once they have touched her and discovered her corporeality, however, they manipulate her with conﬁdent superiority, Alcander leading her out and Phillander shortly afterwards leading her back in. Then, at the moment at which Erminia publicly re-emerges as an embodied being, Alcippus kneels to her. But this moment of recognition and submission is also the moment at which her power ends: shortly afterwards, she kneels to her father, and enters the play’s ﬁnal ritual, of the giving and taking of women, and the bowing by grateful men to the king (women only perform the male gesture of the bow during the masque of spirits).
The most remarkable overlap of the male and female occurs when Amintas rescues Urania from Orsames, providing him in quick succession with his ﬁrst experiences of a woman and young man. For Orsames, the two experiences are deeply linked: ‘till I saw a woman, / I never saw a thing so ﬁne as thou’ (II. i. 168–9), he says to Amintas, ‘Sure I could live a year with looking on thee’ (II. i. 174). The play seems to suggest that the differentiation of sexes is one of gradation and overlap, falsiﬁed by the binary oppositions imposed by the social primacy of male strength.
A Good Man: Rediscovering My Father, Sargent Shriver by Mark Shriver