Showing 1051 - 1060 of 1138 annotations tagged with the keyword "Human Worth"
This history of western medicine focuses on British life in the eighteenth century. Williams begins his treatise by wondering if "we realize sufficiently what we have escaped by being alive in the twentieth, not the eighteenth, century." He then catalogues in the subsequent 12 chapters the agonies not only of illness but also of medical treatment in the 1700’s.
Topics are wide-ranging and include blood-letting, parturition, infant malnutrition, rampant infectious diseases, maltreatment of the insane, surgery prior to anesthesia, water therapy, and military medicine. Primary source quotations interspersed in the narrative add to the drama. For example, the deposition of a widower (his wife died while pregnant) is quoted: " . . . Being taken ill of a paine in her right side under her short ribb together with a great difficulty of breathing having but 14 weeks to go with Child Mr Hugh Chamberlen Senr was sent for to take care of her, who thereupon gave her in the space of nine days four vomitts, four purges, and caused her to be bled three times to the quantity of eight ounces each time: Then gave her something to raise a spitting after which swellings and Ulcers in her mouth followed . . . . " (p. 31)
A few medical advances at the close of the century are also described, notably the smallpox vaccine developed by Jenner and the administration of First Aid to wounded soldiers at the frontlines (developed by Larrey). The text is accompanied by black and white illustrations, such as an inside view of Bedlam (Bethlehem Hospital) by William Hogarth (A Rake’s Progress, plate VIII).
Richard Kraft is about as burnt-out as a fifth-year resident in pediatric surgery can be. Overwhelmed by his stint in an inner-city, public hospital in Los Angeles, he seeks to hide from the misery of his patients by avoiding any personal connection with them. Then he meets twelve-year-old Joy, an Asian immigrant trying desperately to learn the puzzling ways of her new culture. She speaks words that trigger memories from Kraft's own childhood as the son of a U.S. agent in Joy's country, and he loses his distance.
He performs surgery on a life-threatening cancer in her leg, pulling back at the last minute in an unreasonable fear that he will hurt her if he cuts too deep. The implied result: incomplete excision of the cancer and a death sentence for the child he now tries, unsuccessfully to avoid. His avoidance is repeatedly foiled by Linda Espera, the physical therapist with whom he is falling in love and who will not let him abandon the emotional needs of any of the children in Joy's ward.
The author knows that the virus's attack "is not personal." His individuality means nothing to the virus. Yet, for three years he has been ill, he has been "occupied by an unseen / enemy," he has lost control. Thus, being human, he must take it personally.
In fact, as a result of the infection, he is no longer the self he once was, but has seen "the banks / of self erode." Though the virus has changed the story of the writer's life, the virus does not really need him "to live any more than faith / needs a body of truth / to thrive." [50 lines]
Dr. Terry McKechnie works in the emergency room in a Los Angeles hospital in the early 1990’s, and is having an affair with Virginia Lee, the new wife of an old friend of his from medical school. Virginia works with snakes. She is attracted to danger. She falls in love with Terry immediately after deciding to marry the reliable Rick, with his predictable dermatologist’s hours and habits.
Virginia is bitten by a rare snake and drives herself to Terry’s hospital. The drive is terrifyingly described, time seeming to move at two speeds at once, as Virginia sits stuck in traffic trying not to panic, the terse prose capturing her efforts at clarity even as the rapid effects of the venom begin to cloud her thoughts. Because she is allergic to horses, the antivenom, made of horse serum, cannot be given to her, and she begins to bleed. Unfortunately, she also has an extremely rare blood type.
As well as being a doctor, Terry is a "universal donor": his blood can be given to people with most other blood types without danger of rejection. His gift fails him at this point, however: Virginia must be given blood of her own type. One person has such blood: a psychopath on the run from the police whom Terry had previously allowed to escape. The novel’s plot culminates in Terry’s search for and encounter with the convict, in which he persuades him to give his blood (and, necessarily his freedom--he is arrested in the hospital) and Virginia survives.
Summary:This short prose poem (a single paragraph) concisely tells a powerful story. A composer at an artist's colony believes he has fallen in love with a woman of almost sixty, a Japanese painter. One night, late, at her door, she acknowledges their mutual desire, but warns him that she has had a double mastectomy. He leaves her, apologizing. In the morning he finds that she has left a bowl on his doorstep, filled with dead bees covered by a layer of rose petals.
This is a collection of twenty-six first-hand accounts by women institutionalized in mental hospitals or "asylums" in America between the mid-nineteenth century and the end of World War II. The book is divided into four historical periods, each introduced by the editors with an essay contextualizing the narratives in relation to the history of the psychiatric establishment, and to the roles, perceptions, and experiences of women in American culture.
The accounts are all extracts from works published by the writers, usually as attempts to expose the injustices of the mental health system. Most of the writers are not well known, with the exceptions of the author Charlotte Perkins Gilman and the actress Frances Farmer, whose account concludes the book [see film annotation in this data base: Frances].
Chris Cooper (Kevin McDonald) is a shy researcher working for a huge pharmaceutical firm with a team of sympathetic, but unusual personalities. He discovers a substance that makes people (and the company executives) very happy. Promoted as "Gleemonex," the new "brain candy" rapidly begins to make money, and Chris becomes a hero; however, the team soon realize that their wonder drug can render its users comatose.
Their "good" efforts to stop their own creation are opposed by their employer, especially the "bad" chief executive (Mark McKinney) and his cloying "yes-man" (Dave Foley), who relentlessly pursue sales to a craving market. After many tragicomic and slapstick escapades, good mostly prevails in the end.
The beautiful Polish student, Marie Sklodowska (1867-1934) (Greer Garson), is the only woman graduate student studying physics in Paris. She attracts the attention of her kindly professor by fainting in class. A father of two daughters, the professor realizes that she is both brilliant and poverty-stricken. He offers her a paid research project, and, without revealing her sex, arranges for her to occupy space in the laboratory of absent-minded Professor Pierre Curie (1859-1906) (Walter Pidgeon).
At first, Curie is annoyed by her presence, but he soon realizes that she is immensely gifted. When she decides to leave Paris (and physics) after standing first at her graduation, Curie is horrified and clumsily proposes marriage to stop her. Their union will be based on respect, reason, and physics, he claims, and she accepts. With his support, she embarks on an obsessive project to isolate what, she realizes, must be an unknown element in the compound pitchblende--a substance that emanates rays like light.
Four years of intense labor with few resources, inadequate facilities, incidental child-bearing, the threat of cancer, and many disappointments lead to the isolation of a minute quantity of radium in 1898. The Curies share the 1903 Nobel prize in physics with Henri Becquerel. Their future seems assured, but tragedy soon strikes: the distracted Pierre is run over by a horse-drawn cab and dies instantly.
Madame's grief is powerful, but she recalls her husband's prophetic words and returns to work. In the final scene, the elderly Madame Curie, now twice Nobel laureate (1911 chemistry), delivers an inspirational lecture on the promise of science to help "mankind" by curing and preventing disease, famine, and war.
This is the third novel in Davies’s major work, The Deptford Trilogy. While it is not necessary to read the novels in this trilogy in sequence, doing so makes each story more complete and interesting, and clarifies the relationships between some of the characters. This particular novel tells the life story of the unfortunate boy introduced in The Fifth Business, who was spirited away from his Canadian home by one of the members of a traveling side show, the Wanless World of Wonders.
Magnus Eisengrim, now a master magician, describes his life as an innocent child who was introduced not only to rape, but to the sad world of the "freak" show, as he traveled throughout his formative years with these unfortunate people. The main good which came out of this was that he developed empathy for the members of the side show, and that he taught himself the skills of magic and became an accomplished magician. A turning point in his life occurred when he got away from this terrible environment and became an understudy for a famous English actor. In emulating this man, he moved on to become a marvelous illusionist.
The last part of the story is concerned with Magnus’s role in making a film about the life of Robert-Houdin; he finally tells his life story to the group of people with whom he is working. In this group there is a friend from his early life--a man who treated him badly when he was the actor’s understudy and who doesn’t now recognize him--and the director who is trying to help the group work together. Another important character is a woman with a physical disability which had so altered her appearance that it had warped her world view; Magnus helps her come to grips with her situation. The descriptions of the interactions among these unusual characters are Robertson Davies at his best.
Nikolai Ivanov is a young estate-owner, heavily in debt, especially to Zinaida Lebedev, the wife of the head of the County Council. Ivanov used to be energetic, creative, and unconventional, the "star" of the local gentry. He married for love--a Jewish woman (Sarah, now called Anna) whose parents disowned her when she married a gentile--and Anna is totally devoted to him. Yet Ivanov is suffering from profound depression.
It seems to him that all his good ideas (like building a school for the poor) were for naught and he has become a "superfluous man." He spends every evening socializing at the Lebedev estate, even though he knows how this hurts his wife. Doctor Lvov, Anna's physician, is a humorless and terminally sincere young man who has no insight into Ivanov's depression.
One night Anna gets fed up and follows her husband to the Lebedev house, where she discovers Ivanov kissing the Lebedevs' daughter, Sasha, who is hopelessly in love with Ivanov, although he doesn't reciprocate her affection. Some weeks later Anna's illness (tuberculosis) has gotten worse. Lvov condemns Ivanov, various hangers-on while away their time in Ivanov's study, and, to complicate matters further, Sasha shows up unannounced. After Anna dies, Ivanov and Sasha are set to be married, but at the last minute he can't go through with it. At the end of the play he runs offstage and shoots himself dead.