Showing 181 - 190 of 236 annotations tagged with the keyword "Technology"
Summary:This is a two-verse, ten-line poem about the narrator's father, who is obviously being kept alive against his own will (he "stormed against equivocation, / Heaving against tubes and wires"). He wants no part of these life-sustaining gadgets; in fact, "they" have to "bind him down." Finally, the doctors ask him why he's acting this way and, unable to speak, the old man asks for a pencil and paper and angrily scribbles in his "clearest, / Most commanding hand, 'I am dead.'"
The story begins as an MRI technician assures Baily that "Contrary to popular opinion, . . . this is not a torture device." The test was ordered because her arm suddenly went numb and she suddenly lost most of her vision during algebra class. With no idea what's wrong, Baily speculates about the possibility of a brain tumor, about how disease will change her life, about early death. She is uncomfortable with her mother's cheery reassurances, which consist mostly of simple theories like the possibility that Baily was reacting to missing lunch, but wants them, nonetheless.
Since the pediatric wing is full, she is put in a room with an old woman for observation overnight. The nurse runs her through a series of highly irrelevant questions about her physical health from drug use to dentures. Then her mother is required to leave for the night. In the morning they take her for an EKG before her mother can get there; Baily returns to her room in a state of morbid conviction that she's dying, which is finally overturned when the doctor comes in to explain to her that she had a classic case of severe migraine.
August is divided into two sections: "On the Corner of Fourth & Irving" and "To Marie Curie." The narrator, on a street corner in San Francisco near the teaching hospitals and medical school of University of California, San Francisco, meditates on the recurrence of lymphoma in a patient. Evening is approaching, fog blows in from the ocean, and the city pigeons are unsettled--landing and taking flight.
The meditation includes a tribute to Madame Curie and her discovery of the effects of radium. The patient had had a good chance of cure by radiation treatment--unfortunately, this patient is in the twenty percent who are not cured. The narrator, probably a physician-in-training due to the load of textbooks, had read the patient's chest x-ray as negative (normal) previously.
By the end of the poem, we learn that the physician had felt enlarged lymph nodes in this patient's neck today and he bluntly states: "I have failed. He has not been cured." The poem closes with the sound of the wind and the "beating and beating of wings."
Alison, 39 years old, is twice-divorced, with three children, on the verge of moving in with a man called Bobby. Her breast is sore and she is afraid it's cancer. Her mother tells her it's more likely she's pregnant. She says she uses contraceptives; her mother tells Alison that she was conceived when a condom broke.
Alison considers abortion, recalling her last pregnancy. Having given birth to a child with Down's Syndrome who died at three months, she had had amniocentesis and was told that she was carrying twin boys, both normal. When the twins were born, though, one turned out to be a girl. One twin, it seemed, had been tested twice. Although the female twin did not have Down's Syndrome, Alison began at that point to worry about luck and the uncertainty of medicine (and of life).
So now, pregnant again, she asks her mother what she should do, and is told to "trust to luck." But she is afraid that her luck has run out and she must take control for herself. A scan shows that she is carrying twins again. Only now does her mother tell her that she is in fact a twin, that her sister had Down's Syndrome and died shortly after birth--in fact, her mother admits, the midwife "did away with" her. (The euphemism carries the senses both of euthanasia and of murder.)
Hearing this, Alison decides she wants to have an abortion right away. Her doctor, thinking the problem is that she wants only one child, gives her the option of selectively terminating one fetus and carrying the other one, but tells her she wouldn't be able to choose which to keep and which to abort. She rejects the idea, imagining how she'd tell the surviving twin about her decision later on, and decides instead to "have them both and trust to luck."
As she leaves the clinic, she begins to bleed and miscarries. Later her mother tells her that she, too, once miscarried twins, and tells Alison she'll have better luck next time, because of the bleeding: "Blood, " her mother says, "is the libation the God of Chance requires."
This is the familiar story of Victor Frankenstein, a scientist obsessed with his desire to penetrate the secret of life and create a "perfect" creature. The novel is actually a series of stories within stories. The outermost is the tale of Walton, a young captain who sails toward the North Pole in hopes of discovering a northern passage to the New World; he is obsessed with penetrating the "dangerous mysteries" of the north. His ship comes upon the mortally ill Dr. Frankenstein, adrift on an ice floe. Most of the novel recounts the strange tale Frankenstein tells Walton as he lies dying on the ship.
In the book's center is the monster's own story, as told to Frankenstein. At the moment he gives his creature the spark of life, Frankenstein is overwhelmed with the ugliness and unnaturalness of his creation. He abandons the creature, who then begins to pursue him to seek acceptance, and when that is not forthcoming, to seek revenge, eventually killing all those who Frankenstein loves.
The creature yearns for love and acceptance, but all are horrified by him. At first Frankenstein agrees to create a mate for him -- "I am malicious," the creature explains, "because I am miserable." But at the last minute he reconsiders, horrified at the implications of possibly creating a superhuman race. After the creature kills Frankenstein's friend Clerval and his beloved Elizabeth, the doctor begins to pursue him throughout Europe and eventually to the Arctic, where Walton encounters them. After the creature is satisfied that Frankenstein is dead, he takes his leave forever, "soon borne away by the waves, and lost in darkness and distance."
Summary:The narrator recounts a day sitting through an astronomy lecture, listening to the astronomer's dry mathematical descriptions of the stars, and watching their arrangement into charts, columns, and figures. During the lecture he becomes "tired and sick" and wanders off into the "mystical moist night-air" to silently gaze up at the stars.
The story takes place in the distant future on a world called New Sparta, shortly after the Irredentist rebellion has been put down. Edward Maret, a wealthy and likeable young man, is about to get married, but doesn't realize until too late that he has enemies close at hand. As a result of their betrayal, Edward disappears into the bowels of the police establishment, only to emerge as a zombie-like cyborg (AX-17). After surviving several years as a cyborg-soldier who has no memory of his human life, AX-17 is captured by the alien Kliya, who initiate a process that leads the cyborg to regain his human identity.
Edward Maret re-emerges--a man betrayed, a man who suffers incalculable pain, a man who has lost everything, including the love of his life. The brutalized man journeys across the galaxy to the Confederation, where physical existence has become a burden to humans, who spend most of their "real" lives in a virtual world of wish fulfillment.
Eventually, he returns to New Sparta with a new identity and a plan to obtain his revenge. Piece by piece the elaborate plan falls into place. Yet at the climax, Edward is forced to look deeply into his character and motivation, while coming to terms with his past.
Sam Daniels (Dustin Hoffman) and his wife (Rene Russo) are both working for a federal infectious disease laboratory, but their marriage is on the rocks. A mysterious lethal illness, remarkably like Ebola fever, breaks out at various sites in America, all eventually connected to a pet shop that received a monkey from an illegal smuggling operation. Most cases are immediately isolated and contained, but a town in California develops an epidemic of the new disease.
The lab is called in and the military enforces a strict quarantine that divides families and prevents anyone from leaving the area. One worker dies quickly and Sam's wife falls ill. The crass General Donald McClintock (Donald Sutherland) is convinced that the nation can be saved only by the annihilation of the town by a gigantic bomb.
A plane sets out on the gruesome mission. Meanwhile, Hoffman leaps from a helicopter onto the cargo ship where the sailor-smuggler has just died leaving a photo of the monkey carrier. Sam makes a televised appeal for help locating the cute but dangerous, little monkey; a terrified mother responds and the creature is snatched from the arms of her child.
With military snipers in hot pursuit, Sam returns to the town, radioing the baffled bomber pilots with a barrage of reasons why they should ditch their mission of destruction. He puts the tiny monkey to work producing anti-sera and vaccines, which--in only a matter of minutes!--rescue the town, his wife, and his marriage. The pilots disobey orders and dump their bomb in the sea.
Second Opinions, Jerome Groopman's second collection of clinical stories, illuminates the mysteries, fears, and uncertainties that serious illness evokes in both patients and doctors. The book is divided into 8 chapters, each a clinical story involving a patient with a life-threatening illness, plus a prologue and epilogue written by Groopman. The stories focus on people who face myelofibrosis, acute leukemia, hairy cell leukemia, breast cancer, and marrow failure of unknown cause. Two chapters are Groopman's personal accounts of his firstborn son's near fatal misdiagnosis, and of his grandfather's Alzheimer's dementia.
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.