Showing 141 - 150 of 829 annotations tagged with the keyword "Patient Experience"
Retired professor Nariman Vakeel, suffering at 79 from Parkinson’s disease and a broken ankle that won’t heal, is more or less cast out of his home by his stepchildren to be cared for by his married daughter Roxana, her husband Yezad, and their two sons. The novel is a portrait of family life and the strife among siblings amidst moments of grace when an aging parent requires care; it is also a rich account of life in Bombay’s Parsi community in the mid-1990s.
Summary:This edited anthology, which includes poems, essays, short stories, and other creative forms (e.g., a radio diary, a letter to a social service agency), is organized into sections that include Body and Self, Diagnosis and Treatment, Womanhood, Family Life and Caregiving, Professional Life and Illness, and Advocacy. Most works found their way into this collection through a call for submissions, although a few selections are well known, such as Lynne Sharon Schwartz's "So You're Going to Have a New Body !," or an excerpt from Rachel Naomi Remen's Kitchen Table Wisdom (see annotations). In addition, the anthology also includes essays by scholars such as Arthur W. Frank and Rita Charon, who theorize gendered illness narratives.
Summary:The seven sections of this long poem (128 lines) take the author from admission through a bone-marrow procedure (in front of student nurses), surgical prep, post-op recovery, urinary catheterization, and finally, a melancholic post-discharge confrontation with the decay and death of the natural world in late autumn. Sissman directs a sometimes withering sarcasm against both himself and his caregivers, nevertheless controlling a temptation to overdramatize his suffering or attack the hospital environment too harshly. Keen observation and carefully clever metaphors make poetry his best defense against his own impending death from Hodgkin’s disease.
Summary:In "A Deathplace" the speaker recounts, with seeming nonchalance, the predictable sequence of his own death. He describes the hospital he knows so well, the details of surgery (down to "the buttered catheter goes in"), the "malignant plum," and finally "the hour / when the authorities shut off the power . . ." Sissman uses the power shut-off to signify his own death, but soon the lights go up and throughout the hospital the "business of life" resumes. Part of that business is to move his body to the morgue, then to the undertaker, then "That's all."
The title recalls Clotho, the Fate charged with spinning the thread of life which would someday be clipped by her sister, Atropos. The two-stanza poem describes the circumstances of illness within a hospital setting. In stanza one, with a patient unable to urinate on his own, the poet employs desert images to suggest the dryness felt by the incapacitated sufferer ("throat-filling Gobi," "dry as Arabia," sunburnt cage of bone," "shekel," "rugs," "camel," etc.).
Stanza two begins with the riddle of the sphinx, another reiteration of desert imagery, but moves quickly to modern medical intervention by substituting the cane, the third leg of the elderly, with an IV pole for liquid sustenance and the "snake-handlers fist of catheters," ridding the body of its wastes. Clotho's role has been usurped by technology's miracles, and an appeal is made for the "kind, withdrawn face trained in the arts of love."
Sissman, whose chronic illness inspired him to incorporate illness experiences into his writings, muses about where he is likely to die. Like an archaeologist he begins with a vivid description of factors and events contributing to various wings and pavilions. He knows this hospital well: its external facades with "Aeolian embrasures" and "marble piping" associated with certain patrons or patronesses such as "the Maud Wiggin Building . . . commemorat[ing] a dog-jawed Boston bitch".
Slowly the narrator moves from the hospital's exterior layerings to imagine himself, a patient on a gurney, wearing the "skimpy chiton" while being subjected to syringes, "buttered catheter[s]," and IV "lisps and drips." Just before death his blood will "go thin, go white" and finally, there will be a journey through the hallways to the morgue and then to the undertaker. "That's all." The account is prosaic, an inventory or catalogue of steps familiar to anyone who has worked in a hospital setting. As a poet, however, Sissman transforms the ordinary into vividly fresh portrayals.
This film documents the quiet devastation of Alzheimer's disease from a daughter's perspective. Using home movie clips and up-close footage of conversations with her 84 year old mother (Doris Hoffmann), a skilled film maker/daughter (Deborah Hoffmann) provides a sustained and poignant documentary of Alzheimer's devastating ability to transform a vibrant and intelligent woman's life.
Interspersed with conversations that reveal her mother's disoriented recollections of the past and the glitches and confusion of daily life routines, home movies and other artifacts provide a contrasting impression of this woman's family and life then and now. Captions and clever title cards are used to organize events and to add gentle humor.
Frances Reid, the camera woman, is mentioned from time to time as someone known to both Deborah and Doris; eventually and without special emphasis, we learn that Frances and Deborah have a lesbian relationship and how Doris adjusted to the couple over the years.
Rob Morrow of "Northern Exposure" fame portrays Lyle Maze, a very sweet artist/sculptor with Tourette's syndrome. Even though early scenes demonstrate the challenges presented by involuntary shoulder shrugs, arm twitches, popping sounds, and vocalizations associated with Tourette's, the story quickly evolves into a fairly predictable tale of love. Mike (Craig Sheffer) is engaged to Callie (Laura Linney), but spends months of time incommunicado--practicing medicine in Burundi and other remote locations.
For different reasons, both Lyle and Callie are cast into lives defined by isolation and loneliness. Shortly after Mike has left for his most recent assignment, Callie learns that she is pregnant. Alone and confused by Mike's long absences, she turns increasingly to Lyle for friendship and support. Not surprisingly, they fall in love.
The story is based on an actual 1950's trip by two university friends, Ernesto 'Che' Guevara (Gael Garcia Bernal) and Alberto Granado (Rodrigo De la Serna). Guevara is studying medicine, Granado biochemistry. They plan to travel from Buenos Aires across the Andes Mountains to Chile, Peru, and, then, to Venezuela. Before too many miles their derelict 1939 motorcycle fails, and the two young men continue by whatever means is available. The journey intent is one of adventure--drinking, meeting women, seeing the world.
The young men do discover South America's impressive natural beauty but more strikingly, their eyes and sensibilities are directed to abject poverty and shocking injustices. These blatant inequities, as well as an extended period of time in a leper colony, contribute to the reframing of their original happy-go-lucky adventure and explain, in part, the impulses that eventually would shape Guevara's role in the Cuban Revolution.
Oscar, the narrator of this fresh fictional gem, is ten years old. Because his form of leukemia has not responded to treatment, he has been living in a French hospital for a very long time. His parents, who bring him gifts and surely love him, are uncomfortable during their infrequent visits. Dr. Dusseldorf and the nurses are kind, but indirect and distant in their communications with him. Because no one talks to him about his illness or what is likely to happen, he feels isolated, alone, and miserable.
When Mamie-Rose, a very elderly hospital "pink lady" (hospital volunteer) with an exotic past, enters Oscar's life, she brings honesty, warmth, and comfort to the lost child known as Bald Egg. Guided by this incredible person--a blunt-spoken, irreverent woman who touches him, kisses him, and tells him wondrous stories of her wrestling feats--the boy grows stronger. Who wouldn't under the influence of the Strangler of Languedoc?
Of course Oscar is going to die. In addition to her generous companionship and her introductions of him to other children in the hospital, Mamie-Rose suggests letters to God as a way of feeling less lonely. "So God, on the occasion of this first letter I've shown you a little of what my life in the hospital is like here, where they now see me as an obstacle to medicine, and I'd like to ask you for clarification on one point: Am I going to get better? Just answer yes or no. It's not very complicated. Yes or no. All you have to do is cross out the wrong answer. More tomorrow, kisses. P.S. I don't have your address: what do I do" (65).
With Mamie-Rose treating him like a real kid, "move your but . . . we're not ambling along like snails" and Oscar scripting very candid letters to God, the first-person story about loneliness, love, and compassion is presented with spirited imagination. Oscar's story is quite extraordinary--and unforgettable.