Showing 151 - 160 of 242 annotations tagged with the keyword "Nursing"
Poet and writer Jeanne Bryner has assembled 24 short stories to give us Eclipse, a wise and tender collection that reflects her blue-collar roots in Appalachia and industrial Ohio, and also her work as a registered nurse. These stories are about real human beings, flawed and graced, who, for the most part, care for one another, whether family or stranger, with compassion and the kind of acceptance that comes from living a hard life. Bryner's writing skills move these characters beyond easy stereotype and turn their actions--their anger over the death of a loved one or the cooking of a Sunday supper--into transformative metaphors that illuminate the sorrows and joys of everyday life.
The following stories might be of particular interest to those teaching or studying literature and medicine: "Sara's Daughters," in which a woman undergoes artificial insemination and, through her thoughts and her conversations with the nurse, perfectly reveals an infertile woman's humiliation, longing, and hope; "The Jaws of Life," in which a young woman takes her Aunt Mavis to visit Uncle Webster in a nursing home and there observes the poignant interactions of the well and the dying, the young and the old, moments infused with both charity and dread.
In addition: "Turn the Radio to a Gospel Station," in which two cleaning ladies in a hospital ER observe and philosophize about what goes on around them, the deaths and near-deaths, the kindness or mutinies of nurses, the doctors' mechanical repetition of questions, the lovers hiding in the linen closet; "The Gemini Sisters," in which a group of weight-watching women meet to shed pounds and talk about life; "Foxglove Canyon," in which a registered nurse with forty year's experience relates memories of her work, her family, and how things change when a writer comes to teach the staff and the patients about poetry, "the flower you stumble across growing near the barn, a purple bloom that nobody planted."
"Red Corvette" examines the intimacy that develops between family members, particularly when one is caregiver to the other. In this story a woman comes to visit her post-op sister and remembers, while watching her sister suffer in pain, their childhood, those moments of freedom and health she yearns for her sister to regain.
"The Feel of Flannel" is about a woman who, like her mother and grandmother, has breast cancer. She refuses to participate in a research project but instead barrels ahead into her uncertain future, planning to wear her nightgown to the grocery store and tattoo her husband's name "right here when this port comes out."
Benigno (Javier Cámara) and Marco (Darío Grandinetti) meet and become friends while caring for women they love in a coma clinic. Benigno is a male nurse taking care of Alicia (Leonor Watling), a dancer he barely knows but became infatuated with just before the accident that put her in a coma four years ago. Marco is a journalist who was trying to interview Lydia (Rosario Flores), a famous female bullfighter, when they fell for each other. Soon afterward, she is badly gored in the bullring and winds up in a coma in the same clinic as Alicia.
Benigno’s care of Alicia in her comatose state is extremely devoted. He talks to her constantly, and he goes to movies he thinks she would have liked and tells her about them. Alicia’s dance mentor (Geraldine Chaplin) also talks to her, and Benigno urges Marco to do the same with Lydia, but Marco is unable to talk to Lydia, whom he thinks of as already dead (there is reason to think that she is, in fact, more gravely injured than Alicia).
Benigno’s caring goes well beyond talking. He tells Marco that he wants to marry Alicia. He also gives Alicia intimate massages, and finally the hospital staff discover that he has impregnated her. He is fired and sent to jail, where he takes his own life. In the end, while Lydia dies, Alicia comes out of her coma to deliver the child, which is stillborn. Marco’s last words to Benigno, at Benigno’s grave: "Alicia is alive. You woke her up."
Summary:The sensible Anne Elliot encounters the now-successful Captain Frederick Wentworth, eight years after she was reluctantly persuaded by family and friends to reject his suit as imprudent. He now courts the headstrong Louisa Musgrove instead of Anne. Louisa severely injures her head while frolicking with him, jumping down steps to the sea at Lyme, and requires a lengthy recovery nearby with his friends the Harvilles and Captain Benwick. While Captain Wentworth seems devoted to the injured girl, Anne’s friends are convinced that Anne has interested Captain Benwick and Anne’s cousin Mr. Elliot. But when Louisa and Captain Benwick fall in love, Captain Wentworth is free, and he and Anne are reconciled.
The sculptor Ken Harrison (Richard Dreyfuss) is badly injured in a car accident and finds himself in the middle of life permanently paralyzed below the neck and dependent on others for his care and survival. Ken is a strong-minded, passionate man totally dedicated to his art, and he decides he does not want to go on with the compromised, highly dependent life that his doctors, his girlfriend Pat (Janet Eilber), and others urge on him. He breaks up with Pat and fights to be released from the hospital, to gain control of his life in order to stop the care that keeps him alive and unhappy.
His antagonist is the hospital's medical director Dr. Emerson (John Cassavetes), who believes in preserving life no matter what, and so tries to get Ken committed as clinically depressed. Ken's attending physician, Dr. Scott (Christine Lahti), begins with the establishment but gradually moves toward Ken's position.
The film ends with the judge at a legal hearing deciding that Ken is not clinically depressed and that he thus has the right to refuse treatment and be discharged. In the last scene, Ken lies in a hospital bed framed by his own sculptural realization of the forearm and hand of God from Michelangelo's Creation of Man.
A year in the life of a group of interns in a big city hospital guided by the wise internist (Buddy Ebsen) and the irascible, woman-hating surgeon (Telly Savalas). Contortionist posturing designed to lead to desired residencies is the major theme. The only female intern, and the most brilliant of the lot, wants to be a surgeon, but she is repeatedly belittled by the surgical chief until he realizes--not that she is good--but that she is the sole support of a daughter.
Another intern falls in love with a young Asian patient and at her death resolves to work in her country. A crisis emerges around the overdose of a suicidal patient with syringomyelia; all the interns are held responsible until they rather brutally force a confession from the man's wife. Friends throughout medical school, Lou Worship (James MacArthur) and Sean Otis (Cliff Robertson) plan to become surgeons and open a clinic for the poor. Otis falls for a glamorous model, while Worship is smitten with obstetrics and a student nurse (Stephanie Powers).
Forsaking the original plan, Worship applies to obstetrics, pressures his fiancee to sacrifice her dream of an international career, and tells on Otis when he discovers that he is helping his girlfriend abort her unwanted child. His career ruined, Otis marries the irretrievably pregnant woman and expresses his admiration to Worship for doing the right thing.
The headstrong beauty Marcella Boyce, who has acquired radical political views while at school, returns home and becomes engaged to Aldous Raeburn, the son of her father's neighbor Lord Maxwell and a moderately conservative politician and landowner. Marcella champions Jim Hurd, a local poacher accused of murder (who is prosecuted by Raeburn): she nurses his grieving wife and dying, consumptive son and arranges his legal representation by Edward Wharton, a Socialist politician and Raeburn's romantic rival.
After Hurd's execution, Marcella breaks off her engagement, trains as a nurse, and turns her reformist efforts toward the London poor instead of the rural poor in rural villages. She refuses Wharton's offer of marriage and finally accepts Raeburn's hand.
A nurse enters an elderly woman's bedroom. "Wake up! It's nearly five," she cries. Does she mean five AM, or is it afternoon teatime? The nurse lets the window blinds unroll and puts some coal on the fire in the fireplace.
In fact, the patient is dead. She had died the previous evening, "by the light of the ev'ning star." Setting aside her "chintzy cheeriness," the nurse begins to pay attention. She looks "at the gray, decaying face," realizing what has happened. Her response is simply to straighten up a bit and leave the room. [28 lines]
In her poem, "Dehiscence," Amy Haddad speaks in the voice of a nurse tending a suffering patient. The patient has "come unstitched," and, seen through the nurse's eyes, the patient's wounds are devastating: fistulas "connect bowel, liver, pancreas"; the "stench is overwhelming," telling everyone, caregiver and patient alike, that medical science has failed, that no more can be done.
Moved by her patient's suffering and her own inability to help, the nurse does what she can. She washes the patient, changes the soiled sheets, removes the dirty dressings and replaces them with clean gauze and tape. "Done," she says. Stepping back, looking from a distance, she can no longer see the patient's wounds. She "is caught," as all caregivers have been at one time or another, in "the illusion" of the patient's "wholeness."
May-Alice Culhane (Mary McDonnell) is a daytime soap opera star who is struck by a taxi in New York and wakes up in a hospital paralyzed from the waist down. Upset and bitter, and unable to continue acting, which she says is the only thing she was ever good at, she returns to her Louisiana bayou family home to begin the rest of her life in isolation.
An employment agency sends out a string of helpers. Some are better than others, but all are quickly defeated by May-Alice’s deep bitterness and negativity and her incipient alcoholism. Then comes Chantelle (Alfre Woodard), who needs the job so badly, as part of digging herself out from a cocaine addiction, that her determination makes her a match for May-Alice.
It is decidedly bumpy going, but Chantelle persists and May-Alice finally strops drinking and begins to make some progress in physical therapy. She takes up black-and-white photography, developing her own prints from her wheelchair, and she gratefully receives the gentlemanly attentions of her high school idol Rennie, played by David Strathairn. (The film takes its title from a practice that locals believe can make love-wishes come true.)
Three doctors confront catastrophe during a civil war in a central African country. The physician-narrator is new to the jungle and enticed by the power, risk, and control attached to his role as a trauma surgeon. His friend, Stefan, is a gifted French surgeon with years of experience who advocates a "philosophy of disaster." Chaswick is an eccentric anesthesiologist. Headquartered in a Catholic mission, these medical volunteers operate on a large number of injured refugees, many of them victims of brutal attacks by rebel soldiers and armed civilians using machetes.
While performing surgery, the narrator is shot in the shoulder by a young rebel soldier. The doctor's life is spared due to the resourcefulness of his colleagues. As the three physicians escape with their lives, the hundreds of refugees left behind in the medical mission are presumably being slaughtered.