Showing 131 - 140 of 154 annotations tagged with the keyword "AIDS"
The Hours begins with a reconstruction of Virginia Woolf's 1941 suicide by drowning. What follows is an exploration of despair and tenacity, of the reasons that some people choose not to continue living, and of the things that enable others to go on. Patterned as a kind of theme and variations on Woolf's Mrs. Dalloway, this novel has three strands, each tracing a day in the life of a woman: Virginia Woolf herself, in 1925, as she begins to write Mrs. Dalloway; a middle-aged 1990s New Yorker named Clarissa Vaughan, but nicknamed "Mrs. Dalloway" by Richard, her ex-lover, an acclaimed writer who is dying of AIDS; and Laura Brown, a young mother in Los Angeles in 1949, pregnant, depressed, and reading Woolf's Mrs. Dalloway.
Laura's small son, Ritchie, we gradually realize, has grown up to become the Richard in Clarissa Vaughan's story and, as the hours pass in the day-long story of each woman, patterns intertwine. Clarissa (living as a lesbian, so following a path that Woolf's Mrs. Dalloway was offered but chose not to take) is planning a party for Richard. Laura is preparing a birthday dinner for her husband but after a visit from the woman next door, whom she kisses in a moment of profound but disruptive empathy, she checks into a hotel room to read, and to consider suicide. Woolf, recognizing the deep connection between her mental illness and her writing, tries to flee from the faintly suffocating safety of her home and husband.
Each woman survives, and all three days end with a sense of qualified and temporary happiness, drawn together, I think, by the fictional Virginia Woolf's decision about her novel: throughout the day she has thought about her main character, and has intended the book to end with her suicide. Late in the evening, having returned home, Woolf decides to let Mrs. Dalloway live: "sane Clarissa--exultant, ordinary Clarissa--will go on, . . . loving her life of ordinary pleasures, and someone else, a deranged poet, a visionary, will be the one to die."
Perri Klass, who had already written of her medical school education (A Not Entirely Benign Procedure: Four Years as a Medical Student, see this database), took notes, made dashed journal entries, and saved sign-out sheets and other written memorabilia during her internship and residency in pediatrics at The Children’s Hospital in Boston, Massachusetts. Because she is a writer, she looked at her experiences in medical training with an eye towards what stories were happening. This book then is a compendium of stories and essays (some previously published) about Klass’s pediatrics training.
Klass reflects on the difficulties of being a writer and physician: "I have been a double parasite, not only learning off patients, but also writing about them, turning the agonies of sick children into articles, using them to point little morals either about my own development as a doctor or about the dilemmas of modern medicine." (p. 297) But she also notes the benefits of writing during training: "between life at the hospital and with my family, it seemed that all my time was spoken for, and spoken for again. I needed some corner of my life which was all my own, and that corner was writing . . . I could describe the astonishing contacts with life and death which make up everyday routine in the hospital." (p. xvii)
Part of the book concerns issues of women in medicine; Klass debunks the mystique of the "superwoman"--the professional, wife and mother rolled up into one incredible ball of efficiency and perfection--with a month of laundry spilling over the floor. Klass, as a successful writer, struggles with this label and includes an essay on her experiences with a "crazy person" who anonymously and publicly accuses her of plagiarism in the midst of the stress and responsibilities of residency.
However, most of the book is about being a new doctor--the terror, the patients, the procedures, the other doctors and staff. She writes of first nights in the Neonatal Intensive Care Unit, delivery room crises, adolescents with chronic illnesses, and her struggles as a sleep and time deprived mother.
She addresses difficult issues: moral dilemmas, suffering, loss, the rape and abuse of children, children with AIDS. Throughout the book is a concern for the patient’s experience, as well as the doctor-in-training’s experience. After her first night on call caring for very premature infants she notes: "Maybe my first patient and I have more in common than I realized: we are both too immature to be out in the world, but with a lot of help, we may just make it." (p. 15)
This book is about fifteen people with AIDS whose words and images record what is happening to their bodies and spirits as they confront the reality and contemplate the mystery of certain death. Nicholas and Bebe Nixon set out to describe honestly and compassionately what it is to have AIDS; what it does to families and friends; why it is the most devastating social and medical issue of our time.
The photographs are characteristic of Nixon’s "serial portraits"--stark and formal close-ups or shallow-focused medium shots of immobile subjects taken at intervals of weeks and months with an 8 x 10 view camera. They are accompanied by comments culled from subjects’ conversations and letters by Bebe Nixon, a science journalist.
Gary, now in seventh grade, has lived with his mother since early childhood when his dad left. His uncle, Rob, has always lived nearby and loved and attended to him like a dad. Gary counts on Rob for basketball coaching, good advice about girls, and understanding about things he can't talk with his mom about. Gary notices one day that Rob looks pale and sick. The sickness doesn't seem to go away. Finally he learns that Rob has AIDS.
For a time he manages to convince himself it was a mistake at the lab and couldn't be true. Ultimately he has to come to terms with it when his uncle is taken to the hospital. With Rob's illness he finds a new kind of maturity in himself, and with Rob's encouragement he initiates a friendship with a girl he's been too shy to approach. After Rob dies, he is surprised at the kind of support he gets from friends, and finds ways to recognize and claim something of Rob in himself.
The thirty-four autobiographical essays were written while Klass was a medical student in the Harvard class of 1986. Many of her short chapters were previously published as columns in magazines, journals and newspapers. The insightful but often funny stories cover a variety of scientific and clinical subjects, lifestyle, eating habits, and relationships with other professionals, including nurses.
Pregnancy and the birth of her son half-way though training makes her experience somewhat unusual. In several other essays, including "Macho" and "Learning the Language," Klass reveals her particular sensitivity to language and the advantages and disadvantages of professional discourse.
Follows the last few months in the life of Wendal Bailey, an African-American bisexual male in his early 30's. Examined in this drama are Wendal's two worlds; one which revolves around his lovers, the other based in the home of his extended family - his mother, father, "aunt", brother and 12-year-old son. After nearly dying of AIDS, Wendal comes home to regain his strength and find comfort, but a festive evening celebrating his return turns into a disaster. Shortly after this debacle, the only support and love he finds as he lies in his death- bed comes from an unexpected source - his previously stern, disapproving and homophobic father.
This novel tells the story of Jess Goldberg, a transgendered "butch" growing up in Buffalo, New York. Jess first learns to admit and negotiate her attraction to women and her butch identity. Immediately, she is faced with violence. The police raid the lesbian bars, arrest any woman wearing fewer than three articles of women’s clothing and routinely beat, strip, or rape them. Jess and her friends also face the violence of bashers who attack without cause on dark or well-lighted streets.
Nevertheless, Jess refuses to compromise. From a doctor, she gets a prescription for testosterone, goes to a gym and transforms herself into a bearded, muscular man. Having saved two thousand dollars, she has a mastectomy done. The doctor falsifies a biopsy, performs the surgery and makes her leave. By the end of the novel, Jess is secure in her identity and determines to fight to make the world safe for others like her.
Summary:This work is an AIDS play based on the Faust legend. The main character, Simon, is both homosexual and homophobic, a combination which the author believes to be less threatening to the "latent homophobes in the audience." Simon strikes a deal with the devil in order to reverse his HIV positive antibody status. The bargain struck entails deceiving and then abandoning his friends and changing his sexual identity. The vehicle for Simon's change is an "Andrew Dice Clay-like" nightclub act, the source of the play's dark humor.
Summary:This beautifully crafted short novel chronicles a twenty year period, from the early 1970's to the early 1990's, in the life of a law professor, Max Strong, and the interesting highbrow characters who influence his life. Most notable among those characters are a college friend, now a world renowned architect, Charlie Swan, and Charlie's lover, Toby. The final sections of this novel offer a remarkable account of Toby's death from AIDS and Charlie's reaction to his death.
Summary:This is the narrative of an old doctor. Once greatly admired, he is now ridiculed by young doctors who find his techniques outdated and his lectures boring. His specialty is microbiology; his lab works on AIDS. His daughter asks him to support a group demanding that researchers release without so much delay the preventive drugs they are developing for AIDS patients. The doctor refuses on the grounds that the drugs need more testing. Later he finds out that his son is dying of AIDS.