Showing 141 - 150 of 1279 annotations tagged with the keyword "Death and Dying"
Summary:Parts of medical history read like detective novels. The discovery of the source of cholera by Dr. John Snow in London in 1854 is one of those episodes. The Ghost Map tells the story of Snow's pioneering work in what have now become standard epidemiological methods. Tracing a cholera outbreak to a local pump in a poor section of London involved many door-to-door visits working with people who weren't always cooperative, incurring the suspicion and/or ridicule of both them and the medical professionals with whom he worked. In the course of the story the author offers reflections on the organization of cities and on public hygiene. Snow, an out-of-the-box thinker, also helped develop surgical anesthesia.
The Hawaiian lawyer Matt King (George Clooney) has two big dilemmas. His large, extended family is thinking of selling their inherited 25,000 acres to a developer—and he must help the consortium decide what to do for the benefit of all. Worse, his wife Elizabeth is in a coma on life support following a severe injury from water skiing. He is trying to parent their two daughters, aged 10 and 17, but the girls are unruly and sulky. He thinks that they are acting out because of their mother’s absence.
The doctors tell Matt that Elizabeth will never recover. According to her living will, she does not want to be left on a machine; they must pull the plug. Matt confides in the older daughter who then informs him that Elizabeth had been having an affair. Her sullenness is sublimated anger with her mother for—among other things—how Matt had been treated. Other family friends know of the infidelity and identify the lover as Brian Speer (Matthew Lillard) a real estate agent living on Kaua’i.
Amazed by his wife’s secret, Matt overcomes his sense of betrayal and resolves to respect her feelings, find the lover and give him a chance to say goodbye. The little family flies to Kaua’i looking for Brian and to deal with the sale of the family estate. Matt meets Brian’s beautiful wife Julie– who is sympathetic to his situation, not knowing of the connection with her husband. When Matt confronts Brian, he is surprised that Brian has no interest in saying good-bye to Elizabeth. What, for Elizabeth, had been a life-changing relationship, for Brian, was a fling that “just happened” and which he wants to forget. He is terrified that Julie will discover his infidelity and leave him.
Matt contends that “things do not just happen.” Everything happens for a reason. Wondering what his own role had been in Elizabeth’s reasons for taking part in the affair, Matt goes home for her death. But he also decides not to sell the family estate and keep it as a nature preserve over the opposition of many cousins. Brian never appears, but Julie has learned of his infidelity and she comes to the hospital out of duty and horror. It is not clear if her marriage will survive.
In the final scene, Matt and his daughters are in a little boat off Waikiki where they spread Elizabeth’s ashes.
In 1974, a student befriends Pärssinen, the gardener of his apartment complex in the town of Turku, Finland. Pärssinen invites him to drink and watch pornographic movies from his extensive collection. One night when both are full of alcohol, the gardener stops a girl on a bicycle, rapes and strangles her, and tosses the body in a lake. The drunken student is a baffled witness. The body resurfaces several months later, but the case is never solved. Her name was Pia.
More than thirty years later, in 2007, another girl, Sinikka, goes missing. Her bicycle is found with traces of her blood right beside the memorial shrine to Pia at the place of her murder. The retired cop, Ketola, is convinced that solving this new crime will also solve the old one.
At the same time, far away in Helsinki, Timo Korvensuo and his wife are entertaining friends. He is a successful real estate agent with a lovely, kind wife and two children, a boy and a girl. News of the missing girl greatly disturbs Timo and he leaves home headed to Turku telling his family it is for business. The reader realizes that Timo must be the unnamed student who witnessed the first murder.
In parallel with the police investigation, Timo’s abject wanderings in Turku seem to be centered on (re-)finding and perhaps outing the original killer. Police discover that Sinikka’s parents are consumed with guilt for the difficulties they have had with their adolescent daughter; they fear she has been snatched, perhaps killed, before they could patch things up. The father is a suspect.
Timo finds Pärssinen again and learns that he is unaware of the copycat crime. The police also also visit Pärssinen as a person of interest, but nothing comes of it. Timo goes to Pia’s mother, still living in the same home, to express his sorrow for her loss.
SPOILER ALERT! Primed by Ketola, Pia’s mother contacts the police. They raid Timo’s home in Helsinki and find child pornography on his computer. They know he cannot have committed the recent crime, but they are convinced that he killed Pia. As the noose tightens, Sinikka reappears alive and well from a hiding place in the forest. She staged the second crime as bait to lure the true killer in a plan she had cooked up for Ketola. Timo commits suicide and the police close both cases, but they are wrong.
Summary:In Illness as Narrative, Ann Jurecic thoughtfully examines the unruly questions that personal accounts of illness pose to literary studies: What is the role of criticism in responding to literature about suffering? Does the shared vulnerability of living in a body, which stories of illness intimately expose, justify empathic readings? What is the place of skepticism in responding to stories of suffering? Does whether or how we read illness narratives matter? Jurecic's questions entice discussion at an interesting cultural moment. The numbers of memoirs and essays about illness—and their inclusion in medical school and other humanities courses—multiplied from the later decades of the 20th century to the present. However, their increase, and their potential to encourage empathic readings, coincided with dominant literary theories that advocated vigorously skeptical, error-seeking responses to texts and their authors. Jurecic reminds us that Paul Ricoeur called such responses "the hermeneutics of suspicion" (3).
Summary:A small stone island sits in the middle of a body of water. No other land is visible. Within the apparently naturally formed stonewalls that constitute the island’s perimeter, vestiges of man-made dwellings are apparent. On the left-hand embankment, the front of what appears to be a white house is visible albeit only slightly. On the other side of the island, doorways or windows have been carved out of the rock itself. Below the front most door some white paint has been added, as though to signify the fading presence of man’s creations on this island.
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.
Summary:In this satirical etching, a recumbent, slack-limbed man is attended by two shadow background figures (one of whom may be his wife) and his physician--a fashionably attired ass! The ass/physician is searching for the pulse of his patient, a pose that accentuates the ostentatiously large gem encircling his hoof.
The foreground of this painting is dominated by a "pieta" type grouping. One woman hovers closely over what appears to be a dying man, while another comforts a small child. This part of the canvas is underlighted. The colors are rich earth tones. The figures are non-Caucasian.
In the background, in harsh light, is a group of identical looking starkly white men. In fact, their faces are almost skeletal. All are in suits, three are seated, with four others standing behind the seated figures. They look very much like a "tribunal."
Summary:Large blue circular eyes stare up from this frontal self-portrait. The sclera is visible underneath the eyes, which reflect the same washed blue of the background. This blue is as startling as, and reminiscent of, the green background of a Van Gogh self-portrait. The visage is grimly determined and the mouth a thin-lipped line. Ears are large and the shoulders blend into the background. He is thin and somewhat haggard.