Showing 151 - 160 of 197 annotations tagged with the keyword "Psycho-social Medicine"
Summary:This book contains six medical case studies in which hope, or lack of it, played a role in the outcome. Five stories are of Groopman's cancer patients, the sixth the story of his own recovery from severe chronic lower back pain. The book concludes with an account of Groopman's search for scientific answers to the questions that inspired the book: How is the cognitive-emotional complex of hope formed in the mind? How might that complex affect the chemistry of the brain? And how might that, in turn, affect the physiology of the body in a way that would be relevant to healing?
Gabriel Garcia Marquez was born in 1928 and is best known in the English-speaking world for his novel, One Hundred Years of Solitude, which appeared early in his career in Spanish (1967) and later in English (1970). He was awarded the Nobel Prize in Literature in 1982 and in 1988 published the novel, 0008 (see annotation), which received considerable attention for its evocative story of love and memory.
Garcia Marquez's autobiography is recent (2002, 2003); it covers the first twenty-seven years of his life in Columbia, ending in 1955 when he is sent as a journalist to Geneva to cover the Big Four Conference for his newspaper in Bogota. Although he remained in Europe for three years after that the book does not cover that period.
Garcia Marquez was born in Aracataca, Columbia in his grandparents' home, the first child in a family that grew to include ten younger siblings. He had a hectic childhood being reared by his parents' large extended family, which included several children sired by his father with women other than his mother.
Finances were always tenuous; when he worked as a journalist he was an important supporter of the family. He received a broad classical education at the Jesuit College in Bogota, where he began his writing career. Later he studied law and journalism but did not finish law school. He read extensively from all genres of literature.
Garcia Marquez's family relationships and personal experiences were traumatic in many ways as was the political situation in Columbia. It was a tumultuous initiation to a life of creative writing. His words quoted on the flyleaf describe the book: "Life is not what one lived, but what one remembers and how one remembers it in order to recount it."
Old Chuan and his wife, the proprietors of a small tea shop, save their money to buy a folk medicine cure for their son, Young Chuan, who is dying of tuberculosis. The story opens with Old Chuan leaving their shop and going to the home of the person selling the cure, a "roll of steamed bread, from which crimson drops were dripping to the ground." The crimson drops, we soon learn, are blood from a young man recently executed, apparently for revolutionary activities.
The cure does not work and the mother of Young Chuan meets the mother of the executed revolutionary in the cemetery. Here they both behold a mysterious wreath on the revolutionary's grave, a wreath that Lu Hsun, in his introduction to this collection (which he entitled A Call to Arms), describes as one of his "innuendoes" to "those fighters who are galloping on in loneliness, so that they do not lose heart." (p. 5)
As James Morris, the author was the dashing journalist who covered the first successful ascent of Everest in 1953 for The Times of London; a member of the elite and quintessentially male 9th Queen's Royal Lancers ("famous for their glitter and clublike exclusivity"--p. 27); the husband who married Elizabeth, fathering several sons. But, as the writer says in the first sentence of the book, "I was three or perhaps four years old when I realized that I had been born into the wrong body, and should really be a girl. I remember the moment well [James was sitting beneath his mother's piano], and it is the earliest memory of my life."
Realizing he was a member of a tangled (a favorite word of the author) group of transsexuals, James felt himself trapped in a conundrum of gender (he felt and considered himself female) versus sex (he was genotypically and phenotypically male). "To me gender is not physical at all, but is altogether insubstantial; it is soul, perhaps, it is talent it is the essentialness of oneself" (25). (Morris goes on to quote C. S. Lewis's Perelandra.)
After some fruitless interactions with the medical profession, Morris travels to Casablanca in the summer of 1972 to undergo sex-changing surgery and becomes Jan Morris. Unlike many if not most transsexuals, post-operatively Morris fared quite well emotionally and has, to date, been quite happy with the change (see below). Jan Morris's writing is as humorous and eloquent as James Morris's was. She describes (magazines like Rolling Stone and publishers like Random House and thousands of readers have never cared what gender or sex was holding the pen) how life changed in clubs, restaurants, and in taxi-cabs, where Jan met the first man to kiss her, post-surgery, "in a carnal way" (151). (Morris records that "all I did was blush.")
St. Luke’s Hospital was founded in 1750 to provide free care to the impoverished mentally ill. It mixed benevolence with "unconscious cruelty" in the treatments used by the "practitioners of old," from restraints and drugs to swings and a key to force-feed recalcitrant patients. Dickens describes this gloomy edifice as he saw it on December 26, 1851, although he notes a "seasonable garniture" of holly.
The inhabitants of St. Luke’s largely sit in solitude. Dickens decries the absence of "domestic articles to occupy . . . the mind" in one gallery holding several silent, melancholy women, and praises the comfortable furnishings--and the relative "earnestness and diligence" of the inmates--in another. He uses statistics to show the prevalence of female patients, "the general efficacy of the treatment" at St. Luke’s, and the unhealthy weight gain of the inhabitants due to inactivity. Dickens describes the behavior of various distinctive inhabitants during the usual fortnightly dance, the viewing of a Christmas tree, and the distribution of presents.
This well crafted story concerns a contemporary woman in her thirties who undergoes significant personal losses; in fact, she seems to lose or lack an identity. Over the years, Kat, an "avant garde" fashion photographer, has altered her image, even her name, to suit the situation and the times. She has had two abortions and "learned to say that she didn't want children anyway."
The story begins when Kat undergoes surgical removal of a rare and peculiar ovarian tumor containing hair, teeth, bones (the clinical term is a dermoid cyst ); Kat dubs it "hairball " and stores it in formaldehyde on her mantelpiece. We learn that Kat's relationship with her married lover is going sour, that he will replace her as creative director at work. She fantasizes that she has given birth to "hairball" who she sees as the "warped child" of their failed relationship. Physical symptoms accompany Kat's growing emotional confusion. Hairball becomes the vehicle for an ultimate bizarre act reflecting Kat's personality disintegration. She has gone from being Katherine to Kath to Kat, to K, to being "temporarily without a name."
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 collection of 36 poems, some of which have been published individually in various literary magazines, is primarily about dead--or nearly dead--family members: a brother and sister lost to cancer; the speaker's palsied, nearly blind father dying of Parkinson's disease; his mother's struggle with chronic arthritis and heart disease.
The collection is divided into three untitled sections. The first deals primarily with the aging and death of the speaker's parents; the second with a wider range of abandonment and death, lost loves, dreams, innocence; the third almost exclusively with his sister's six year struggle with breast cancer and dying.
Summary:A patient expresses his anger and frustration with the physicians who are treating him. A recovering alcoholic, he feels particularly sensitive to what he perceives as the doctors' self-righteousness, and imagines how he would get even with them.
The setting is a room in a home. Stretched out--half lying, half sitting--an elderly man ("the paralytic") gazes passively at a plate of food that is being held out to him by a gentleman who stands, bending toward him. In contrast to the paralytic, who wears a brown house coat, the standing men is properly dressed, but has a cloth draped over his left arm and holds a utensil in his right hand. The paralytic's arms, slightly bent, extend limply over his body; one foot rests on a stool and his lower limbs are covered with a blanket.
Hovering around the invalid with all eyes turned in his direction are several women, children, and a dog. The only figure who is not looking at the patient is a boy who kneels at his side, with an arm placed gently on the man's leg. In his stretched out position, the paralyzed man occupies a large space at the center of the picture and dominates it. The viewer's attention is further drawn to this central figure by the lighting--the background is dark while the cushion against which the man rests is light and glistens, and the man's face is bathed in light. Hence the viewer participates with the family in focusing attention on the invalid.