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Another Dimension is an occasional feature of the journal, Emerging Infectious Diseases, published by The Centers for Disease Control and Prevention (CDC). These essays (and occasionally poems or stories) focus on human and philosophical issues related to medical practice, scientific research, and public health. The intention of this feature is to bring a new perspective to the journal’s coverage of medical science and public health. Some of the essays include a painting or other image that draws attention to the subject matter of the essay.
Managing editor, Polyxeni Potter, with the encouragement of Joseph E. McDade, founding editor of the journal, initiated and is guiding this feature (see also the annotation of Potter: Emerging Infectious Diseases cover art). Since this is a government site, its material is freely available on-line.
This delightful, provocative collection is subdivided into five sections that are not easily categorized. Rios, who grew up in the borderland culture of Nogales, Arizona, writes about this culture and his childhood (sections 1,5), family and local legends (section 1), the Sonoran desert and its animal life (section 4) and the complexities and wonder of human experience and human relationships (all sections). Rios deals with both the real and the imagined, often moving from the former to the latter. Deceptively simple language lures the reader into the rich, original landscape of the poet’s vision.
Born breech and deprived of oxygen for two hours, Irish poet and writer Christopher Nolan was diagnosed with cerebral palsy and is unable to speak and virtually unable to move voluntarily. His book, subtitled "The Life Story of Christopher Nolan," is narrated as a third person account of the life of "Joseph Meehan." The memoir opens with Meehan's winning the British Spastics' Society Literary Award for his first book of poetry, Dam-Burst of Dreams (1988) and ends with his last day at Trinity College, having turned down the invitation to continue his studies there towards a degree.
In the mixture of linear, traditional life narrative and lyrical, neologistic description that falls in between, the memoir addresses Meehan's birth, early life, education, and growing acclaim as a poet and writer. It recounts how his family and teachers helped develop a combination of medication, tools (a "unicorn-stick" attached to his forehead), and assistance that allowed him to type.
It details, above all, how various family, friends, and health and education professionals advocated Meehan's special-school and mainstream education and made available to him such normative life experiences as riding a pony, boating, fishing, skipping school with his mates, and going on school trips without his parents--and such unusual life experiences as becoming an award-winning writer.
The Voyage of Life series is an allegory of the four stages of man: childhood, youth, manhood, and old age. In each painting, accompanied by a guardian angel, the voyager rides in a boat on the River of Life. The landscape, corresponding to the seasons of the year, plays a major role in telling the story. In childhood, the infant glides from a dark cave into a rich, green landscape. As a youth, the boy takes control of the boat and aims for a shining castle in the sky. The last two pictures reverse the boat's direction. In manhood, the adult relies on prayer and religious faith to sustain him through rough waters and a threatening landscape. Finally, the man becomes old and the angel guides him to heaven across the waters of eternity.
The wild, untamed nature found in America was viewed as its special character; Europe had ancient ruins, but America had the uncharted wilderness. As his friend William Cullen Bryant sermonized in verse, so Cole sermonized in paint. Both men saw nature as God's work and as a refuge from the ugly materialism of cities. Cole clearly intended the Voyage of Life to be a didactic, moralizing series of paintings using the landscape as an allegory for religious faith.
The narrator, Jeremy, orphaned at age 8, is attempting to write a memoir of his wife's parents, June and Bernard Tremaine. The pair married in England in 1946, idealistic young members of the British Communist Party, but on their honeymoon in France something happens to June that estranges her from her husband and his values forever. After the birth of their daughter, Jeremy's wife, the two live separately. June dies in a nursing home in 1987, after telling Jeremy a great deal about her life and marriage.
In 1989 Jeremy and Bernard travel to Germany together to share in the dismantling of the Berlin Wall. Bernard has taken a lot longer than his wife did to give up on communism. In Berlin, Jeremy hears his father-in-law's very different version of the couple's biography. Jeremy then travels to France to try and unearth the truth about their honeymoon, finding unreliable storytellers, poor memory, and, at the center, June's encounter in the French countryside with a pair of black dogs, owned and trained and then abandoned by the Gestapo. The story, as Jeremy reconstitutes it, is a discovery of evil that, regardless of literal factuality, bears a terrible truth about the human capacity to do harm, both personal and political.
A 63 year old biologist, blind since childhood, collects snails and shells in Africa. His self-imposed isolation is shattered after he is credited with saving the lives of an American woman and a native eight year old girl who are both suffering from malaria. The venom of a cone shell provides the cure. Strangers flock to the scientist’s abode hoping to find their own miraculous remedy, but instead a few discover tragedy or even death.
The biologist’s own adult son dies from a cone shell bite while visiting his father. In the end, the shell collector is also bitten by a cone and experiences both paralysis and clarity in his near-death condition. He survives with the aid of the young girl whom he had earlier cured of malaria.
This is one of several histories or collections of documents concerning the ill-fated Donner Party westward trip of 1846-47. The wagon train of inexperienced and irregularly prepared families and individuals were California-bound from Illinois. Their misfortunes seem to have begun when they chose to follow the directions of a man who suggested a "short-cut."
Following upon a dreadful passage through the Wahsatch [sic] Mountains and then across the salt flats west of the Great Salt Lake, the group attempted the Sierra Nevada mountains too late in the fall to precede the snow and the cold. For the months of November through March, the party ( now cast asunder and without leadership) made various attempts at wintering over versus futile assaults on the pass.
From the diaries and other records surrounding this misadventure, the historian puts together a summation of the horrors of the cold, starvation, and growing hopelessness of being trapped and ill-prepared for a winter in the wilderness. Based on some of the diary entries, a sense of the extent of desperation that resulted in cannibalism is made available to the reader of today.
This poem consists of six "letters" in verse from an aged, chronically ill father to his daughter. In the first he presents in excruciating detail the sorry state of his body, and also Mother, "who falls and forgets her salve / and her tranquilizers, her ankles swell so and her bowels / are so bad . . . " Things are so bad that he has "made my peace because am just plain done for . . . " At the end he mentions the fact that, though the daughter enjoys her bird feeder, he doesn't see the point; "I'd buy / poison and get rid of their diseases and turds."
In the second letter, written after the daughter visited and gave them a bird feeder, he says that Mother likes to sit and watch the birds. In the next one, he talks about how much the birds eat and fight. As the letters progress, they include less and less about the parents' pain and disability, and more and more convey curiosity and, eventually, enthusiasm for bird watching.
By letter #5 the father ticks off the names of numerous species he has observed, and at the end casually mentions, "I pulled my own tooth, it didn't bleed at all." Finally, "It's sure a surprise how well mother is doing, / she forgets her laxative but bowels move fine." He ends by describing his plans for buying birdseed for the next winter. [112 lines]
In the "free love" context of the nineteen-sixties, Harriet and David Lovatt are throwbacks to a more conservative, traditional, and family-oriented decade. Their life dream is to have a big house in the country filled with children, and it seems that they will succeed. After bearing four young children, however, Harriet is feeling the strain of years of childbearing, sleeplessness, money trouble, and her parents' and in-laws' disapproval of her fecundity.
Her fifth pregnancy is not only unplanned, but also unusually painful and disruptive. Harriet's doctor prescribes sedatives but finds nothing abnormal in her situation. When Ben is born, Harriet jokes that he is like "a troll or a goblin," but no one responds well to this unusually hairy and physically vigorous baby, who in turn does not respond to anything but his own desires and fears.
As he grows older, family pets and other children seem to be in physical danger. Health care professionals do not confirm the couple's conviction that Ben is not normal, but neither do they obstruct the decision to send Ben to a private institution, a removal that leaves the family temporarily happy until Harriet visits Ben and recognizes the institution for what it is, a place where all manner of "different" children are sent to live heavily medicated, physically restrained, and foreshortened lives away from families who do not want them.
Harriet brings Ben home, where he grows up amid what remains of the Lovatts' domestic fantasy, and finds community in a gang of thuggish older boys whom Harriet suspects are involved in various criminal acts. As the story closes, Ben has left home and Harriet imagines him in another country, "searching the faces in the crowd for another of his own kind" (133).
Summary:A young man (Alexander Anaishnov) has come to take care of his mother (Gudrin Geyer) who lives alone in rural Russia. She is dying. He watches her sleep, takes her for a walk (or rather carries her), reads to her, gives her medicine, and, when she falls asleep, goes for a walk alone. He breaks down and weeps, then returns to his mother, who may still be sleeping or may now be dead.