Showing 161 - 170 of 193 annotations tagged with the keyword "Alcoholism"
Frank is an emergency medic and ambulance driver working night shifts for Our Lady of Mercy hospital in Hell's Kitchen, New York City. The novel begins with Frank's resuscitation of an elderly man called Mr. Burke, who has had a heart attack, and ends a couple of days later with Mr. Burke's death in the hospital. Frank is haunted by the patients he has failed to save, some of whom inhabit his experience like kinds of ghosts.
Most insistent is a teenage girl called Rose who died during an asthma attack, in part because Frank was unable to intubate her in time. He is also unable to forget his marriage, which ended because of the deadening effects of his work. And now Frank is also haunted by doubts about the value of restoring life.
He has successfully started Mr. Burke's heart, but the man is brain dead. Frank thus watches as Mr. Burke's family is first given hope and then must learn that there is none. Frank almost falls in love with Mr. Burke's drug-addicted and disillusioned daughter, Mary, perhaps seeing in her an opportunity for a mutual restoration to health.
But when her father finally dies--when the attending realizes that the patient's struggle hasn't been the "survival instinct" but rather a "fight to die"--she blames Frank, who recognizes that his purpose is not simply to keep people alive (or to bring them back from the dead), but rather that "saving lives" means preserving their value, somehow, in his memory. He walks away from the hospital, and when he gets home, Rose--her ghost, and Frank's own symbol for all the patients he hasn't resurrected--is waiting there, to forgive him.
Summary:A child recalls waltzing with his drunken father. His papa's breath stank of whiskey, his moves were clumsy and borderline abusive, and the son's love and fear caused him to cling to his father "like death."
The film covers two days in the life of Frank Pierce (Nicolas Cage), a burned-out EMT (emergency medical technician) working the socio-economic underside of Manhattan. From the beginning, Frank is upset because recently all his patients have been dying on him, and he is haunted throughout by the hallucinated ghost of Rose, a young woman who collapsed on the street and died, apparently because he could not intubate her correctly.
Frank is highly stressed, he has no life outside his work, and he is self-medicating with alcohol. He tries to quit, but his boss keeps him on by promising time off in the future. In the film's first action, Frank does manage to miraculously resuscitate Mr. Burke, a heart-attack victim, but the patient winds up in the hospital with a very bad prognosis, so even that "saving" works against Frank.
Frank has encounters with numerous patients, many of them street people whose lives are out of control, some of whom are ER (Emergency Room) regulars, such as the demented young Noel (Marc Anthony). He also deals with (and is dealt with by) several highly idiosyncratic EMT partners in his ambulance rounds (John Goodman and others). Frank gets to know Mary Burke (Patricia Arquette), the daughter of the heart-attack victim, and they tentatively move toward being a couple who might help each other survive their lives.
Near the end, Frank, who knows Mr. Burke had tried to tear out his tubes during a brief moment of consciousness, and who feels he has been getting pleading messages from him to end his agonies, surreptitiously takes him off life support long enough for him to die. The physician who responds to the code decides not to attempt resuscitation of this patient who had already been resuscitated 14 times that day. Frank goes to tell Mary that her father has died (but not how), and exhaustedly falls asleep on her breast, apparently having forgiven himself because he has in some sense finally "saved" Mr. Burke.
Young Prince Yegorushka has managed to squander his family's limited resources and now lies in a drunken stupor. His mother (Princess Priklonsky) and sister (Marusya) reluctantly send for Dr. Toporkov, the elegant and highly successful physician whose father was once a serf on their estate. The cold, haughty, and uncommunicative Toporkov appears, gives a few orders, and rushes away. Yet, the princess views the man as a savior and exclaims: "How considerate, how nice he is!"
Marusya also falls ill, and Toporkov makes several house calls, "walking importantly, looking at no one." Old Princess Priklonsky tries to ingratiate the doctor by providing him with a hefty bonus and inviting him to tea. But rather than warming up, Toporkov lectures them "with medical terms without using a single phrase which his listeners could understand."
Some time later, a matchmaker arrives with an astounding proposal--the doctor wishes to marry Marusya for a dowry of 60,000 rubles. (The truth is he will marry anyone for that price.) The Priklonsky family immediately turns the down proposition, ostensibly because of Toporkov's peasant background, but really because they don't have 60,000 rubles to their name.
Meanwhile, as time goes on, Marusya falls in love with the doctor. As she becomes sicker with consumption, the family's financial straits become worse. Finally, with her last five rubles, Marusya seeks help from Toporkov, throwing herself at his feet and proclaiming her love. The astounded doctor experiences an epiphany. He suddenly realizes the worthlessness of all his money-grubbing in an outpouring of love for the dying woman.
The author first presents an introduction and rationale for the concept of using creative writing as therapy, either self-prescribed or as part of professional treatment. She then provides practical guidelines for starting a journal (Chapter 3), and for beginning to write poetry, fiction, and autobiography (Chapter 7).
The text includes an accessible introduction to images and metaphors--aspects of the craft--as well as to methods of capturing dream material (Chapter 6) for use in one's creative writing. The later chapters present therapeutic writing in various contexts--as group work (Chapter 9), or in various institutional settings (hospital, nursing home, hospice, and prison). There are examples of therapeutic writing, especially poetry, throughout the book.
An adult sister and brother chop wood on a mountain in Nevada three months after their father succumbed to lung cancer. They reminisce about their childhood--the cabins they built, Spam sandwiches they ate, their tough father. When the poet-daughter thinks of the whippings they received, she says, "They'd have put him in jail today. I used to beg / and run circles. You got it worse because you / never cried."
The man's daughter, Leslie (named after her grandfather), helps them carry and stow the chopped logs. They run into a group of childhood friends, now mostly loggers. "What'll you do next, after the trees are gone?" the poet asks. As they drive home, Leslie falls asleep in the truck.
This poem takes place in the world of grief, a world in which the past and present are intermixed and ordinary day-to-day events groan under the weight of deep meaning. Indeed, the scenes depicted here have double significance; the poet steps out of them like a Greek chorus and comments, "Tomorrow a log pile will collapse / on him and he will just get out alive." The scene of grief over the father's death is well fixed in her memory because it is so closely attached to her brother's imminent almost-death. [169 lines]
Peppered with a plethora of black and white stills, this book is a compilation of a physician's film reviews and reflections on how movies have mirrored the changes in medical care and in society's attitudes towards doctors and medicine over the last sixty years. Ten chapters blend a chronological approach with a thematic perspective: Hollywood Goes to Medical School; The Kindly Savior:
From Doctor Bull to Doc Hollywood; Benevolent Institutions; The Temple of Science; "Where are All the Women Doctors?"; Blacks, the Invisible Doctors; The Dark Side of Doctors; The Institutions Turn Evil; The Temple of Healing; More Good Movie Doctors and Other Personal Favorites.
The appendices (my favorite) briefly note recurring medical themes and stereotypes ("You have two months to live," "Boil the Water!"). Formatted as a filmography, the appendices reference the chapter number in which the film is discussed, the sources of the photographs, and a limited index.
In Greeley, Colorado, where he paints dormitory rooms for a living, the narrator encounters Tarvis, a refugee (like himself) from the hills of Kentucky. Tarvis lives in a shack outside of town, "a little version of eastern Kentucky, complete with woodpiles, cardboard windows, and a lousy road." (p. 118)
The narrator spends most of his free time drinking to get drunk at the Pig's Eye, but when Tarvis asks him to come out and skin a barred owl he found dead on the road, the painter agrees. He is a hunter with lots of experience skinning animals, while Tarvis shamefully admits that he doesn't hunt. He has never been able to shoot an animal. Tarvis collects bird wings and animal bones, and he is always on the lookout for arrowheads.
Months later, the narrator learns that Tarvis has committed suicide. He had found a chert arrowhead, fitted it to an arrow, rigged up a bow to an iron plate and screwed it to the floor, then sat in front of the bow and released the arrow. Tarvis finally made it home to Kentucky when his body was sent there for burial.
Raina is 17, living alternately on the streets with a boyfriend addicted to hard drugs and at home with an abusive mother, also an addict. She has been victimized by a succession of her mother's live-in boyfriends and lost a young brother to an accidental overdose: he swallowed some of his mother's pills while the mother slept and seven-year-old Raina was watching him.
Margaret Johnson is 45, Raina's teacher at an underfunded, overcrowded public school where Raina's life of squalor is more typical than not. Her own story is told in chapters that alternate with Raina's story and with the texts of autobiographical compositions Raina gives her but refuses to discuss. Only when Raina finds herself pregnant, shortly after her boyfriend has been killed in a drug-related accident, does she take Ms. Johnson up on her repeated offers of help.
She lives at the teacher's home for awhile, runs away to her own home, unused to kind treatment and afraid she'll disappoint the teacher and be thrown out, goes to a shelter, has her baby, and finally returns, having nowhere to go. Ms. Johnson, with some hesitation, takes her and the baby in and the three begin to work out a life together, knowing it will involve difficult change, but willing to bet on love against the odds.
Summary:The poems in this collection are elegant, economical, worldly, and humorous. The tone is generally one of amused ruefulness. In "Alcohol" the poet addresses his subject as "the eighth / and shallowest / of the seven seas." He salutes the "nice" people, "on whom depends / the diminishing goodness of the world."