Showing 151 - 160 of 176 annotations tagged with the keyword "Women in Medicine"
Alice Jones divides The Knot into three sections. The first is a series of poems evoking the poet's painful and tender relationship with Peter, a former lover who is dying of AIDS. We encounter him first on a rainy day in his hospital bed at St. Vincent's ("The Umbrella"), and then through flash-backs to their earlier lives ("In the Pine Woods," "Painting," "Communal Living"). In the long poem "Blood Clot" the author creates and sustains a dynamism between detachment and engagement, objectivity and subjectivity, medical and personal knowledge: from "This time it's his heart. He has / a tumor" to "The glacier that / freezes us in place for centuries, / the same old separateness, only / this time it's called death. / How dare you do it to me / one more time."
The second, and most intensely personal, section imagines the poet's relationship with her mother. The title poem is the centerpiece here. In it, the knot has two faces: the tie that binds us together and an obstacle to be overcome. While loss is real, she writes, "I refuse to be alone. // There is only one / of us. Loss does not / exist in our vocabulary." ("The Lie") The last section consists of poems on a variety of topics, including a long poem about gross anatomy as an initiatory experience ("The Cadaver").
The narrator of this long, lyrical musing is a psychiatrist who works with autistic children. Though much of the narrative is a reflection on her mid-life relationship with a journalist lover who risks death to report on places in political turmoil, her observations about her patients provide a recurrent motif and reference point.
Several long passages detail the fascination and frustration involved in working with her young patients, what she has learned from them about limits, patience, and the semiotics of autism. She also reflects on how that learning has allowed her to understand "normal" people differently. One of the subtle but strong themes of the story is the question of what "normal" means.
A secondary focus is her close attachment to her two grown sons. This is developed through memories of particular scenes of their childhood that she identifies as bonding moments. Another focus is her relationship with her mother, now dwindling into mental incompetence and squalor in her old age. Thinking about these relationships, with lover, sons, mother and patients, is a way of taking stock of how the strands of her life have brought her to a place of qualified peace in mid-life.
Summary:Rossetti writes about Lilith, Adam's evil first wife according to Hebraic oral tradition. She is described as a beautiful temptress. Her beauty hides a deep evil that nearly snares Adam and dooms mankind.
A Boston attorney is injured on the road while traveling by buggy in Maine. His rescuer, who stabilizes his fractures and transports him to town for continued care, turns out, much to the patient's dismay, to be not only an attractive woman, but a very competent physician. As the attorney becomes increasingly aware of the quality of medical care he is receiving, he also finds himself falling in love with his doctor.
The work is replete with demonstrations of Dr. Zay's skill as physician, her humanity, and her professional commitment. Eventually her resistance to her suitor's offers of marriage is worn down, but she demands a contract which guarantees she will be able to continue the practice of medicine after the wedding. Set in the latter part of the nineteenth century, the novel romanticizes the practice of rural medicine and the contemporaneous view of late Victorian women pursuing this "masculine" profession.
This is Krysl's fifth book of poetry, and the second to be published by the National League for Nursing Press. The collection is divided into seven sections: Self Healer; Self and Nature; All My Relations; Healers; Calcutta; Sanctuary; and Death, Life. The sections, and, in fact, many of the poems, are preceded by brief introductory explanatory remarks.
Krysl states that "this book records many moments of healing in widely varying circumstances." These moments, for her, include a summer volunteering in the Kalighat Home for the Destitute and Dying, administered by Mother Teresa's Sisters of Charity, and time spent with curanderas, Navajo healers, and "western" alternative healers. A sampling of poems from a number of the sections included in this collection are "Cancer Floor," "Curandera," "Innanna," and "Interpreter."
The opening chapters of this sensational novel focus on "Mercy Merrick," a nurse in the Franco-Prussian War. Mercy's post is taken over by the Germans. Mercy meets the emergency with great skill and aplomb, comforting the wounded soldiers and ensuring their safe passage. Her bravery is set in opposition to the cowardly surgeon and a timid English gentlewoman on her way to England to claim an inheritance from relatives who have never before met her.
In the midst of the battle, the English woman is killed. Mercy determines to take over the dead woman's identity and claim her inheritance. She successfully does so. However, it miraculously turns out that the Englishwoman was not dead at all, merely stunned, and she arrives in England looking for revenge. It is impossible for her to prove her identity until Mercy confesses. Even then, the reader has sympathy for the desperation that caused her to take on the impersonation and her story ends happily as she goes off to a happy marriage and to nurse orphans.
The author is a fourth year medical student dealing simultaneously with the rigors of medical training and the difficulties of living with diabetes. She has discovered that when she tries to interact with patients she over-identifies with them. When she reads about diabetes in medical textbooks, which present a rigid equation for balancing diet, exercise, and insulin need, she tries to adopt this approach to her personal diabetes management, convincing herself that emotions, fatigue, stress and other factors have no effect on her diabetes control. When this biomedical approach fails, she feels deep shame and frustration.
Only over time does she develop the confidence to realize that it is not shameful to admit one's personal needs even in medical training, that disease is a part of all humans and is not an enemy, that she need not be defined solely by her disease (or her profession), and that blurred boundaries between doctors and patients are not as dangerous as she was first led to believe.
This docudrama traces the life and work of Maine midwife, Martha Ballard (Kaiulani Lee), through the account of her own diary from 1785 to 1812. She and her surveyor husband, Ephraim (Ron Tough), moved from Massachusetts to the frontier of Maine during the Revolution; the rapid social changes in their new republic are felt at the domestic level. Ballard cared for many sick people, more than a thousand women in labour, and their infant children. She also becomes a witness for a woman who was raped by a judge.
A local doctor makes a brief appearance as a bungling meddler; other doctors perform an autopsy of her own deceased niece, which the midwife attends; but most often Ballard works alone. Her five surviving children leave home, and she comes to relate the experiences of her patients to those of her own life.
Her husband shares the slow decline into age surrounded by the frictions of proximity with an uncaring son and his months in debtors' prison. The recreation is interspersed with interviews and voice-over with historian and author, Laurel Ulrich. Ulrich describes her discovery and fascination with the Ballard diary, the difficulties in interpretation, and the still unanswered questions.
Richard Kraft is about as burnt-out as a fifth-year resident in pediatric surgery can be. Overwhelmed by his stint in an inner-city, public hospital in Los Angeles, he seeks to hide from the misery of his patients by avoiding any personal connection with them. Then he meets twelve-year-old Joy, an Asian immigrant trying desperately to learn the puzzling ways of her new culture. She speaks words that trigger memories from Kraft's own childhood as the son of a U.S. agent in Joy's country, and he loses his distance.
He performs surgery on a life-threatening cancer in her leg, pulling back at the last minute in an unreasonable fear that he will hurt her if he cuts too deep. The implied result: incomplete excision of the cancer and a death sentence for the child he now tries, unsuccessfully to avoid. His avoidance is repeatedly foiled by Linda Espera, the physical therapist with whom he is falling in love and who will not let him abandon the emotional needs of any of the children in Joy's ward.
Summary:The author, a pediatrician by training who has gradually moved into psycho-oncology and training others in relationship centered care, writes about life in this collection of short vignettes and analyses. She blends stories of her own experiences as patient and as woman with those she has gathered from a long history of patient encounters. There is no temporal sequence, but the work is grouped into thematic segments. The author shares selected, carefully garnered and assessed narratives of life events intended to be spiritually healing to those who are ill or who care for the sick.