Showing 141 - 150 of 825 annotations tagged with the keyword "Communication"
Simon Bear is a hard-charging physician; his wife Emily is a successful public relations executive, now a senior partner in her firm. Although they have a lavish house, a teen-aged daughter, and much wealth, their marriage is troubled, in large part because they have never fully mourned the death of their baby Caleb.
The title “Remedies” fits well with the long struggle for how to heal their grief. The remedies that clearly have not worked are obsessions with career, professionalism, rationalism, and the trappings of American materialism.
Simon has two obsessions about his practice. The first is that he is a rescuer, the perfect doctor who listens to his patients and gives them what they want. As a self-appointed expert on pain, he is free and easy about prescribing opiates. When his father-in-law feels no pain after a car accident, Simon is sure that a drug that the man is taking is, in fact, the Holy Grail of pain medications. Simon becomes obsessed with this “discovery,” promoting it to his patients, without a scientific study or consideration of ethical implications. When he flies to a national medical meeting to trumpet the news of this remedy, no one will listen to him.
While Simon is the point of view for Parts One, Three, and Five, Emily—structurally separated—is the voice and focus of Parts Two and Four. She is troubled by her distance from Simon and, increasingly, her 13-year-old daughter, who is sullen and rebellious. When she meets Will, a former lover, she seeks another kind of remedy in an affair with him, even prospects of marriage. Contrasting with her strategic, rational approach to life, Will is an open, easy-going man, conveniently separated from his wife.
A series of crises rock Emily, then Simon. Emily begins to understand her anger; she has a breakthrough with her daughter. Simon has several setbacks, including humiliations, but he is not crushed. Although ordinarily a secular Jew, Simon attends the Kol Nidre service the evening service before Yom Kippur, the Day of Atonement. In a powerful and moving passage, he finds healing, relief, and a new direction for his life—a true remedy.
This is an aerial view of a comatose patient being force-fed by a funnel leading directly into her stomach. Surrounding the consultation table are six (identifiable) black-robed supreme judges gleefully pouring nutritious foods (grapes, fish, Quaker Oats, peanut butter, water and 7-Up) into her. Two tiny symbols, the scales of justice and a red-white-and-blue eagle contribute to the otherwise empty courtroom decor.
In the upper right corner, barely visible, is an open door with a "Keep Out" sign dangling from its knob, through which a doctor and nurse peer in. Four tiny red paper-doll figures holding hands, symbolizing the family, are also by this door. Hanging precariously over the patient and consultation table is an ugly, large, bare 25-watt light bulb.
Summary:This documentary film follows the professional and private lives of the 2004 U.S. Wheelchair Rugby team. Murderball is a highly engaging, informative look at the lives of a group of quadriplegic men who are also elite athletes. The sport of "murderball" combines basketball, hockey, and rugby. It is played in custom-built wheelchairs with angled, shield-like metal side plates that make the chairs look like chariots, encouraging the term "gladiators" that is often applied to the players. Invented in Canada in the 1970s, murderball was renamed "wheelchair rugby" or "quad rugby" to make it less offensive to corporate sponsors, but retains its toughness with any name. The sport is played without helmets, and its players tackle each other through chair-to-chair collisions as they try to move the ball to the end zones.
In 1953 Alice Neel created a series of ink and gouache drawings depicting the last weeks of her mother's life, which were spent in a New York city hospital. One of these is at the Robert Miller website linked to this annotation. In the drawing, a black nurse comforts a prone elderly lady. The pale hues of the painting--blue, black, white--evoke a somber mood and imply sickness. This sense of despair is augmented by a harsh cityscape background beyond a dark river, which the viewer sees through a window.
Compassion counters these desolate surroundings, however, for a bond is apparent between the nurse and elderly patient. The nurse's hands rest on the patient in a partial cradling gesture, and the trajectory of the lines made by the nurse's arms and hands and the elderly patient's flowing hair establishes a visual and emotional link. The connection between the two figures is supplemented by the thin smiles on both women's faces.
Summary:Mary Sutter has been trained as a midwife by her widowed mother, and has demonstrated an unusual aptitude. She is an eager learner, but her deepest desire is to be a surgeon. No medical school will take her, however. As reports reach her home town of Albany of the escalation toward civil war around Washington DC, and in the wake of a disappointment in love, she decides to board a train and offer her services to Dorothea Dix as a nurse. Though Miss Dix refuses her on the grounds of her youth, Mary finds her way into apprenticeship with a surgeon who, as the numbers of injured climb, needs all the hands he can get. Slowly and grudgingly, he comes to accept her as a competent assistant and, eventually, to teach her as a respected apprentice, and the remarkable companion she has become to him. She learns surgery in the most grueling circumstances possible, amputating shattered limbs of young men, many of whom die anyway of infection or water-borne diseases. In the course of her sojourn in Washington she meets John Hay and, through him, President Lincoln, whose compassionate attention she manages to direct to the dire need for medical supplies. Two men love her not only for her intelligence and courage, but for the passion she brings to the hard-won skill that, though it cannot save her brother from the respiratory illness that is rampant in the camps, or her sister from a disastrous childbirth, saves many lives and makes a wider way for women of her generation who find themselves called to medicine.
Summary:In this series of six linked stories the narrator, Sara Boyd, weaves together stories of loss: her father's death when she was twelve, her husband's diagnosis of terminal kidney cancer, her mother's recurrent descent into mental illness, and even the death of a beloved dog. The stories merge in ways that reinforce the notion that new griefs bring up old ones, and that the trajectories of mourning are unpredictable and sometimes surprising in the conflicting currents of emotion they evoke. Sara doesn't present her life only in terms of losses, but the losses frame the story in such a way as to suggest that while key losses may not trump all other life-shaping events, they do organize and color them. The mother's mental illness is, in its way, a crueler loss than the death of Sara's beloved father, since hope of recovery keeps being dashed. Her siblings and children are marginal characters, but enter the stories enough to develop complex family contexts of caregiving.
The story of race-car driver Denny Swift, as told by his appealing dog, Enzo, is his death-basket memoir. Denny’s tale of woe seems endless. His wife, Eve, dies of a brain tumour and he is in a struggle with her parents for custody of his daughter Zoë. Making matters worse, he is falsely accused of raping a minor by a 15 year-old who has a crush on him.
Enzo would love to intervene. However, he is frustrated by his inability to speak and his lack of opposable thumbs—but he sees clearly the worth of his master and the need for careful perseverance—like racing in the rain.
In 1964, newly minted doctor, Barry Laverty, begins practice as the young assistant of crusty, seasoned, Dr. Fingal O’Reilly, in the small, Northern Irish village of Ballybucklebo. At first he thinks his new boss is fierce and unprofessional. But soon, Barry uncovers the sadness in the older doctor’s past and realizes that O’Reilly has excellent, clinical acumen. If he bends the rules, it is usually for the best.
Over the course of a month they face the ordinary struggles of general practice with Barry slowly learning the ropes: appendicitis in a child, a rushed delivery, pneumonia combined with heart failure, hypothyroidism, unwanted pregnancy, and stroke. And of course, the more minor staples of headache, cuts, and scrapes.
Not everything turns out well. Barry misses a diagnosis and cannot stop blaming himself, but his admission of the error to the patient’s wife is an important step in his education. The patients, however, leave the practice.
Social factors such as poverty, discrimination, and corruption of local officials pervade each vignette.
Barry also meets the beautiful Patricia—a survivor of polio—whose desire to pursue a career in civil engineering seems to pose an obstacle until all is happily resolved in the end.
Helga Crane is a beautiful young teacher in Naxos, a southern American boarding school for black students. She is half Danish on her mother’s side, half African-American on her father’s side. Her only family is an aunt and uncle in Denmark.
Dr. Anderson, a distinguished black teacher professes love for her, but she feels stifled by him and the vision of their life ahead. She quits her job and flees to New York and the exciting cultural life of Harlem.
She thrives in that environment and men flock to her. There she meets James Vayle whom she likes and the Reverend Pleasant Green whom she does not—but once again, when Vayle proposes permanence, she flees to Copenhagen.
There, she spends an extended visit with her Aunt Katrina and Uncle Poul. At first the Danish couple are startled by her blackness, but they quickly adapt and enjoy the elevated status conveyed by having this intelligent, beautiful black woman in their world. Upon receiving another offer of marriage, Helga grows suspicious of her family’s use of her and flees once again.
She returns to America where she marries the Reverend Pleasant Green, although she doesn’t love him. As babies come in succession, Helga develops severe post-partum depression.
Aminata Diallo, called Meena, is born in mid-eighteenth-century Africa and leads a happy life with her Muslim parents. Her mother is a midwife and is teaching Meena her skills. But ruthless white men appear, killing her parents and imprisoning her. The eleven year-old girl is forced to march miles and miles to the sea. During the journey she makes friends with Chekura, a slightly older boy who seems to be employed by the white captors, but like Meena, has also been captured. They are kept at a fort, then herded on to ships and taken on an agonizing journey across the ocean.
Meena and Chekura are sold as slaves. They lose sight of each other and live on plantations in privation and squalor never knowing if they will be treated with kindness or cruelty. Meena is raped by an owner. She learns how to read and write English quickly (although her skill must be kept secret), and she is fascinated by maps, constantly plotting to return to Africa.
Meena and Chekura find each other and marry secretly - but soon they are separated. She has a baby girl. Her literary and midwifery skills are her salvation, and eventually she is sold to a Jewish duty inspector. He and his wife treat her well, and she and her child live in comfort, but the revolutionary war disrupts their world. Meena returns home one day to find that the Jewish couple have fled on ship to England, taking her daughter with them..."for her own good."
Meena moves to New York City, taking a room in a hotel and still intent on finding a way back to Africa. She writes the names and ages of the people clamoring to go to Nova Scotia as a reward for serving the British in the Revolutionary War: the original "book of negroes." The settlers arrive with hope and optimism, but they encounter more oppressions. Later she is lured by the attractive plan to build "Freetown" in Sierra Leone; again however, the promised resources never materialize and the fledgling community degenerates into crime and misery. Even Meena's attempt to find her original home is thwarted.
In 1802 London, as a frail elderly woman, the abolitionists treat Meena with reverence and curiosity. They encourage her to write her story, and there she finds her daughter again.