Showing 131 - 140 of 366 annotations tagged with the keyword "Catastrophe"
Summary:Author and teacher Peggy Shumaker was involved in an unexpected and terrible biking accident. Out of that accident and her following slow recovery she has crafted a remarkable memoir---one that both examines her interactions with the medical community and her family and charts her return from disability---in short essay-like chapters, individual memories that comprise and inform her life before and after illness. Reading these gem-like pieces, I could imagine her, in the process of recovery, having time and patience to look back at family, friends, custom and community in order to recreate who she was before and who she would be after her accident. The longest of these "chapters" is several pages; the shortest, only a few sentences. There is no table of contents guiding readers through the six sections of this book---and how could there be, as the book itself reflects the healing mind as it searches for continuity in the midst of disruption.
Summary:The most famous European visitation of plague was the fourteenth-century epidemic often called the Black Death. But plague recurred in waves for many centuries. In the seventeenth century, Italy suffered several devastating outbreaks. Fairly accurate estimates of the losses during that period are available through extant records. For example, in 1656, over 100,000 people died of plague in Naples. Strange to imagine, this carnage coincided with the religious Counter Reformation and the extraordinary artistic output of the Baroque.
This memoir chronicles the pre-adolescent and adolescent years of the author, the son of an alcoholic, abusive mathematics professor father and a psychotic Anne Sexton-wannabe confessional poet mother. The only family member who does not abuse the boy in any way is estranged--an older brother with Asperger’s syndrome. Meanwhile, the amount of trauma to which young Burroughs is subjected boggles the mind. Just when one thinks it couldn’t get any worse, it does.
Burroughs, who loves bright, shiny, orderly things, also likes doctors--paragons of cleanliness, virtue and wealth. Unfortunately, his mother’s psychiatrist, Dr. Finch, described as a charismatic Santa Claus-look-alike, is unethical, bizarre and squalid. As Mrs. Burroughs becomes more and more dependent on Finch, she allows her son to be adopted into the crazy Finch household.
This family includes wife Agnes, who copes with her husband’s infidelity by sweeping madly; son Jeff, daughters Kate, Anne, Vickie, Hope and Natalie; grandson Poo; and adopted son, Neil Bookman, who is twenty years older than Burroughs and homosexual. When Burroughs is thirteen, and has told Bookman that he, too, is gay, Bookman forces the boy to have oral sex. They become lovers.
The Finches, meanwhile, exhibit their quirks and weird tendencies in multiple ways. "Bible-dipping" is popular to read the future, as is prophesying by examining Dr. Finch’s turds. A patient with agoraphobia, Joranne, lives in one of the rooms--in fact, she has not left the room in two years. Young Burroughs is allowed to smoke and drink. When Burroughs says he doesn’t want to return to school, Dr. Finch facilitates this desire by giving Burroughs alcohol and pills to fake a suicide gesture, then hospitalizes the boy.
Yet Burroughs manages to befriend a couple of the Finch daughters, and to survive his childhood. The book closes with his departure for New York City and with an epilogue outlining various people’s outcomes. Finch lost his license due to insurance fraud.
This video is the film of the staged one-woman play written and acted by white South African Pamela Gien. The play begins in 1963, in a white suburb of Johannesburg, in the fenced yard of the Grace family and their black servants. Gien starts as six-year-old Lizzie Grace. Gien then fluidly shifts roles to enact twenty-eight different characters from newborn to age eighty-two, black and white, male and female--who talk, gesture, sing and dance in this tour-de-force performance.
The set contains only a large, plain swing; even the berry-bearing syringa tree to which the swing is attached is left to the imagination. Gien’s costume is similarly muted--she is barefoot and wears a beige jumper over a simple tee shirt. A sound system provides music of ethnically diverse origins at appropriate moments.
The play opens with Gien swinging and talking in a girlish voice and using exaggerated childlike gestures. Lizzie exclaims that she is "a very lucky fish": she proceeds to explain to the audience the meaning of her favorable white nailbed spots. Lizzie is, by self-definition, a "hyperactive," outspoken child with great imagination and energy. She is cared for by Salamina, a loving nanny and servant.
Lizzie’s father is Dr. Isaac Grace, who delivers Salamina’s baby in the home. The child, Moliseng, "has no papers" and is harbored illegally by the Grace family--a constant source of worry for all, including Lizzie. Isaac is a Jewish atheist, and Lizzie’s mother, Eugenie, is Catholic and of English descent. Their neighbors, however, are bigoted Afrikaners and create great tension for the Grace household. "Don’t ever make this place your home," advises Dr. Gien to his daughter after dealing with racist clients who do not want to be in the same examining room after a black patient.
Lizzie’s liberal, generous grandfather is brutally murdered by a Rhodesian freedom fighter shortly after the resolution of another crisis: Moliseng, suffering from malnutrition, is missing from the overcrowded hospital. The play then fast forwards through Lizzie’s college years, when Moliseng, at age fourteen, is murdered in youth riots. Lizzie leaves for America, land of the (she pounds her chest) "free and brave." She returns years later, with her infant son named for her grandfather, to visit her father, her demented mother, and, above all, her beloved Salamina.
Summary:Author Diedrich investigates ("treats") mid-late 20th century memoirs about illness (illness narratives) from an interdisciplinary perspective drawing on the disciplines of literature, social sciences, and philosophy. Her analysis uses the theoretical frameworks of poststructuralism, phenomenology, and psychoanalysis to consider "what sort of subject is formed in the practice of writing . . . illness narratives," the kind of knowledges articulated by such writing, whether and how such writing can transform "expert medical knowledges," how language operates in these memoirs, and "what sort of ethics emerges out of such scenes of loss and the attempts to capture them in writing" (viii).
Summary:It is 1915. Sasha, only daughter of a renowned English doctor, longs to be a nurse, as her brother, Thomas, longs to be a doctor. Their father is opposed to both objectives: he thinks Thomas should sign up to "do his bit" in the war effort like his older brother, Edgar, rather than go to medical school, and he doesn't think Sasha could handle the gore of wartime medicine. He is also concerned because on a few occasions, Sasha has let slip that she has accurate premonitions of people's deaths. The first of these came when she was five. She has learned since then not to speak of this "gift" to anyone in her family, for fear of losing credibility, but keeps with her a book of Greek myths, in which the story of Cassandra helps her to validate her sense of her own gift/curse.
This short novel tells the story of a Japanese-American family’s internment during World War II. They are living comfortably in Berkeley, California, when their nightmare begins. Soon after Pearl Harbor the husband/father is arrested by the FBI--taken away in his housecoat and slippers. We learn of this through the narration of the eight-year-old son, his ten-year-old sister, and their mother--who are rounded up several months later and sent to a camp in Utah. The father remains shadowy--a figure of memory, wishful thinking, and censored letters stamped "Detained Alien Enemy Mail." The reason for his arrest is never explained, as if there is no reason to question the man’s loyalty.
After her husband’s arrest, the mother is left to take care of her children and the house. A few months later she must pack up the household belongings, give away the family cat, kill and bury the family dog, tell her daughter to let loose the pet macaw. They are allowed to bring with them--where to they do not know--only what they can carry. They take an endless train ride through the Nevada desert to reach an internment camp in Utah, "a city of tar-paper barracks behind a barbed-wire fence on a dusty alkaline plane high up in the desert" (49).
Here they remain until the war ends, some three and a half years later. They learn to live in one room with a single light bulb; to stand on line for everything; to eat in the mess hall; to avoid rattlesnakes, scorpions, and the sun; and to "never say the Emperor’s name out loud" (52). They are unable to avoid the desert dust that covers and gets into everything. The children attend makeshift classes, play cards, are bored, lonely, and confused. The boy misses and has fantasies about his father, the girl reaches adolescence and becomes cynical, the mother is too depressed to eat or read.
At the end of the war, the three are allowed to go home "with train fare and twenty-five dollars in cash" (117). Their house has been vandalized; neighbors, teachers, and classmates either ignore them or are openly hostile. Finally their father is released from detention in New Mexico, a changed man both in appearance and spirit.
Born in Vienna, Alma Rosé (1906-1944) was a gifted violinist with an illustrious concert career. Her mother was the sister of composer, Gustav Mahler, and her famous father, Arnold, conducted orchestras. All the family members were non-observant Jews. Alma was talented, beautiful, audacious, and arrogant. After an unhappy early marriage to Czech violinist Vása Príhoda, she established a remarkable orchestra for women that toured Europe.
As the German Third Reich consolidated its power, her only brother, Alfred, fled to the USA. She managed to bring their widowed father to England, but displaced musicians crowded London making work difficult to find. Alma left her father and returned to the continent, living quietly as a boarder in Holland and giving house concerts when and where she could. She took lovers.
Despite the urging of her family and friends, she kept deferring a return to safety in England. In early 1943, she was arrested and transported to Drancy near Paris, thence to Auschwitz six months later. Initially sent to a barrack for sterilization research, she revealed her musical brilliance and was removed to marginally better accommodations and allowed to assemble an orchestra of women players.
The hungry musicians were granted precarious privileges, but Alma became obsessed with their progress and insisted on a grueling schedule of rehearsal and perfection. Some said that she believed that survival depended on the quality of their playing; others recognized that the music, like a drug, took her out of the horror of her surroundings.
In April 1944, she died suddenly of an acute illness thought to have been caused by accidental food poisoning. In a bizarre and possibly unique act of veneration for Auschwitz, her body was laid "in state" before it was burned. Most members of her camp orchestra survived the war.
Summary:This remarkable collection of short writings, introduced by renowned poet Naomi Shihab Nye, who visited the Sutterwriters (of Sutter Hospital in Sacramento, California) to offer a workshop, provides a broad, compassionate, imaginative window into the life inside and around an urban hospital. Patients, staff, and all interested in healing through writing are invited to come and participate-with an accent on the latter: no one is invited who isn't willing to write.
This novel of a commercial fisherman's family centers on the son, Neil Kruger, as he struggles to survive on a life raft after a comber, a huge wave, sinks his boat. The book combines his memories of growing up at Half Moon Bay south of San Francisco--the harsh lessons of the sea, his laconic father Ernie, and a disintegrating family--with the story of the illegal activities that led to this last run and his efforts to live.
Death is ever-present for fishermen. Throughout the book, the intimate killing of fish caught one by one is juxtaposed with the constant threat of human loss due to wind, storm, fog, rock, cold and waves. It is a hard-scrabble existence, as over-fishing, pollution, and price control by a few influential merchants combine to depress the fishing business.
As a boy, Neil is told by his mother not to become a fisherman. But then it is she who commands him to join his father one night. This conflict of loyalties, to the land and the sea, to his mother and his father, to religion with its hope of divine intervention and nature with its insensate brutality, cause a tension in Neil that leads him to reflect on his roles as dutiful son, eldest brother and future fisherman.
Neil's memories contain many traumatic events: the rescue of survivors from a hospital ship sunk in a collision with a tanker, the immigration tales of the tightly knit group of Half Moon Bay fishermen, the attempted rescue of one of these men during a storm, and the misadventure during a fishing escapade with his friends, including a wheelchair bound boy with polio. In addition, Neil recalls his father's worsening debility and subsequent post-operative and post-anesthetic problems. By the end of the book, the time frame of Neil's memories converges with his current crisis and time itself becomes as vast and unknowable as the sea.