Showing 161 - 170 of 521 annotations tagged with the keyword "Hospitalization"
Summary:On February 16, 2003, readers of The New York Times Magazine came upon Harriet McBryde Johnson's cover story, "Unspeakable Conversations," and a remarkable image of her gazing directly at those readers from her power wheelchair. Her story memorably recounts her uncompromising, yet civil disagreements with Utilitarian philosopher Peter Singer about nothing less than the value of her life. That narrative essay is one of eleven stories published in Too Late to Die Young.
Summary:Two months after he starts writing poetry, the narrator collapses. The maid finds him on the floor. An ambulance arrives at the scene. Two EMT's - Mike and Bob - check the condition of the novice poet. Their assessment includes the patient's orientation, his chief complaint, his favorite form of poem (the sonnet), and the last time he used iambic pentameter. Mike reads the poet's unfinished villanelle that remains stuck in a Smith Corona typewriter. The EMT deems it awful. The ambulance crew generates a list of possible diagnoses that includes an aneurysm in the language center of the brain and (more plausibly) writer's block. The duo decide that the narrator requires evaluation in the hospital for bad poets. All of their ambulance patients receive supplemental oxygen during transport. Every poet additionally gets a copy of verse by Rainer Maria Rilke to read during the trip.
Summary:This collection of stories offers a sidelong view of medicine from the perspective of a thoughtful, experienced doctor of internal medicine at a teaching institution (UCSF) in an urban setting that brings a wide variety of types of patients to his door. In a context of evident respect and admiration for even the quirkiest of them, Watts admits to the kinds of personal responses most have been trained to hide-laughter, anger, bewilderment, frustration, empathetic sorrow. The cases he recounts include several whose inexplicabilities ultimately require action based as much on intuition as on science. He includes several stories of illness among his own family and friends, and makes it clear in others how his professional decisions affect his home life and his own state of mind.
Kaplan Publishing has recently released several anthologies aimed at a nursing audience or perhaps at a reading audience that wants to know more about what nurses think and feel about their professions. This anthology, a collection of poetry and essays, looks at the various reasons these authors went into nursing in the first place, how nursing changed them, and why they either stayed the course or went on to other pursuits. As the editors say in the Introduction, "nursing abounds with experiences that can either reinforce our vocational commitment or cause us to reconsider it" (p. xi).
In the first section, "The Calling," poems and essays examine "the idealistic reflections of those aglow with nursing's promise of intimacy and connection" (xii). Here we meet student nurses with a true calling who are "living, breathing and sleeping nursing" (p.5), and students who are sure they are going "to murder someone" (p. 6). Like most professionals, nurses often have mentors, and those mentors--"brisk, frank, fast, sometimes sharp" (p. 30)---are honored in this section as well. Readers, upon completing this section, will be moved and cheered by the poems and essays that reflect the romance of nursing and the intense drive that many nurses have to give of themselves to others.
The editors, however, are no Polyannas. They know that a student's illusions and dreams will run right smack into reality. While the rewards will certainly be many, the discouragements will be present as well. The fact that both experiences---the highs and the lows---can occur within a single day is reflected in the collection's second section, "The Reckoning." Here the realities of death, exhaustion, burnout and doubt are faced full on. Some of the works in this section are by nurses who have chosen to leave the profession: "Brazil, the new hospital. We have no water. Doctors protest poor facilities by refusing to see patients and sitting in their cars outside in the parking lot" (p. 81), writes Veneta Masson as she traces her career from 1958 to 1998 when she decides to leave nursing and "use my hands to write and to bless" (p. 84). While some have chosen to leave, other nurses have found ways to survive: "Nursing allowed me to help my mother die; my music has helped me live" (p. 88) writes Colleen O'Brien, and Fr. Robert J. Kus writes about his dual roles, priest and nurse, how they balance and enhance one another (pp. 102-110). The works in this section remind readers of the sacrifices caregivers must make every day. As Jo Ann Papich writes, "Please appreciate your nurse while you still have one" (p. 99).
Section Three, "Reincarnation," tells of the "informed commitment that arises after sustained trial" (p. 165). Here nurse-writers talk about survival and the oddly comfortable balance between stress and transcendence that comes, at last, after many years in nursing. In "Why I Like Dead People," Sallie Tisdale takes a wry look at death, nursing homes and their "cockeyed logic" (p. 175). Anne Webster, in "Slow Night in the E.R." talks about doing what you must do to help others even when you "can't do it," when you "stand outside the curtain, shaking" until the patient asks, "Are you there?" (p. 186-7). Kathryn Gahl, in "The Reason Nurses Write Mostly Poetry" says it's because nurses "convert heart sounds // and hard words into art before the next patient / arrives, hemorrhaging, counting on that nurse / to flow like a pen, bleed for both of them" (p. 195). And in the book's final essay, "I'm Staying," Shirley Stephenson offers a series of lovely statements about why she, and others, might continue in the frustrating, tiring, challenging and miraculous profession of nursing. "Because I have been in the bed, and beside the bed. Because I have waited. Because I believe any one of us could face the circumstances of those for whom we provide care, and we're much more similar than different. Because this is where the rhythm is loudest---yes this yes this yes this yes this" (p. 246).
Filmed at Shands (teaching) Hospital in Florida, this documentary validates the importance of the arts and expressive therapies in all aspects of health care, including medical education. Pediatric oncologist John Graham-Pole and poetry therapist John Fox -often as a team- work with patients of all ages in groups and at the bedside. Other physicians including a neuroscientist provide rational explanations of the release of endorphins and brain changes resulting from creative activities. Though the healing process initiated by the reflective act of writing poetry is ostensibly the focus of the film, the documentary is permeated with the transforming effects of dance and art therapies in their ability to lessen physical and emotional pain; the importance of healing environments, not just paintings in lobbies, but in patient created ceiling tiles and wall installations; and especially the warmth, intimacy and humanity generated by exemplary physician communication skills.
Summary:Ethiopia, 1954. Twin boys conjoined at the head survive a surgical separation and a gruesome C-section delivery. Their mother, Sister Mary Joseph Praise, does not. The Carmelite nun, a native of India, dies in the same place where she worked as a nurse - the operating room of a small hospital in Addis Ababa. The facility is dubbed Missing Hospital, and it is staffed by some remarkable people.
Summary:Intended to "spark a philosophical dialogue among readers and in classrooms, clarifying, refining, and challenging the ethical positions people hold on a great many bioethical topics"(1), Bioethics at the Movies contains 21 essays discussing bioethical issues, from abortion and cloning to disability narratives and end-of-life care, in relation to various films. The two dozen authors come from the United States, Spain, Australia, Israel and the United Kingdom, and the majority have their academic homes in Departments of Philosophy. For the most part, the essays use one particular film as a springboard to discuss a bioethical topic, such as terminating pregnancies (The Cider House Rules), marketing organs (Dirty Pretty Things), and memory deletion (Eternal Sunshine of the Spotless Mind). Two films get a pair of essays (Gattaca and Million Dollar Baby), and several authors cover more than one film. In addition to the aforementioned films, Wit, Citizen Ruth, Bicentennial Man, I, Robot, Babe, Multiplicity, Star Trek: Nemesis, Ghost in the Shell, Dad, Critical Care, Big Fish, Soylent Green, Extreme Measures, Talk to Her, and Ikiru are closely covered.
Summary:Pietro Brnwa, nicknamed "The Bearclaw," has embraced change - a new name, a different occupation, and a regenerated outlook. Thanks to the Federal Witness Protection Program, Pietro, who was formerly employed as a hitman by a mafia-connected lawyer, is now Dr. Peter Brown, an intern in the Department of Internal Medicine at Manhattan Catholic Hospital. His career as an assassin was motivated by the desire to avenge the murder of the grandparents who raised him. As a physician, Dr. Brown is paying off a moral debt - doing good deeds to atone for previous acts of violence including killing people.
Dr. Lois Ramondetta was a fellow in gynecologic oncology at M. D. Anderson Hospital in 1998 when she met Deborah Rose Sills, a professor of comparative religion, who had undergone surgery for ovarian cancer the year before and was re-admitted for small bowel obstruction. Ramondetta and Sills "clicked," and their relationship developed over several years from doctor-and-patient to close friendship and eventually co-authorship of this memoir. The women tell separate stories (Sills's are in italics), which interact more and more as the relationship progresses. Ramondetta writes about marriage to a medical classmate, its rapid unraveling under the stresses of residency, her infant daughter, and the complexities of her life as a single mother. Sills' sections tell of a highly regarded professor accepting a life with cancer, but struggling against reinterpreting herself as sick. Some of their interactions take place at MD Anderson Hospital, as Sills returns for a bone marrow transplant and later for management of recurrences and complications.
Their friendship also blossoms at their respective homes in Houston and Santa Barbara. Among the stories they share is that of Ramondetta's courtship and marriage to a local disk jockey, and the rock-solid support of Sills's family. In addition, they begin to collaborate, first on a lecture and then on an academic paper about spirituality and ovarian cancer. This dialogue eventually leads to the book itself, completed only after Sills's death in 2006.
This self-portrait includes two images of the artist. The first lies with her back toward us on a hospital gurney, her head to the left, apparently anesthetized. She is wrapped in a white sheet except for her lower back, which is exposed to show two large surgical cuts dripping blood. The second figure sits facing us in a chair in front of the right side of the gurney.
The sitting figure is essentially the familiar Frida Kahlo of many self-portraits--erect, beautifully dressed in colorful Mexican style, and her face composed in spite of the tear on her right cheek. The difference here is the presence of medical paraphernalia. The upright Kahlo holds in her lap a large back brace, and she seems to be simultaneously wearing the same device under her dress. In her right hand she holds a small flag with a Spanish inscription that could be translated: "Tree of hope, stay firm."
The two figures float in space just above a lifeless and deeply eroded desert landscape. In front of them, at the very bottom of the painting, is the suggestion of an abyss. The painting is divided laterally, the left side ruled over by a sun and the darker right side (the figure’s left) ruled by the moon.