Showing 101 - 110 of 163 annotations tagged with the keyword "Pregnancy"
A young art student falls off a ladder and literally lands into the arms of a middle-aged doctor. Daisy Whimple is a poor, homeless woman with multiple body piercings. She has volunteered to decorate the Gynae Ward of the hospital where she had once been a patient undergoing surgery for a complicated abortion.
Dr. Damian Becket is an obstetrician and gynecologist. He is a lapsed Catholic who is separated from his wife. Becket is interested in modern art and attracted to an art historian, Martha Sharpin. The hospital has a collection of medical antiquities in need of cataloging. Some of the pieces are treasures but others are horrible relics. Martha is in charge of organizing the collection, and Daisy is paid to assist her.
Because she has nowhere to live, Becket invites Daisy to stay at his apartment. They make love every night for one week until she leaves. While attending an art exhibit, Becket and Martha spot a sculpture of the goddess Kali. The figure is comprised of artifacts "borrowed" from the hospital's collection including prosthetic arms, antiquated instruments, and body parts. It is designed by Daisy.
The sculpture is not the only unexpected thing created by Daisy. She is pregnant by Becket. Daisy requests an abortion but he insists that she have the baby. The pregnancy is almost miraculous given the damage done to Daisy's fallopian tubes from her previous abortion. It turns out to be a difficult delivery and Becket must perform it since he is the most qualified obstetrician at the hospital. The baby is a healthy girl. The newborn child radically changes the lives of Daisy, Becket, and Martha, yet the three of them have no clue what to do next.
Dr. Flaherty, a practicing neurologist, sets out to explore the act of writing and, more broadly, creativity, in the context of both neuroscience and emotion. She begins by describing several brain conditions that seem to enhance the need to write, even to the extent of obsessive hypergraphia. Next she turns to the opposite state, writer's block, looking at both psychological and neuroscientific perspectives.
Using some of the recent studies of the relationships between certain brain centers and language related phenomena, Flaherty further clarifies some of the cognitive bases for creating literature. Finally, the study turns specifically to the temporal lobe as the possible organic site of the perceived voice of the muse in religious and creative inspiration.
The diagnosis is delivered in the opening sentence: "a bad heart." Anton Rosicky is an immigrant to the United States from Czechoslovakia. The 65 year old man and his wife, Mary, own a farm in Nebraska. They have five sons and a daughter. Rosicky is an ordinary fellow with one remarkable quality--a genuine love for people. He is attached to his family, the land, and hard work. His physician, Doctor Ed Burleigh, writes a prescription for Rosicky and instructs him to avoid strenuous activities.
The young doctor is quite fond of Mr. and Mrs. Rosicky and speculates that tender and generous people like this couple are more interested in relishing life than getting ahead in it. Although he knows better, one day Rosicky overexerts himself raking thistles and bringing some horses into the barn. He experiences chest pain accompanied by shortness of breath. His daughter-in-law, Polly, helps him into bed and applies moist hot towels to his chest.
Unfortunately, Dr. Ed is out of town--his first vacation in seven years. Rosicky appears to recover from the episode but the following day after enjoying breakfast with his family, the chest pain recurs and he dies at home. When Dr. Ed returns from his trip, he stops at the graveyard near the farm. He realizes that the natural beauty and serenity of the landscape make a fitting final resting place for a farmer like Rosicky and a man whose life was not only rich with love but deeply fulfilling.
Summary:This story of one exceptionally accomplished family's discovery of their past and future relationships with Huntington's Disease (HD) is also the story of how the Wexler family changed the cultural narrative of HD for other families at risk for this genetically-transmitted and currently incurable disease. The HD diagnosis of Leonore Wexler (the author's mother) inspires Milton Wexler, a psychologist, to create a major foundation for HD research, which develops critical mass and influence as Leonore Wexler's condition deteriorates, and after her death. The book interweaves the story of the Wexlers' emotional and other negotiations with HD and the story of their efforts to create an HD community comprised of those with active symptoms of HD, family members, advocates, and researchers.
A district doctor and an examining magistrate are on their way to an inquest. The magistrate tells the story of a young pregnant woman who "foretold her own death" shortly after giving birth. Though she was apparently healthy, she simply closed her eyes and "gave up her soul to God." This tale, the magistrate contends, is an illustration of how inexplicable life can be.
No, the doctor responds, there is no effect without a cause. The woman probably poisoned herself, the doctor explains. Her husband was unfaithful. She wished to commit suicide, but did not want to harm the unborn baby. Thus, she waited until after her confinement. The magistrate is overwhelmed with grief--in fact, the story is that of his own wife. His infidelity may have caused her suicide!
Grace Rhodes (Lisa Eichhorn) is an unmarried New York advertising executive. Around forty years old, she decides that she wants a child and has no more time to find the right man. She becomes a client of Cryogenetics Sperm Bank and conceives by donor insemination.
As soon as she is pregnant, she becomes obsessed with learning more about the sperm donor, and her friend, Elaine, helps her by taking on a temp job at the sperm bank and breaking into their files, discovering the identity of Grace's donor, a photographer named Peter Kessler (Stanley Tucci). He is single, having an affair with a married woman, and his landscape photographs never include human figures because, he says, "people mess up the composition."
Grace visits Peter's upstate New York studio. They meet, become friends, and then begin dating. Grace tells him she is pregnant and that he is the child's donor father. He is outraged and throws her out. Months pass, and Peter arrives in New York to apologize to Grace, who is now heavily pregnant. He gives her a photograph he had taken, of her. The film ends ambiguously, but suggests that they will become a couple and parent the child together.
For more than fifteen years, Irish-born Grace Marks has been confined for the 1843 murder of housekeeper, Nancy Montgomery, and her employer, Thomas Kinnear, at their home north of Toronto. Her convicted accomplice was hanged, accusing Grace with his last breath, but her sentence was commuted to life in prison at the last minute. Because of her amnesia and outbursts of rage and panic, she was held in the Lunatic Asylum before being sent to the Kingston [Ontario] Penitentiary.
Beautiful, intelligent, and strangely poised, Grace intrigues worthy townsfolk, spiritualists, and some of her jailers, who grant her the privilege of outside work, believe in her innocence, and strive for a pardon. In looking for medical approbation, they consult Dr. Simon Jordan, a young American doctor who is interested in insanity and memory loss. Without explaining his purpose, he brings her vegetables and other familiar objects, hoping to stimulate recollection of her life.
Interspersed with Jordan's own problems, Grace's story unfolds in her own words, from her poverty-stricken childhood in Ireland and the emigration voyage that killed her mother, leaving her and her younger siblings to a neglectful father, through her short life in service, to the dreadful events of autumn 1843. She has suffered many losses, including the death of her mother to ship fever, and that of her friend and fellow servant, Mary Whitney, from an illegally procured abortion. After many weeks, Jordan abandons his project in frustration and ambiguity. The novel ends years later with forty-six year-old Grace's discharge from prison in 1872, nearly thirty years after the crime.
The first part of this novel presents a detailed picture of the Jewish Californian Cooper family, centering on the sixty-year-old Louise, who is dying of breast cancer. Her husband, Nat, is unfaithful, and, she suspects, only loves her when she is at her weakest and most sick. Her daughter, April, is a lesbian folk singer who becomes pregnant with the help of a gay male friend and a turkey baster. Danny, the son, is also gay, living in New York with Walter, his lover, who is becoming increasingly detached and obsessed with internet sex groups.
Louise considers herself lucky, though, compared with her younger sister Eleanor, partially disabled by childhood polio, disorganized and ill-groomed and married to Sid, whom Louise finds deeply unattractive. Eleanor's son is a sociopathic drug addict, and her daughter has ovarian cancer caused by Eleanor's taking DES (diethylstilbesterol) in pregnancy. She sends Louise newspaper cuttings about the causes of homosexuality and the dangers of AIDS.
The first part having established the complex dynamics and histories of the family's relationships, the second brings the entire family together in the crisis of Louise's final illness and death (a reaction to chemotherapy drugs causes severe chemical burns and she dies in a burn unit in a San Francisco hospital). After her death, the new dynamics of the family are established, and Louise's son and daughter conclude that their mother had "a terrible life" (p. 261).
The short third part shows that no such conclusion is possible, that even those closest to us remain terribly but fascinatingly unknowable. A flashback to a point just before Louise's final illness describes her attempt to convert to Catholicism and a brief moment in which she experiences a marvelous sense of complete harmony.
Liv is pregnant. She is an artist, and married to Erland. She names the fetus, a boy, Ersatz (a replacement, a copy, a person not yet real?). This book-long poem, divided into short segments making up nine (month-like) chapters, reconstructs her pregnancy in words, often literally, using words-within-words (for instance in a section called "Proximity of Posed to Exposed"), echoing people-within-(pregnant)-people, ideas emerging from words, and life (and death) emerging from bodies.
The poem does not offer a simple coherent narrative, although it does follow the biological narrative form of gestation. Instead it circles around the experience of containing another person, and the dissonance Liv seems to find between biological and verbal or cultural creating. Liv's ambivalence about this tension is captured throughout the work, perhaps most notably in her exploration of a painting of the dead Virginia Woolf, the drowned body of a childless woman writer, now become "beached debris." The final part of the poem captures powerfully the experience of childbirth, and the afterword is in a new voice, that of Liv's son.
In this memoir, subtitled "One Woman's Search for the Perfect Sperm Donor," lesbian author and academic Harlyn Aizley confronts her approaching fortieth birthday by deciding to have a child. She and her partner, Faith, begin the process of choosing its biological father. The first major decision: a known or unknown sperm donor? Eventually they choose an unknown one, from a sperm bank with an identity-release program that will allow their child the option of meeting her biological father after she turns eighteen.
Aizley narrates, in absorbing and often very funny detail, the eight months it takes her to conceive, and then the nine months of pregnancy culminating in the birth of a daughter. Sad but telling counterpoints to this narrative are the terrorist attacks in September 2001, which occur during Aizley's pregnancy, and the experience of her mother, who dies three months after the baby's birth, of ovarian cancer.