Showing 1141 - 1150 of 1266 annotations tagged with the keyword "Death and Dying"
Summary:In this collection, sixteen writers (including the editor, in her introduction) recount the deaths of one or both of their parents. They explore a wide range of questions: about the relationship between parents and their children, about the inevitability of the loss of that relationship (if it is lost in death, for, as the editor asks, "is the death of a parent really the end of the relationship?" [p. 2]), and about the conflicts that arise between the necessary separation that comes with adulthood and the complex ongoing attachments which in these stories enrich, haunt, inform and in many ways determine the lives of the tellers.
Visiting an old folk's home in Jerusalem, the narrator notes the details of life and of nature--evening, the bees' buzzing busy-ness gone for the day, "the honeysuckle / in its golden dotage, all the sickrooms ajar." There ends, however, the "normal," for in the next lines we are brought up short with "Law of the Innocents: What doesn't end, sloshes over . . . even here, where destiny girds the cucumber." What are the Innocents doing in an old folk's home? And are the honeysuckle and cucumber vines the "destiny"--the liquid life-lines of feeding and IV tubes--that "gird" the occupants?
In the second stanza, the narrator recognizes that no matter what the occupants (or the narrator himself/herself) have ever accomplished, nothing of worldly success matters here. What is real are "horned thumbnail[s] hooked into an ear" and "gray underwear wadded over a belt."
The third stanza shows the narrator trying to come to terms with what he or she has seen and learned: old age is "minimalist," like the night air and the desert; light cannot overcome darkness; all that remains is the moment, itself nothing of any great magnitude: "finch chit and my sandal's / inconsequential crunch." The last stanza, one line, reads: "Everyone waiting here was once in love."
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).
Summary:This story takes us to the fictional town of Port William, Kentucky where the traditions of family, farming, and freedom blend in a durable wholeness and wholesomeness of place. It is to this place that Burley Coulter is returned by his kin to die. In what turned out to be a mistaken expression of compassion, Burley's family took him to the doctor when, after eighty-two years, he fell ill. But then seeing him lying in the "mechanical room" of a hospital, attached to a life support system, his family conspires quietly and heroically to kidnap him so that he can die in his beloved woods.
This thoroughly researched book helps us understand John Keats's life and work in terms of his medical training. Goellnicht argues that, contrary to some critics' view that Keats was "anti-scientific" or "anti-intellectual," Keats incorporated much of the knowledge gained from his six years of medical training into his poetry.
The book begins with a chapter of biographical information about Keats, emphasizing the nature of medical training in the early nineteenth century, but includes Keats's self-diagnosis of tuberculosis. The heart of the book consists of four chapters, organized by scientific topic, which relate the specifics of Keats' s medical training to his writing: Chemistry, Botany, Anatomy and Physiology, and Pathology and Medicine.
Excerpts of Keats' poetic and epistolary writing are examined in each of these chapters in light of Keats' scientific and medical knowledge. For instance, in the chapter on Botany, the uses of specific botanical species in his writing are examined in terms of what was known of materia medica (see annotation for Ode on Melancholy. Furthermore, the author explores Keats's interest in plants and trees as metaphors for life, such as his interest in "the flower as a vital, but passive, being that exists in a state akin to negative capability."
The author concludes the book with a summary statement about each of the chapters (e.g., " . . . from pathology he adopted the approach of viewing aspects of life, in particular love and poetic creativity, in terms of morbid and healthy states . . . ") and also the caveat that the book is not meant to in any way diminish other profound influences on Keats, such as his interactions with other Romantic poets. Goellnicht notes, however, that Keats himself united the worlds of medicine and poetry in his poem, "The Fall of Hyperion," in which he describes the poet as a physician.
Novelist Isabel Allende's daughter, Paula, died after entering into a coma following an acute attack of a porphyria disease. Allende was at her daughter's side in a hospital in Spain, where Paula was living with her husband, and later in Allende's home in California, where Paula spent the last months of her life.
When Paula first lost consciousness, Allende began writing for her an account of her illness, which soon grew into a memoir of Allende's own life: "Listen, Paula, I am going tell you a story, so that when you wake up you will not feel so lost" (p. 3), Allende begins. As Allende tells of her childhood, political and feminist awakenings, and her growth as a writer, she also watches Paula sink deeper and deeper into coma. She remains insistent, however, that Paula will recover, works in secret with a sympathetic physician to wean Paula from the respirator that breathes for her, then flies her back to California for rehabilitation.
In the end, though, she faces the reality that Paula will not recover, and, as she finishes telling Paula the story of her own life, she discovers that she has found the strength to let Paula go. Paula dies in a sunny room in Allende's house, surrounded by family and friends.
Seventy-nine year old Dame Lettie Colson begins to receive anonymous phone calls from a man whose message is, "Remember, you must die." Soon, her octogenarian brother, her senile sister-in-law, and many of their tottery friends begin to receive similar phone messages.
The novel takes us through a year or so in the lives of this group of eccentric elderly upper-class Brits and a few of their not-so-privileged servants and caretakers. As they pursue the source of the "memento mori" message, we discover a complex matrix of infidelity and deception, ranging from youthful love affairs and harmless perversions to manipulation and blackmail. In the end, though, Death will not be denied.
May's Lion is really two stories in one: the first is narrated by a woman who knew May, the story's protagonist, when the narrator was a child, and she retells the story May told her about the time a sick mountain lion came into her yard. Uncertain of what to do, she called the sheriff's office. Police officers shot the lion because, according to May, "there was nothing else they knew how to do."
The second story is the narrator's fictionalized recounting of May's story. In this version, May (now called "Rains End") finds the lion in her yard, and in spite of her own fear she believes he has come for a reason. She offers the animal a bowl of milk, and sings softly to soothe him. She realizes "He had come for company in dying; that was all." This she offers him, and the lion dies there in her yard.
The poem's omniscient speaker describes the inhabitants of an "Old Ladies' Home" with bleak and dehumanizing detachment. In the first of the three seven-line stanzas, the fragile elderly women appear "like beetles" who "creep out" of the institution's buildings for the day. Their habits and relationships are observed in the second stanza: knitting, and children who are "distant and cold as photos," with "grandchildren nobody knows."
Presaging the arrival of death in the last stanza, the ladies wear black, "sharded" in it, but even the "best black fabric" is stained red and green by age. In the evening they are called in by the nurses, "ghosts" who "hustle them off the lawn" to their beds, which resemble coffins, and where Death waits.
Summary:Determined not to like Ruth Thomas, Ann Stanley is immediately smitten by her charm and force of personality, and especially by her vitality--a vitality that too soon succumbs to breast cancer. As one of a cadre of women almost obsessively devoted to the care of a dying Ruth, Ann nurses Ruth through her final illness, until--in a move curiously like the decision of Charity (also dying of cancer) to keep Sid, her husband, sequestered from her final trip to the hospital, in Wallace Stegner's far superior novel, Crossing to Safety--Ruth flies to Florida to die at her brother's house.