Showing 11 - 20 of 43 annotations in the genre "Collection (Short Stories)"
Summary:Jay Baruch offers readers a series of multi-layered stories focusing on caregivers, both professionals (doctors and nurses primarily) and family members, and those they are trying to care for. The setting for a number of the stories (and therefore a number of the characters) is from the working class or underclass. Another group of stories is written from the perspective of medical students, residents or physicians early in their training. In all the stories, the characters' lives are close and full of conflict. The language they use to express themselves is raw and direct. There are no simple solutions to their problems. Yet struggle on do these characters, testing the limits of their compassion and abilities to deliver care at least competently.
This partly autobiographical collection of linked stories could, as the author notes at his web site, be considered a novel as much as a collection. There is a single first-person (unnamed) narrator throughout, a circumscribed cast of characters, a timeline of almost 30 years, and "individual stories [that speak] to each other and [gather] force as they go forward" (see interview at the author's web site). At the center of these reflections and of the narrator's life is his enigmatic, beautiful mother, "Our Mother of the Sighs and Heartaches . . . Our Mother of the Mixed Messages," "Our Mother whom I adored and whom, in adoring, I ran from, knowing it 'wrong' for a son to wish to be like his mother" (17). The book also delves significantly into the relationship between the narrator and his older brother, and to a lesser extent concerns the narrator's relationship with his father, who dies when the narrator is 11 years old. Interwoven throughout is the narrator's growing awareness and suppression of his own homosexuality.
All the stories are refracted through memory, back to when the narrator was nine years old, living with his brother, mother, and father in post-World War II Silver Spring, Maryland, a suburb of Washington, DC. The stories progress through a roaming young adulthood of lies and random sexual encounters; and move into adulthood, committed relationships, and accumulating personal losses. In addition to the mother, of almost equal importance is the narrator's ambivalent relationship to his brother, Davis, who is sometimes an ally and sometimes a competitor or antagonist. Initially contemptuous of the narrator's identification with his mother, Davis later leads a defiant, drug dependent, and openly homosexual life while the narrator himself remains closeted to his parents and to many others. The narrator depicts himself and his brother as Cain and Abel, only "I was Cain and Abel both, as was my brother" (158).
Particularly striking are "My Mother's Clothes: The School of Beauty and Shame," "The Diarist," and "My Brother in the Basement." In "My Mother's Clothes" McCann develops themes of the narrator's infatuation with his mother, his guilt about that, his uncomfortable relationship with his father, and renunciation -- of his friendship with another boy. "The Diarist" focuses on the narrator's difficult interaction with his father, who expects masculine behavior from him, and with brother Davis, who seems to have no trouble fitting into the role expected of him. "My Brother in the Basement" moves forward into young adulthood and the shocking outcome of Davis's life, and the narrator's retrospective and revisionist analysis of that time.
Summary:A collection of short stories loosely connected to each other by centering on the experiences of four people from their first encounters during medical school and continuing into young middle age.
The narrator in each of the stories in this unusual collection is a home-care worker who helps people with AIDS. Each story focuses on a "gift," i.e. "The Gift of Sweat"; "The Gift of Tears"; "The Gift of Mobility" and so on. In each, we see scenes in the weeks or months shared by caregiver and patient. The patients vary widely in age, life situation, stage of illness, and attitude toward both the illness and the caregiver.
The caregiver/narrator also changes somewhat from one story to another, giving the reader some sense of the different stresses and rewards that come in the course of such work. The details of caregiving are elaborated in ways that are sometimes mundane, sometimes surprising, sometimes funny, sometimes harsh, often touching, and always straightforward.
The narrator of these short stories is a social worker who works for an agency for the blind, many of whose clients are diabetic, alcoholic, or mentally disabled as well. Over the course of the stories, the narrator leaves this work to go back to school in the arts, a personal ambivalence that may play some role in her continual, often dry critique of her clients, her work, and herself. Mostly, though, she casts a gruffly compassionate eye on the hard yet often rich and triumphant lives her clients lead, faced with financial and physical hardship as well as social ostracism.
This collection of sixteen Chekhov stories brings together in one volume many of Chekhov’s finest tales about doctors. The chronologically-arranged collection includes the famous novella, Ward 6, as well as such shorter classics as An Awkward Business and A Doctor’s Visit. In all sixteen stories, the doctor is a major figure, often at the center of a moral conflict.
Robert Coles , in his thoughtful forward, notes that Chekhov raises the "big questions" about "the meaning and purpose of life and the manner it ought to be conducted (and why)." Himself the editor of William Carlos Williams’s doctor stories, Coles recognizes and honors the comparison between Chekhov’s and Williams’s works and their dual careers as physician-writers. Jack Coulehan, in his introduction and comments, provides interesting biographical information on the great Russian writer as well as insightful interpretations of each story.
The Decameron consists of one hundred tales--ten tales told over ten days by ten storytellers, three noblemen and seven ladies. The structure of the work is distinctly medieval by virtue of its allegorical numerology and elaborate architecture, which finds its counterpart in the Gothic cathedral; its scathing and hilarious depictions of a corrupt clergy; and its idealization of women. However, Boccaccio’s attitude towards love--the right true end being pleasurable and guiltless consummation--is much closer to the Renaissance viewpoint.
In addition to the stories is a lengthy introduction in which Boccaccio describes the "brief unpleasantness" necessitating the geographical wanderings and narrative adventures of the ten storytellers, the outbreak of bubonic plague in Florence in 1348.
In 28 autobiographical stories, the narrator writes of his patient encounters (and self encounters) as a medical student, resident, and finally Emergency Room attending physician. "The Unknown Assailant" opens the collection, a tale of a criminal and his victim who are both brought into the doctor-narrator's emergency room. The young doctor chooses "the young one" (p. 1), not knowing he is the assailant, and works frantically to save his life. This criminal allegedly killed two men a year before, but his current victim lives and the doctor learns the story of the attack from this victim's point of view. The assailant, who slowly recovers, has "an aura about him" (p. 5) and the doctor is strangely drawn to him, thankful that this man means him no harm. Perhaps aware of the irony of healing a man who, in another environment, might kill him, the doctor helps the assailant get better.
This underlying theme--that nothing is black and white in medicine or life--shapes every story. "Prelude," is the revealing, three-page tale of a medical student's life outside the hospital juxtaposed with his first encounter with death in the anatomy lab.
Every story deals with significant issues: the physician's inner emptiness when a patient dies ("Through the Dark, Softly"), how a greater power might suddenly intervene ("Faith"), how narrow the margin is between a successful and a missed diagnosis ("Sugar"), how both patients and residents survive because of, or in spite of, their medical attendings ("A Difference of Opinion"), and how things that seem final or sinister--like death and leeches--become instruments of hope and cure ("The Dead Lake"). [Sugar and The Dead Lake have been annotated in this database.)
This collection contains all the stories in Arthur Conan Doyle's Round the Red Lamp, six additional medical tales (three of which are from the Sherlock Holmes oeuvre), and the published version of "The Romance of Medicine" (1910), an awards ceremony address to the medical students at St. Mary's Hospital Medical School.
Round the Red Lamp (see annotation in this database) received almost universally negative reviews when it was published in 1894. They deplored the fact that Conan Doyle wrote about such "nauseating" and "ghastly" topics. All but one of the stories deal with doctors, disease, or medical practice. (The exception is a gothic tale that has a medical student as its hero.)
For example, "Behind the Times" contrasts the behavior of old fashioned humanistic physicians with that of modern scientifically-oriented physicians; "The Doctors of Hoyland" conveys a very positive image of women physicians; "His First Operation" depicts a first-year medical student fainting in the operating room; and "A False Start" presents a humorous account of Conan Doyle's difficulties in starting his own medical practice.
The three Sherlock Holmes stories are "The Dying Detective" (1913), "The Creeping Man," (1923) and "The Blanched Soldier" (1926). "The Romance of Medicine" is an inspirational essay on professionalism and medical history, somewhat similar in tone to, and contemporaneous with, the essays of William Osler.
This is a collection of humane and humorous stories by psychiatrist Ronald Pies. Many of them portray snippets of Jewish-American family life; others feature Pies's alter egos, young psychiatrists named Applebaum; or Ackerman, or Alterman; still others introduce a number of wonderful geriatric characters the reader is unlikely to forget.
In the title story, an elderly man lies in the hospital and remembers how he inserted snippets of pornography into his business partner's tefillin nearly 40 years earlier, just to spite his holier-than-thou partner, who had evicted his Playboy magazines from the premises. "Mandelbaum's Passion" is the story of an elderly professor whose daughter wants to put him into a nursing home. He, on the other hand, focuses his energy on anticipating the twice-weekly visits of Luz, his 26-year-old Hispanic visiting nurse.
Dr. Otto Hertzmann in "Show Us Where God Is" is a retired analytic psychiatrist who lives with his sister. When a young admirer comes to visit, the sister introduces him to Davie, Hertzmann's severely retarded son who, when asked to "show us where God is," grins widely and points to the ceiling. Max Dershman, found dead in his room "stinking of cheap cigars and surrounded by Playboy centerfolds," is another such character. He falls head over heels in love with Riva Greenberg, the nursing home social worker, and leaves her a love letter when he dies ("A Medical Diptych"). In "Sophie Fein Goldberg Stein" the title character insists on always being addressed by her full name--at least, that is, until the nursing home psychiatrist is willing to sit down and listen to the full story of her life.