Showing 121 - 130 of 229 annotations tagged with the keyword "Humor and Illness/Disability"
Subtitled "New and Selected Medical Poems," this volume includes poems on illness and healing from Downie's three previous collections, along with several new poems. A longer piece called "Learning Curve Journal" serves as a framework for the book.
Beginning with the desperate voice he hears on his first night as a "suicide line" volunteer, the poet reveals the shape of his own medical learning curve, moving poem by poem from "Orientation" through the realm of "Patient Teaching" and "Teaching Rounds" to "Pronouncing Death." Among the many strong poems in this collection are "Diagnosis: Heart Failure," "Louise," "Sudden Infant Death," "Wishbone," "Living with Cancer," and "Ron and Don."
Summary:A one-person performance of thirteen characters during a single night on a hospice unit. Portrayed are patients, family members and professional caregivers. With minimal lighting and few props the actor/writer, who has been a hospice volunteer for many years, is able to capture in words and action the poignancy and humor of caring for the dying.
This documentary video follows the making of an opera, based on the illness experiences of four Australians who have been diagnosed and treated for cancer. Their feelings about these experiences are translated into music (with lyrics) as they work closely with music therapist/composer, Emma O'Brien. As the three women and one man tell their stories of physical debility and emotional pain, the music therapist asks them to think in terms of color (they choose purple, black) and tones and rhythms that she plays for them on the piano.
When the narratives and their musical representations have evolved sufficiently, trained singers take on the roles "written" for them by the four former patients; the latter continue to be intimately involved in the opera's production, directed by David Kram. At the end of the project, which is also the conclusion of the film, the opera is performed in front of an audience (with musicians playing instruments, singing, and dramatic enactment) and the four people whose illness experience is performed take their bows together with the singers.
The documentary film opens with the filmmaker, Susan Smiley, in search of her mother, Millie, who suffers from paranoid schizophrenia and who, once again, has disappeared into the woefully inadequate public health care system of middle America. Through old photographs and home movies, interviews with family members and health care professionals, and voice-over and direct narration by Smiley herself, the film chronicles the descent of a young, beautiful woman in her twenties into severe and chronic mental illness.
When Millie’s marriage to their father fails, Susan and her younger sister, Tina, are essentially abandoned to endure severe physical and emotional abuse by their mother. As the years unfold, Millie eventually loses her home and embarks on a journey of evictions, arrests, hospitalizations, and homelessness. At what seems to be Millie’s lowest point, warehoused in a nursing home where she is angrily refusing to take any medication, her daughters intervene, petition for guardianship, and navigate the system on behalf of their mother.
Summary:The devoted, and antagonistic, bond between a dramatic, charismatic widow (Shirley MacLaine) and her quietly rebellious daughter (Debra Winger) is the focal point of this film's exploration of a range of human relationships and their changes over time and under various pressures, including that of serious illness. The major focus of the last part of the film is the illness and death of the daughter from cancer and its impact on her mother, her husband and children, and their immediate circle of friends and lovers.
People can’t say goodbye / any more. They say last hellos. In this poem the narrator says his last hellos to his father, who is dying from a brain tumor. Cecil (the father) seems wise and cantankerous, reflective yet humorous.
His son asks, "Sorry, Dad, but like / have you forgiven your enemies?" Cecil replies that he must have because he doesn’t think about them anymore. Later, near the end in the hospital, he tells his son, "You’re bustin to talk / but I’m too busy dyin." The son concludes, "Snobs mind us off religion / nowadays, if they can. / Fuck them. I wish you God." [76 lines]
While riding his bicycle, Paul Rayment, a 60-year-old Australian photographer, is struck by a car. He winds up in the hospital, has a leg amputated, and returns to his quarters to contemplate his future and deal with a series of nurses sent by the hospital social worker. Paul is divorced and has no living family.
His future looks bleak, and none of the nurses is satisfactory until the appearance of Marijana, a middle-aged Croatian woman with a young daughter, a teenage son, and a husband. The narrator gradually falls in love with Marijana, but by degrees his lust sublimates into an intense devotion to helping her son Drago survive his motorcycle phase and achieve his educational and professional objectives.
A chance meeting with her former and most compassionate fertility doctor brought Wendy Wasserstein (at age 48, and after 8 years of effort) back to his fertility clinic. Two weeks later she got the news that she was pregnant, and six months after that, just as she was getting ready to tell her friends "that the twenty pounds I had gained were not the result of bad habits and anxiety," she developed preeclampsia and was hospitalized.
What follows in this ’Annals of Motherhood’ memoir is an account of her hospitalization; her subsequent delivery 16 days later of 1lb., 12oz. daughter, Lucy Jane (Lucy’s waving hand sonogram picture reminded Wasserstein of "Lucy in the Sky With Diamonds"); and her separation from Lucy, who spent two months in the neonatal intensive care unit.
The Civil War antique, 104 year old "General" Sash, is the central figure. For him, "living has got to be such a habit . . . that he couldn't conceive of any other condition." This tale opens with a carefully crafted description of the absolute mutual inability of the principles--Sash and his 62 year old granddaughter, Sally Poker--to operate on the same wave length. Sally dotes on the fabricated fame of her ancient grandfather, and Sash, whose memory is essentially gone except for his recall of "beautiful guls" and his love of being on stage, lives for the moment while scarcely grasping it.
The story evolves around the later-in-life acquisition of a BS degree by Sally, and her need to have her "famous" grandfather behind her at the ceremony in his full Hollywood military attire. The anticipated day, a hot, muggy day in the south, arrives. The principles, with the addition of a 10 year old relative as wheelchair jockey, take their places for the ceremony. The final pages of the story enter--literally and figurative--into the head of the "General" as he perceives his personal "black procession."
Summary:A scathing parodic dictionary, wherein how words are normatively and conventionally defined is replaced by what they often actually do mean. One of the many classic examples is Bierce's definition of "Bigot" as 'One who is obstinately and zealously attached to an opinion that you do not entertain.'