Showing 121 - 130 of 261 annotations tagged with the keyword "Infectious Disease"
Summary:Life on the Line relates the experience of 228 writers who express in their work the deep connection between healing and words. Walker and Roffman have organized their anthology into eight topical chapters: Abuse, Death and Dying, Illness, Relationships, Memory, Rituals and Remedies, White Flags From Silent Camps, and a chapter of poems about the nuclear accident at Chernobyl. This hefty volume contains a very broad selection of contemporary poems, stories, and essays by both well-known and relatively unknown writers on the experience of illness and healing.
Set in 1665, Journal of the Plague Year is a fictional account of the plague that set upon London that summer. Defoe, one of the first British novelists, walked a thin line between fact and fiction. His book poses as a firsthand account and contains statistical information on the plague, but is primarily fictional.
His novel charts the development of the infection, its spread, and the destruction it left in its wake. He provides gruesome accounts of medical practice in the era, including graphic descriptions of women dying in childbirth and vast burial pits. Doctors tried to stop the spread of the disease by killing 40,000 dogs and 200,000 cats who they assumed carried the disease.
Young Jane Eyre was orphaned and sent to live with her uncle, who dies shortly after her arrival. Her step-aunt despises her and sends her to Lowood School so that she can become a governess. She wins the friendship of everyone there, but her life is difficult because conditions are poor at the school. Not until typhus kills many of the students do conditions improve.
Jane completes her education there and obtains a position as governess at a house called Thornfield. Jane’s student is Adele Varens, a petulant but loving ward of the master of the house, Edward Rochester (and possibly his illegitimate child). Rochester is rarely at home and Jane spends most of her time with Adele and the housekeeper, Mrs. Fairfax. When Rochester does come home, he is often moody and imposing.
One night, Jane wakes to strange noises and the smell of smoke. She finds Rochester unconscious in his bed, which is on fire. Other odd things happen in the house: Jane often hears strange laughter and thuds. Jane has meanwhile realized that she loves Rochester but in her pride refuses to confess it.
When Rochester invites a group of friends to the house, including Blanche Ingram whom he is expected to marry, Jane is treated like a servant by the guests. One of the guests, Mr. Mason, is mysteriously injured. Jane is also troubled when her former guardian, Mrs. Reed, calls her to her death bed and admits that several years earlier she had received a letter from one of Jane’s distant relatives, John Eyre, a wealthy man who lives in Madeira. Mr. Eyre had offered to adopt Jane, but Mrs. Reed maliciously told him that Jane had died in the typhus epidemic.
When Jane returns from this visit, Rochester asks her to marry him and Jane joyfully assents. Two nights before their wedding, she wakes to find someone in her room, wearing her wedding veil. She faints in fear, but Rochester convinces her it is her imagination. At the wedding, a man interrupts the service, saying Rochester is already married. Rochester admits it and takes the wedding party to the attic. His wife is a Creole, Bertha Mason, who went mad immediately after their wedding fifteen years before. Now she is imprisoned in the attic.
Jane decides she must run away. Penniless, she becomes a beggar until Reverend St. John Rivers and his two sisters generously take her in. She lives with them under an assumed name, and it is only by accident that she learns simultaneously that John Eyre has died and left her his fortune and that the Rivers are her cousins. They share the fortune. Rivers presses her to marry him and join him as a missionary. He admits that he does not love her, but he thinks Jane smart and useful. Jane feels she must do her duty, but she does not want to marry Rivers.
One night, Jane hears Rochester’s voice calling to her. She returns to Thornfield and finds the house burned to the ground. Bertha had set fire to it and Rochester became blinded in his unsuccessful attempt to save her life. Jane and Rochester marry. It is intimated that Rivers will die gloriously for his cause.
Sontag argues against the use of illness as metaphor. She states her main point on the first page of this long essay : "The most truthful way of regarding illness--and the healthiest way of being ill--is one most purified of, most resistant to, metaphoric thinking."
Tuberculosis and cancer serve as her two central examples of the human tendency to use metaphoric thinking about illness. In the 19th century, tuberculosis was considered a disease of passion, of "inward burning," of the "consumption" of life force. Sufferers were thought to have superior sensibility; the illness purified them of the dross of everyday life. The romantic image of the TB sufferer became "the first widespread example of that distinctively modern activity, promoting the self as an image" (p. 29). Metaphoric thinking about TB declined in the early part of the 20th century as the disease succumbed to science and public health measures.
Cancer has now become the predominant disease metaphor in our culture. Cancer is considered a disease of repression, or inhibited passion. The cancer sufferer characteristically suppresses emotion, which after many years emerges from the unconscious self as malignant growth. As in Auden’s poem, Miss Gee, reproduced on page 49, (see annotation in this database): "Childless women get it, / And men when they retire . . . . " Sontag uses the 19th century view of insanity as another example of malignant metaphoric thinking, while metaphor related to syphilis was somewhat more benign. She concludes the essay with an eloquent prediction that, as we learn more about the etiology and treatment of cancer, its metaphorical system will die on the vine. (I wonder if Sontag would consider my "die on the vine" an appropriate metaphor here?)
The narrator carries hothouse orchids as a gift to a friend in the hospital. When he gets there, he feels out of place, not having expected "barricades / against infection, the doors’ / pneumatic psshh . . . . " He regrets that his gift flowers are tame, when "the room / cried out for wildness." The place is sleek, efficient, and antiseptic. His friend--who is not described in the poem--"would never rise / from the motored bed." Who could blame the narrator for looking away? Or for wishing that he could have brought a gift of wilder, more glorious flowers? (40 lines).
I used to be able to think. My brain’s circuits were all connected . . . I had a memory and an intuition that I could trust. So begins Floyd Skloot’s memoir of living his life with "a scatter of white spots like bubbles" in his brain, as a result of a viral illness in 1988 that led to chronic fatigue syndrome and persistent brain damage. The first section ("Gray Area") consists of essays that re-create a texture of mistaken words and memory lapses, as well as the author’s creativity in discovering ways to minimize or bypass disability in his daily life. The temporal vector of this section begins with the onset of illness; continues through his marriage to Beverly and their settling on a hilltop in Oregon; and ends with an idyllic stay on Achill Island off the western coast of Ireland.
The second section draws us back in time to "The Family Story," a series of stories about childhood. In "Kismet," which begins section 3, the author returns to a description of his post-illness experience, in this case to his fateful final visit with an older brother, who is dying of diabetes and kidney failure. Later, in "A Measure of Acceptance," he tells of his encounter with a Social Security psychiatrist, whose task is to determine whether Floyd Skloot is "really" sick. The Social Security Administration provides one measure of acceptance; but the author creates a more important measure of acceptance for himself: "I can say that I’ve become adept at being brain damaged. It’s not that my symptoms have gone away: I still try to dice a stalk of celery with a carrot instead of a knife . . . Along the way, though, I’ve learned to manage my encounters with the world." (p. 196)
A collection of twenty-six short essays about AIDS from two primary perspectives. Approximately one-third of the essays reflect on this physician-author’s personal response to his identical twin brother’s deterioration and eventual death from AIDS. The remaining essays reflect this pathologist/public health educator’s interest in confronting the epidemic on a societal/cultural level.
The author’s love of nature and gardening provides a sense of continuity throughout the book. The gentle yet strong voice of the author is very moving when sharing his personal experience. His voice, on occasion, becomes pedantic when addressing societal and public health concerns.
Higgs, a sheep farmer, and Chowbok, an old man, decide one day to visit the forbidden country that lies beyond the mountains. When they find a pass through the mountains, Chowbok gets frightened and runs home, so Higgs goes on alone. After a dangerous journey, he wakes one morning surrounded by beautiful shepherdesses. They take his belongings, give him a medical exam, and throw him in jail.
There he learns that he has come to Erewhon (an anagram for nowhere). In this country, illness is considered a crime. Sick people are thrown in jail; sickness is their own fault. Even sad people are imprisoned, for grief is a sign of misfortune and people are held responsible for actions that made them unfortunate. People who rob or murder, on the other hand, are treated kindly and taken to the hospital to recover. No machines are allowed in Erewhon as one philosopher thought that machines could rapidly evolve and take over the world.
Higgs is invited to dinner with Nosibor, a recovering embezzler. He stays with his family and falls in love with his youngest daughter Arowhena. Nosibor insists that the eldest daughter marry first, so Higgs goes to study at the University of Unreason, where students study anything that has absolutely no practical purpose. Arowhena and Higgs meet there secretly and when Nosibor finds out, he is very angry. Higgs and Arowhena fly away on a balloon. They land in the sea and are taken to England where they marry and plan a missionary trip to Erewhon.
The Decameron consists of one hundred tales--ten tales told over ten days by ten storytellers, three noblemen and seven ladies. The structure of the work is distinctly medieval by virtue of its allegorical numerology and elaborate architecture, which finds its counterpart in the Gothic cathedral; its scathing and hilarious depictions of a corrupt clergy; and its idealization of women. However, Boccaccio’s attitude towards love--the right true end being pleasurable and guiltless consummation--is much closer to the Renaissance viewpoint.
In addition to the stories is a lengthy introduction in which Boccaccio describes the "brief unpleasantness" necessitating the geographical wanderings and narrative adventures of the ten storytellers, the outbreak of bubonic plague in Florence in 1348.
In early nineteenth-century England, Gustine is a "dress lodger" who rents a room and a fraying but elegant robe which she wears to work as a prostitute. The dissolute, violent landlord takes all her earnings and to keep her from hiding the money or stealing the dress, he has her followed by an elderly, sinister-seeming woman, called "the Eye."
Gustine has a baby, born with its heart on the outside of its chest (ectopia)--the beating muscle is covered only in a thin membrane. Gustine loves her child and tries to care for it, in the grinding poverty and filth of the crowded rooming house. She is convinced that the Eye is dangerous.
The young physician, Dr. Henry Chiver, is intent on making his name as a scientific doctor and educator through dissections. Cholera breaks out in the town to challenge his skill; even when confronted with death, however, he perceives an opportunity for research much to the alarm and disgust of citizens who fail to understand the advantages promised by an act of desecration. He is both attracted to Gustine and appalled by her profession; but when he discovers the secret of her child he sees yet another opportunity and his obsession to become a famous researcher makes him lose sight of all that is appropriate.