Showing 171 - 180 of 524 annotations tagged with the keyword "Memory"
Summary:This book consists of a series of "found poems" abstracted from transcripts of interviews that Loreen Herwaldt conducted with 24 writers who had previously published accounts of their illnesses. Dr. Herwaldt, an infectious disease specialist at the University of Iowa, began her investigation into the personal experience of illness after having read Mary Swander's Out of this World: A Journey of Healing and Reynolds Price's A Whole New Life, both of which revealed a negative dimension of medical care. These books initiated an "unexpected turn" (p. 1) in Dr. Herwaldt's life, culminating in a sabbatical year during which she interviewed a wide array of writers, intending to investigate the texture and dynamics of their experience of medical care by textual analysis of interview transcripts.
A woman is pregnant. She is a nurse married to a physician, Jeff, and they have a young son, Willie. The couple is pregnant with their second child. Long before her due date, the woman--author Susan LaScala--begins experiencing signs of premature labor. Because she is a nurse, because she is married to a doctor who takes call, she doesn't want to over-react or bother her obstetrician unnecessarily. But when vague aches turn into cramps, the author enters, as a patient, the world she had known, until then, only as a caregiver.
It is impossible, in a brief annotation, to describe fully the richness of this memoir. Because the author is a nurse, she brings to the story of the premature birth and survival of her daughter, Sarah, a wonderful double vision: LaScala tells this tale not only as a mother and a patient but also as a clinician able to explain, in simple language, the complex technologies used to sustain the life of her one pound nine ounce baby. The author's rendering of the bells and whistles of neonatal medicine, whether describing the process of intubating a preemie (p. 23) or ultrasounding a baby determined to survive (p. 182-3) are precise and haunting.
Equally compelling (and instructive for caregivers) are the author's candid revelations of how it feels to be a patient. She takes to "grading" the doctors and nurses--an "A" for the staff that lets her see her newborn girl (p. 3), and a "C" for a nurse with "No kind words. No warmth" (p.11). She describes her own bodily sensations in language both lovely and informing: the pushing and tugging she feels during her C-Section is a "quiet violence" (p.21); standing beside her daughter during the ventilator weaning process she feels "a witch's brew of fear and panic mixing and growing inside" (p. 225).
In an introduction, physician Barbara Wolk Stechenberg, describes the "gift" that the author has given by writing this memoir. The author has allowed Dr. Stechenberg, who was part of the team that saved Sarah, "a rare glimpse into two worlds" (p. xii). One was the world of intensive care nurses and how "they truly are the primary caregivers" (p. xii). The other world was that of physicians, who "may feel we are empathic and caring, but we really have no idea of the emotional roller coaster many of our parents are riding" (p. xii).
Summary:In summer 1962, virgins Edward Mayhew and Florence Ponting take their wedding supper in a hotel suite overlooking stony Chesil Beach on the Dorset coast. Married that afternoon, each is thinking of the bed in the next room. With only a little experience, Edward has waited patiently, but looks forward, enthusiasm mingled with apprehension over his performance. Florence however is revolted and even frightened by the thought of sex, but she does not dare to reveal her fears. They are both embarrassed by the hovering staff, and eventually leave the meal unfinished.
In this one act play, as a result of a new medication, a middle-aged woman named Deborah wakes up after spending nearly 30 years in a "coma." More precisely, she was in a dream-like state of unawareness or altered awareness that Hornby, her doctor, refers to as "a kind of Alaska."(p. 34) Deborah thinks that she has only been "asleep" for a short while, so she asks about her parents and sister, as if she were still the adolescent she remembers. Hornby assures her that her mind has been suspended all that time, although he has been at her side, fighting to keep her alive: "Some wanted to bury you. I forbade it." (p. 34)
Uncertain what to say, Pauline, Deborah's younger sister, now enters the hospital room. Hearing Pauline's news of the family, Deborah tries to comprehend what has happened, but it seems just too bizarre. Then Hornby reveals that Pauline has been his wife for more than 20 years. Deborah experiences the walls of her consciousness closing in, "Let me out. Stop it. Let me out. Stop it. Stop it." (p. 38) Suddenly, she returns to the conversation and summarizes everything she has heard. "I think I have the matter in proportion," she concludes.
Summary:Fifteen-year-old Webber hits a young girl, seriously injuring her, while taking a little illegal driving practice with his indulgent grandfather. Webber, himself, is injured, and unlikely to return to the track team he has loved. He has trouble remembering the accident during the first weeks of his recovery, especially since his grandfather has determined to take the blame for the accident. But as memory returns, aided by the bitter insinuations of a classmate who babysits the injured girl, Webber is torn between accepting his grandfather's cover for the sake of a clean record and an unencumbered high school career, and confessing. The technical fact that his grandfather was legally responsible for letting him drive complicates the ambiguity of his dilemma. Ultimately, he makes the decision to confess. The book concludes with his telling his grandfather of his intention--a decision that is sure to be relationally as well as legally consequential.
This collection includes selected poems from each of Bruce Weigl's seven books, beginning with Executioner (1976) and continuing through Sweet Lorain (1996), as well as a group of new poems. In the early poem "Anna Grasa," the poet writes, "I came home from Vietnam. / My father had a sign / made at the foundry: / WELCOME HOME BRUCE." But Weigl had brought Vietnam home with him. The trauma and suffering of his war experience informs his sensibility and serves as subject matter for a large number of his poems.
In "Amnesia"(1985), he comments, "If there was a world more disturbing than this? / You don't remember it." And the rumination continues in "Meditation at Hue"(1996), "Some nights I still fear the dark among trees / through last few ambush hours before morning." And Weigl concludes "And we Came Home," one of the new poems in this volume, with, "No one / understands how we felt. / Kill it all. Kill it all."
Some of the other powerful war poems in Archeology of the Circle are "Dogs," "Girl at the Chu Lai Laundry," "Burning Shit at An Khe," "The Last Lie," "Song of Napalm," "Sitting with the Buddhist Monks, Hue, 1967," and "Three Meditations at Nguyen Du." Yet love and largeness of spirit also inform the world of Bruce Weigl, who tells us, "What I have to give you / I feel in my blood, / many small fires / burning into one."("Bear Meadow?)
Summary:This award-winning collection, published when the author was in her late 80s, contains 96 poems, most of them no more than one page in length. These poems are complex, interesting, surprising, and full of the pain of life. Stone has suffered and she does not hesitate to dwell on the causes of her suffering but she is not maudlin--she has lived and thought about life and she shows us how she lives and thinks.
Summary:In the Arctic, winter goes on for ten months every year. The cold temperatures penetrate every aspect of human life. Existence is a struggle. In the Canadian community of Rankin Inlet, an Inuit woman finds personal tragedy as abundant as the snow. Victoria is diagnosed with tuberculosis (puvaluq) as a child and sent to a sanatorium far south of home. Following treatment with medication and a thoracoplasty, she returns to her town years later. Victoria's experience has changed her view of the world but she quickly discovers that in her absence, the people and locale have transformed too.
Summary:As the novel opens in 2002 we learn that the protagonist, Evan Patrick Molloy, has been wandering through a particular house and its yard for ten years, passing through its walls, unperceived by any of the people who have occupied the house. Evan is a ghost. The house he wanders through is the one he lived in when he deliberately put an end to his life by gunshot ten years earlier. It is the house he had lived in for a while with his ex-wife, Claudia after he resumed his relationship with her. Claudia's 10 year old daughter from a second failed marriage, Janey, lived with them. Several individuals and families have occupied the house since Evan's suicide. The current occupant is Maureen, who has moved there as part of her attempt to break off a relationship with her married lover, Ned, a radiologist.
Summary:The haptograph - an experimental device that mimicks ordinary feelings on the skin and stimulates previously unknown tactile sensations - sits in a locked room in the basement of a renowned scientific institution. It is 1889, and the reasearch facility is headed by the Wizard. He is a brilliant inventor who is cognizant of the importance of patents and profits. Multiple projects are ongoing, and the Wizard supervises all of them. One of his aims is to mechanically replicate each of the human senses.