Showing 111 - 120 of 377 annotations tagged with the keyword "Trauma"
Summary:The unusual title is borrowed from Nathaniel Hawthorne's story, "The Custom House," to suggest a shift in fortune when immigrants "strike their roots into unaccustomed earth." Set almost entirely in the United States (the unaccustomed earth), eight separate stories are connected most obviously by cultural dissonances affecting characters who are Indian or have Indian parents. Three of the stories, however, are linked by a strong narrative connection that is unexpected, profound, and unforgettable.
Job, a prosperous but god-fearing man, is stricken with a series of misfortunes, losing his goods, his sons, and his health all as a result of a wager between God and Satan about whether or not a "perfect and upright" man will remain thus under relentless misfortune (1:1). As he sits in ashes, covered with boils, a group of friends come to mourn with and comfort him, sitting beside him for seven days and nights in complete silence "for they saw that his grief was great" (3:13).
Job proves a good bet by never following his wife's advice to "curse God and die," but he does deliver a series of lamentations and questions about his condition, countering his friends' theories about the possible causes (unacknowledged sin, primarily) for his troubles and finally asserting his desire to speak directly to God and ask Him the reason that a good man has been burdened with a host of sorrows (2:9). Job's friends, including a fourth speaker, Elihu, who was probably added into the text by a later writer, reprove him angrily.
God appears suddenly and speaks to Job from within a whirlwind, ending Job's complaints with his chastening response. Rather than offering a rationale for Job's suffering, God reminds him of the limitations of a human perspective. Ultimately God rewards Job and reprimands Job's friends.
This self-portrait includes two images of the artist. The first lies with her back toward us on a hospital gurney, her head to the left, apparently anesthetized. She is wrapped in a white sheet except for her lower back, which is exposed to show two large surgical cuts dripping blood. The second figure sits facing us in a chair in front of the right side of the gurney.
The sitting figure is essentially the familiar Frida Kahlo of many self-portraits--erect, beautifully dressed in colorful Mexican style, and her face composed in spite of the tear on her right cheek. The difference here is the presence of medical paraphernalia. The upright Kahlo holds in her lap a large back brace, and she seems to be simultaneously wearing the same device under her dress. In her right hand she holds a small flag with a Spanish inscription that could be translated: "Tree of hope, stay firm."
The two figures float in space just above a lifeless and deeply eroded desert landscape. In front of them, at the very bottom of the painting, is the suggestion of an abyss. The painting is divided laterally, the left side ruled over by a sun and the darker right side (the figure’s left) ruled by the moon.
Summary:In this disturbing work Kahlo paints herself lying on her back in a hospital bed after a miscarriage. The figure in the painting is unclothed, the sheets beneath her are bloody, and a large tear falls from her left eye. The bed frame bears the inscription "Henry Ford Hospital Detroit," but the bed and its sad inhabitant float in an abstract space circled by six images relating to the miscarriage, all tied to blood-red filaments the figure holds in her left hand. The main image is a perfectly-formed male fetus. The others refer to aspects of childbearing.
This is a collection of Elizabeth Layton's work, organized chronologically from 1977-1991. Contents include a biography and epilogue by a 27-year-old reporter (Don Lampert) who discovered, promoted, and became a dear friend of "a depressed grandmother with a handful of drawings under the bed."
Layton discovered contour drawing when she was age 68 and claims to have drawn herself out of mental illness. Her subject matter is self-portraiture, marriage, aging, depression, grandmothering, dieting, and political commentary (nuclear holocaust, capital punishment, mythology and hospital death).
Summary:After several years as a firefighter, Paul Austin decided to return to school and become a doctor. Both his training as firefighter and a somewhat late start at medical school gave him an unusual perspective on his selected specialty-emergency medicine. The book chronicles a wide variety of surprises, learning moments, and challenges from his years in the emergency room. These are interspersed with vignettes about the interrupted home life of an emergency physician rotating into night duty three to four times a month. The pace is lively and the stories confessional in the best sense-rich with reflection on what he has learned, often at great cost to his resilient wife and three children, one with Down syndrome. A strong theme in the book is the importance of developing strategies for sustaining humanity and compassion even under intense pressure to be quick, clinical, and detached.
Summary:Great Deeds Against the Dead is a mixed media rendering of Plate 39 of Goya's Disaster of War series. In Goya's original etching, three figures are strung up on a tree trunk, murdered and mutilated; the Chapmans use mannequins, wigs, and fake blood to create a lifesize sculpture.
Summary:This book consists of a series of "found poems" abstracted from transcripts of interviews that Loreen Herwaldt conducted with 24 writers who had previously published accounts of their illnesses. Dr. Herwaldt, an infectious disease specialist at the University of Iowa, began her investigation into the personal experience of illness after having read Mary Swander's Out of this World: A Journey of Healing and Reynolds Price's A Whole New Life, both of which revealed a negative dimension of medical care. These books initiated an "unexpected turn" (p. 1) in Dr. Herwaldt's life, culminating in a sabbatical year during which she interviewed a wide array of writers, intending to investigate the texture and dynamics of their experience of medical care by textual analysis of interview transcripts.
Summary:This book chronicles a tortured parenthood during the birth and brief life of a severely brain-damaged female infant, Silvie. Doctors predict that the child will live only a few days but instead she survives for seven months. The story is told in first person by the mother, beginning with her arduous labor during a home delivery in the presence of an experienced midwife and the family physician. The baby does not cry when she is born and turns blue even with oxygen that the doctor administers. An ambulance is summoned; "a bigger, better oxygen machine" restores the baby's color and she is brought to a hospital neonatal intensive care unit where she is artificially ventilated and fed.
Summary:Fifteen-year-old Webber hits a young girl, seriously injuring her, while taking a little illegal driving practice with his indulgent grandfather. Webber, himself, is injured, and unlikely to return to the track team he has loved. He has trouble remembering the accident during the first weeks of his recovery, especially since his grandfather has determined to take the blame for the accident. But as memory returns, aided by the bitter insinuations of a classmate who babysits the injured girl, Webber is torn between accepting his grandfather's cover for the sake of a clean record and an unencumbered high school career, and confessing. The technical fact that his grandfather was legally responsible for letting him drive complicates the ambiguity of his dilemma. Ultimately, he makes the decision to confess. The book concludes with his telling his grandfather of his intention--a decision that is sure to be relationally as well as legally consequential.