Showing 111 - 120 of 139 annotations tagged with the keyword "Alternative Medicine"
Editors Angela Belli, professor of English at St. John’s University in New York, and Jack Coulehan, physician-poet and director of the Institute for Medicine in Contemporary Society at the State University of New York at Stony Brook, have selected 100 poems by 32 contemporary physician-poets for this succinct yet meaty anthology. The book is subdivided into four sections, each of which is prefaced by an informative description and highlights of the poems to follow.
Section headings take their names from excerpts of the poems contained therein. There are poems that describe individuals--patients, family members ("from patient one to next"), poems that consider the interface between personal and professional life ("a different picture of me"), poems that "celebrate the learning process" ("in ways that help them see"), and poems in which the poet’s medical training is brought to bear on larger societal issues ("this was the music of our lives").
Several of the poems have been annotated in this database: Abse’s Pathology of Colours (9); Campo’s Towards Curing AIDS (13) and What the Body Told (94); Coulehan’s Anatomy Lesson (97), I’m Gonna Slap Those Doctors (21), The Dynamizer and the Oscilloclast: in memory of Albert Abrams, an American quack (129); Moolten’s Motorcycle Ward (105); Mukand’s Lullaby (33); Stone’s Talking to the Family (79) and Gaudeamus Igitur (109).
Other wonderful poems by these authors are also included in the anthology, e.g. Her Final Show by Rafael Campo, in which the physician tends to a dying drag queen, finally "pronouncing her to no applause" (11); "Lovesickness: a Medieval Text" by Jack Coulehan, wherein the ultimate prescription for this malady is to "prescribe sexual relations, / following which a cure will usually occur" (131); "Madame Butterfly" by David N. Moolten, in which the passengers in a trolley car are jolted out of their cocoons by a deranged screaming woman (142).
Space prohibits descriptions of all 100 poems, but each should be read and savored. Some others are particularly memorable. "Carmelita" by D. A. Feinfeld tells of the physician’s encounter with a feisty tattooed prisoner, who ends up with "a six-inch steel shank" through his chest as the physician labors futiley to save him (23). In "Candor" physician-poet John Graham-Pole struggles with having to tell an eight-year old that he will die from cancer (27). Audrey Shafer writes of a Monday Morning when she makes the transition from the "just-awakened warmth" of her naked little son to tend to the patient whom she will anesthetize "naked under hospital issue / ready to sleep" (72).
In "The Log of Pi" Marc J. Straus muses about being asked "the question / I never knew" that he "pretend[s] not to hear" whose "answer floats on angel’s lips / and is whispered in our ear just once" (113). Richard Donze wants to know why "Vermont Has a Suicide Rate" (132). Vernon Rowe remembers the "hulk of a man" who shriveled away from an abdominal wound and begged, " ’Let me go, Doc,’ / and I did" (44).
This is a personal narrative by one of America's most accomplished authors. For the past thirty years Reynolds Price has written novels, stories, poems, essays. In this memoir Price describes his battle with a spinal tumor detected in 1984 which left him with some neurological impairment. He struggled with his own rehabilitation and eventually recovered with the aid of biofeedback and hypnosis.
The most compelling part of the book is near the end. The author muses about the meaning of his illness, "advice I'd risk conveying to a friend confronted with grave illness or other physical or psychic trauma" (p.182). He puts the travails of life into a philosophical perspective that is almost Zen-like.
Dr. Jonathan Hullah writes a memoir of his life in response to a young reporter who questions him about the death, years ago, of an old Anglican priest during Good Friday services. The tale unfolds of three schoolboy friends in Toronto before the Second World War: Brocky Gilmartin, who becomes a noted professor of literature; Charlie Iredale, who enters the Anglican priesthood; and Hullah himself, who begins as a police surgeon and later becomes a practitioner of his own unusual brand of psychosomatic medicine.
The central image of this story is the sudden death of Father Hobbes, the saintly vicar of St. Aidan's Church. Soon after Hobbes' death, the curate Charlie Iredale leads a movement to declare the elderly priest a saint. This movement is aborted by the bishop and Iredale, his vision crushed, goes on to become an itinerant (and alcoholic) clergyman in rural Ontario.
The central story though is that of Dr. Hullah, the "cunning man" who learns that healing is not just a matter of the body, but also the mind and spirit. He practices a type of "holistic" health care that the Canadian medical authorities find very suspicious. Yet, he is quite successful in his work, serving as physician-of-last-resort for many patients who have not been helped by other doctors.
The "cunning man" is a listener; he seems to stay on the outside, observing carefully, but revealing little of himself. In these memoirs he gradually reveals his rich experience and complex character. Only at the very end, however, does he reveal the true story of Father Hobbes's death.
This is one of three of Poe's tales that deal with mesmerism, an increasingly common practice of the early nineteenth century. This tale evolves around a young gentleman of Virginia, who has developed a rapport, a dependent relationship centered on mesmerism, with a physician who had been converted to the practices of Mesmer.
One day, after taking his usual morning dose of morphine, the gentleman leaves for his daily walk in the Ragged Mountains. He returns with the tale of a bizarre foreign encounter in which he dies from a snake bite to the temple.
As the "dead" man tells his tale, the doctor confirms that it was not a dream despite the fact that the subject seems quite alive. Within a few days the gentleman is dead, presumably because of the accidental application to his temple of a poisonous leech. The twist at the end of the tale, which includes allusion to reincarnation, will not be revealed here.
Anne Finger, a writer and disabled activist whose childhood polio left her with a disability, tells the story of her pregnancy, her birth experience at home and in the hospital, and the serious health problems her newborn son experienced.
This history of western medicine in the nineteenth century chronicles the lives of some men and women who were innovators in the field of medicine. Williams begins the book in the 1700s with the life of John Hunter and his influence on nineteenth century medical practice and research.
The book consists of 16 chapters, many of which, like the one on Hunter are biographic. For example, Williams writes of the contributions, education, and lives of Florence Nightingale, Hugh Owen Thomas (orthopedics), Marie Curie, Joseph Lister, Ignaz Semmelweis (maternal health), Patrick Manson (tropical medicine), Jean-Martin Charcot, and William Conrad Röntgen. Other chapters are more theme-oriented, such as body-snatchers, discovery of anesthesia, homeopathic medicine, blood transfusion, and medical use of spas.
Black and white illustrations, such as Mrs. Röntgen's hand in an X-ray photograph help the reader to appreciate the advances in medical knowledge in the nineteenth century.
Like the train images in the last two stanzas, this poem is a train of thoughts about medicine, doctors, and patients' relationships to doctors, medicine and illness. The poem begins with the narrator's (presumably the poet's) Chinese doctor writing a prescription in Chinese. The poet begins daydreaming about the characters, and this leads to a soliloquy about daydreaming and illness and the slower pace of the ill, hanging "suspended in the wallpaper" of waiting rooms.
A recollection of the poet's "lady doctor" and his infatuation with her leads to a revelation of his desire to have illness and suffering, just to be with her. He philosophizes "suffering itself is medicine / and to endure enough will cure you / of anything." He decides he'd like to suffer like his mother, who seemed to not only accept, but also relish, the sick role of the weak, dependent state.
Summary:A psychiatrist who is skilled at hypnotism is asked by an oncologist to hypnotize a difficult patient prior to a bone marrow biopsy. The psychiatrist is able to achieve excellent pain relief through hypnotism, much to her own surprise. She is exhausted by the mental energy she has expended in this experience, and is discredited by the oncologist, who doesn't really believe that hypnotism is anything special.
Sidney Winawer is a New York physician specializing in gastrointestinal cancers. When his wife, Andrea, is diagnosed with stomach cancer, he is made to see his own work from a new perspective, that of the patient and her family. The experience gives him new insights into aspects of health care he had not considered before, such as the alienating effects of some hospital routines on patient and family, the patient's need to find hope from any source, regardless of its intellectual provenance, and, encouragingly, the life-enhancing effects on his family as they join Andrea in her determined struggle to prolong and enrich whatever time remains for her.
For the first time, Winawer explores alternative and complementary approaches to cancer treatment, including meditation, antioxidant therapies, hyperthermia, and other attempts to stimulate the immune system. At first resistant, he comes to recognize the need for the terminally ill and their families to have access to as many resources as possible, and eventually it becomes his "mission" to emphasize the need for practitioners of conventional medicine to learn as much as possible about integrative medicine.
An interesting subplot is the story of Dr. Casper Schmidt, Andrea's psychiatrist, whose remarkable knowledge of new treatments for terminal illness is explained when he dies of AIDS. As another physician led by personal experience of disease to explore beyond the boundaries of conventional therapies, Schmidt forms an illuminating counterpoint to Winawer himself.
Eleanor Lightbody (Bridget Fonda) and her husband Will (Matthew Broderick) travel to the Battle Creek Sanitarium for the cure. On the train, they meet Charlie Ossining (John Cusak) who hopes to make his fortune in the booming breakfast food industry. The san is run on strict rules of vegetarianism and sexual abstinence by John Harvey Kellogg (Anthony Hopkins), inventor of the corn flake. Regular enemas, exercises, outings and baths are prescribed, but Will repeatedly breaks the rules and is lured into liaisons with a chlorotic fellow patient and his nurse.
Eventually, he and Eleanor turn to other unconventional treatments, which are not sanctioned by Kellogg, including nudism and sexual stimulation. Meanwhile Charlie joins up with George Kellogg (Dana Carvey), the Doctor's adopted but estranged son, who taunts his father when he is not extorting money from him. George sets the san on fire, but is reconciled with Kellogg during the conflagration when he sobs "Daddy give us a cuddle." The Lightbodys go home to a moderate pursuit of health.