Showing 101 - 110 of 298 annotations tagged with the keyword "Surgery"
Summary:This 2002 DVD, copyrighted by WHYY in Philadelphia and narrated by Blythe Danner, consists of a one-hour documentary about Philadelphia-born painter, photographer, and sculptor Thomas Eakins (1844-1916) and eight short films about different facets of his life and work. Photographs by and of Eakins, his paintings, letters, and sketches are interspersed with commentary by his biographer Elizabeth Johns, and by art historians and historians. The DVD describes Eakins’s training, art production, and aspects of his personal life.
George Stewart had always loved his best friend's wife, Catherine. After her doctor husband, Jerome Martel, is presumed to have died in a Nazi prison camp, George and Catherine marry, respectful of Martel's memory and mindful of her chronic illness. The central crisis of the story, which is introduced in the first chapter, is the surprising return of Martel a decade after his death.
Martel still burns with the passion for social justice that took him to war in Europe. The long story of their lives is narrated by George through a series of flashbacks and reminiscences, in which Catherine's illness is ever present.
Canadian surgeon Norman Bethune, 1890-1939, (Donald Sutherland) journeys 1500 miles into China to reach Mao Zedong's eighth route army in the Wu Tai mountains where he will build hospitals, provide care, and train medics. Flashbacks narrate the earlier events of his life: a bout with tuberculosis at the Trudeau sanatorium; the self-administration of an experimental pneumothorax; the invention of operative instruments; his fascination with socialism; a journey into medical Russia; and the founding of a mobile plasma transfusion unit in war-torn Spain.
Bethune twice married and twice divorced his wife, Frances (Helen Mirren) who chooses abortion over child-rearing in her unstable marriage. By 1939, Bethune had been dismissed from his Montreal Hospital for taking unconventional risks and from his volunteer position in Spain for his chronic problems of drinking and womanizing. As his friend states: "China was all that was left." Even there, Bethune confidently ignores the advice of Chinese officials, until heavy casualties make him realize his mistake and lead him to a spectacular apology. The film ends with his much-lamented death from an infected scalpel wound.
This short novel is the story of one man’s death, starting with his interment at the cemetery, where his daughter and older brother offer reminiscences over the coffin; and then dwelling on aspects of his life within which the seeds of death germinated and grew. The man himself is unnamed—Everyman—and his death is no different than any other. At the same time, this death is different because the dead person’s narrative voice remains behind to tell the story.
As a young boy in his father’s jewelry store, he fiddles around in a drawer of old broken watches that his father has accepted as trade-ins. The boy is a dreamer, an artist. But he goes into the advertising business to earn a living, rather than pursuing his first love, painting. He marries and divorces three times, becomes alienated from his sons by the first marriage, and winds up spending his relatively affluent, but bleak, retirement years in a New Jersey condo, maintaining at least some contact with his daughter Nancy. Meanwhile, his brother Howie becomes a fantastically successful international businessman still married to his wife of 45 years and close to his loving family.
Everyman’s brushes with death begin when he is still a child admitted to the hospital for a hernia repair and his roommate dies during the night. As a relatively young man, he experiences a close call when he collapses and is found to have a burst appendix and peritonitis. Later, he attends his father’s Orthodox Jewish funeral, where the mourners actively bury the coffin. In 1989 he experiences a massive heart attack, followed by coronary bypass surgery. In 1998 he is admitted for renal artery angioplasty. The next year he requires left carotid artery surgery. The next, placement of coronary artery stents. The next, insertion of a permanent defibrillator. Finally, he learns that the right carotid artery has now become obstructed. During the subsequent surgery, he dies: “He was no more, freed from being, entering into nowhere without even knowing it. Just as he’d feared from the start.” (p. 182)
Richard Selzer’s memoir is subtitled “A Doctor Comes of Age.” The book is structured around childhood memories, interspersed with stories from more recent times. Selzer’s father, a general practitioner in Troy, New York, serves as the focal point for most of his early memories--a commanding figure of warmth and goodness in his son’s life: “If I have failed to describe father… it is because none of his features did him justice. I should have had to mention wings in order to do that.” (p. 152)
While his father brought science into Selzer’s life, his mother represented the world of art. She was an amateur singer with a “small pure soprano voice” (p. 15), as well as being the doctor’s wife. After the doctor’s death from a massive heart attack when Selzer was 12 years old, his mother had numerous suitors, at least some of whom she eventually married. When he went to college, she began a life-long practice of writing her younger son (Selzer has an older brother William) weekly letters, including such advice as “Rise and flee the reeling faun,” “You do not take enough chances” and “You must learn to be absurd.” (p.227)
Toward the end of Down from Troy, Selzer writes of his parents, “Of all the satisfactions of my life, the greatest is that I have at last fulfilled each of their ambitions.” (p. 251) This is in reference to his having practiced both surgery and writing. He goes on to enumerate the many unexpected similarities between the two professions. The book ends with a narrative that brings together narrative and medicine, the story of a retired surgeon who reaches out to help a young man dying of AIDS.
Winter surveys the rise and fall of mesmerism in Victorian Britain, from animal magnetism to hypnotism, including electrobiology (a form of group hysteria), table-turning, and other fads. The book offers rich detail about the different stages of the use of mesmerism in medicine: its initial appearance in staged experiments; its uncertain status and the struggle to locate the boundary demarcating alternative medicines; its performance by professional medical men as well as travelers and quacks; its importance in the development of anesthesia; and its role in prompting skeptical scientists to consider the possibility of mental reflexes as one way to explain away mesmeric phenomena.
Winter argues that mesmerism was not "illegitimate" so much as it brought "legitimacy" itself - of medical authority, of evidence, of knowledge -- into question. Thus, she argues, mesmerism crucially inspired many of the considerable changes in nineteenth-century medicine as well as the reorganization of science and the educational reforms of the later nineteenth century. The book also discusses mesmerism as a form of religion, as a conduit for spiritualism and communication with the dead, as a catalyst in orchestral conducting, and as a model for liberal political consensus.
Untouchable. Paul Bannerman considers himself a modern day leper. Diagnosed with papillary carcinoma of the thyroid at the age of 35, the white ecologist in South Africa undergoes surgery to remove the malignant thyroid gland. Four week later, he is treated with radioactive iodine to obliterate any residual cancerous cells. Paul will remain radioactive for 16 days and poses a risk to anyone in contact with him. He must be quarantined. His parents, Adrian and Lyndsay, offer to care for him in their home so that Paul will not expose his wife, Berenice (Benni), and 3-year-old son, Nickie to potentially harmful radioactivity. While at his parent’s house, Paul is isolated. Nothing of Paul’s is allowed to mingle with that of others. He spends considerable time in the garden reflecting on his life.
As Paul recovers, his parent’s marriage unravels. His mother has had a previous affair. Now his father has a fling of his own (with the tour guide) during a trip to Mexico. His dad never returns home and dies of heart failure in Norway. Paul’s mother adopts an HIV-positive 3-year-old black girl.
Benni wants to have another child, but Paul is worried. Are his radioactive sperm still capable of fertilization, and if so, will the child be somehow deformed or mutilated? Eventually conception occurs, and the baby is healthy. Paul’s most recent scan shows no signs of recurrent cancer. On the professional front, Paul gets additional good news. The environmental and conservation organization he works for has been successful in opposing and temporarily halting a mining project in the sand dunes and the development of a pebble-bed nuclear reactor. Lately, most things associated with Paul are starting to glow.
The story of Avram Halevi of Toledo, a late 14th-century Jewish doctor forced to convert to Christianity at the age of ten. He becomes a physician and surgeon in Montpellier and returns to the poor Jewish sector of his native city to live a dangerous professional life, serving the Christian rich. His relationship with the beautiful, ambitious Gabriela founders as his people are scattered in yet another attack by misguided Christian zealots.
His cousin, Antonio, is cruelly tortured and Halevi euthanizes him in prison. Escaping Toledo, he returns to Montpellier where he finds friends, a wife, a family, and eventually a professorship--but religious rivalry again intervenes through the brutality of a worldly cardinal. Try as he might to remain above the fray of religious and political struggles, Halevi is stripped of all he holds dear and dragged into controversy again because he senses what is morally right.
This fine collection of short memoirs and stories by doctors offers a variety of narratives about memorable moments in medical education and practice that raise and explore practical and ethical issues in medicine. An explicit aim of the editors was to focus on some of the rewards in medical life as well as the struggles it entails--those often being inseparable.
Starting with a section on medicine and poetry which includes memories of William Carlos Williams by two of his well-known students, Robert Coles and John Stone, and a reflection on illness in poetry by Rafael Campo, the collection is then divided into two major sections: "Grand Perspectives" and "Intimate Experiences." The former includes narratives that show the development of practices, conflicts, or learning over time spent in hospitals and clinics, observing the careers of elders in the profession or the parade of patients whose expectations and needs stretch the physician's creative resources. Several, including Perri Klass and David Hilfiker write about particular patients whose cases became personal landmarks.
In the latter section, stories focus on single cases or incidents in the lives of doctors, some humorous, some tragic, some bemusing, all attesting to the chronic ambiguities of the work of healing and to the very human tensions that arise in institutions that both enable and inhibit the compassion all good doctors want to exercise.
This three-part collection of poems offers powerful images and vignettes from the life of a family practitioner living and working among the urban poor. The first section is the most explicitly medical in theme, including poems that pay painful tribute to a mother after stillbirth, a hydrocephalic child, an addict covered with boils, a young man murdered at eighteen, an old man with a failing heart.
The second section weaves images from the writer's personal story together with those from his life as physician, and the third focuses primarily on life lived as a gay man among the sick and dying, patients to be treated and friends to be mourned while life remains to be claimed and savored.
Despite the pain and grief attested to in many of the poems, a lively voice of clarity, compassion, and consent to the goodness of life even on hard terms gives the collection a defining note of celebration. Pereira's lines about a bereaved Cambodian seamstress suggest something true about his own work: ". . . she joins the circle / of other Khmer women to sew. / Punctuating the fabric / with yellow thread, finding her remnants / into a piece that will hold." ("What is Lost")