Showing 191 - 200 of 267 annotations tagged with the keyword "Illness Narrative/Pathography"
This is a collection of 14 contemporary patients' accounts of dealing with their illness or injury. (The patients, four men and ten women, including the editors, are all writers.) Among them the stories cover numerous medical conditions: erythroblastosis, environmental illness, obsessive-compulsive disorder, hip dysplasia, osteoarthritis, hip replacement, H.I.V., Crohn's disease, broken leg, ruptured cervical disc, myelitis, rheumatoid arthritis, paroxysmal nocturnal hemoglobinuria, lupus, alcoholism, multiple sclerosis, diabetic retinopathy, breast cancer, severe facial scarring, and depression. The collection is unified by a focus on selfhood--the recovery, discovery, or reconstruction of the psyche that the editors propose is the deepest form of healing.
This is a collection of 22 contemporary first-person accounts by survivors of a wide range of life’s woes--some medical, some social, and most of them at least partly emotional. The challenges the writers have faced are too numerous to represent individually in keywords, but they include incest, colonialism, disfigurement, adultery and divorce, obsessive-compulsive disorder, bone marrow transplant, and the death of family members.
All of the authors are writers, a handful of them well-known, and virtually all the works collected here have been published before. They are unified, to use the editor’s words, by the idea that "lifewriting is a passage through grief to knowledge" (she might have added "and to healing").
Physician and poet Rafael Campo sometimes gives poems to his patients, tucking them in with educational materials and prescriptions. He knows that poetry can be therapeutic for both patient and caregiver, and in this beautifully organized and executed book he tells readers why and how poetry can enhance healing.
The chapters (in which Campo ponders questions such as: Is poetry necessary for survival? How does poetry locate us inside the experience of illness? Why is poetry therapeutic?) follow the arc of illness itself. In Chapter 4, "Inklings," Campo discusses how not-yet-diagnosed symptoms of sickness may be revealed in poetry, the patient "divining" signs of illness "from the clues discernible in a sentient relationship to the world around us" (p. 52).
In following chapters ("Diagnosis," "Treatment," "Side Effects," and "End of Life"), he expertly unfolds, through brilliant poem analysis, how "At every station of the disease experience, poetry has suggested an ulterior discourse that, as it accumulates, forms a composite picture of a humane idea of wellness" (p. 127). In other chapters ("Daniel," "Clara," "Sunny," "Eduardo," and "Mrs. Twomey") he discusses how poetry has changed and informed his clinical and personal interactions with patients.
Fully aware that poetry is not a "cure" for illness and that relationships between patients and caregivers are not always ideally sympathetic, Campo demonstrates how, nonetheless, poetry can be a valid healing modality. In the "Afterword," he urges readers to imagine poetry "as a metaphor itself for the process of healing" and "to experience it through the stories and voices of real people who have themselves called upon it as they faced illness" (p. 188), and he states his wish to see "non-poet physicians use this book with their own patients and medical trainees" (p. 190). An excellent "Further Reading" appendix provides wide-ranging selections for further study.
The events in Dry follow those in Burroughs's memoir of his bizarre childhood, Running with Scissors (see this database). Burroughs, at 24 years old and with no formal education beyond grade school, works in the high pressure advertising world of Manhattan. He's also an alcoholic, and his addiction definitely interferes with his work. Fortunately for Burroughs, he is not fired, but rather, his boss and co-workers set up an intervention. Burroughs--after telling his best friend, Pighead, who is HIV positive; his drinking buddy, the undertaker Jim; and his abusive, alcoholic father, of the plan--leaves for an inpatient rehabilitation program in Minnesota designed for gay people.
Thus begins Burroughs journey to sobriety. A journey that is replete with temptation, relapse (not only with alcohol, but also crack cocaine), love, success, loss, and grief. Burroughs experiences hallucinations, coma and life-threatening withdrawal. But ultimately, Burroughs achieves the title of his memoir. What he reveals is that, for an addict, remaining clean and dry is hard work. This daily, moment-by-moment work forces the addict to examine what is truly precious in life.
Summary:This story of one exceptionally accomplished family's discovery of their past and future relationships with Huntington's Disease (HD) is also the story of how the Wexler family changed the cultural narrative of HD for other families at risk for this genetically-transmitted and currently incurable disease. The HD diagnosis of Leonore Wexler (the author's mother) inspires Milton Wexler, a psychologist, to create a major foundation for HD research, which develops critical mass and influence as Leonore Wexler's condition deteriorates, and after her death. The book interweaves the story of the Wexlers' emotional and other negotiations with HD and the story of their efforts to create an HD community comprised of those with active symptoms of HD, family members, advocates, and researchers.
Patrimony relates the final illness and death of Philip Roth's father, Herman Roth. It begins as a misdiagnosis of Bell's palsy, which is eventually diagnosed as a brain tumor. Further tests reveal that it is cancer, operable only with great effort and little promise of cure or even significant palliation. The family (including Herman) decides against surgery and remains in close contact with him until his death.
Roth recounts his father's increasing weakness and helplessness, his own emergency quintuple bypass surgery, and his dreams of his father speaking to him from beyond the grave. Writing this book, he concludes, is the natural and necessary process in bearing witness to his father's life and death.
This book, a sequel to It's Not About the Bike: My Journey Back to Life, chronicles five-time Tour de France winner Lance Armstrong's personal and professional triumphs and agonies from late 1999 (after he won his first Tour and after the birth of his son Luke) to mid-2003, the 100th anniversary of the Tour. Armstrong defines himself by his cancer experience and survival; he devotes himself to both one-on-one connections with fellow cancer patients as well as his public persona to raise awareness and funds for cancer programs and survivors' needs.
There are many medically related themes in the book. Descriptions of cycling sports injuries and illnesses include a severe concussion, a broken cervical vertebra, dehydration, road rash, tendonitis and exhaustion. Armstrong experiences the loss of friends and acquaintances to cancer and trauma. He is the subject of an intense investigation into the possible use of recombinant erythropoietin and finally cleared of suspicion after nearly two years. As a world class athlete, he is subject to frequent, random drug testing.
His wife experiences a failed in vitro fertilization cycle, though a subsequent successful treatment leads to the birth of healthy twin girls. The Red Cross invites Armstrong to visit NYC firefighters soon after the devastation of September 11, 2001 in a successful effort to boost morale. Armstrong, though, describes encounters with some cancer patients in which he felt he did not succeed in providing the desired inspiration.
Despite reaching his five-year cancer-free milestone, Armstrong, like many other cancer survivors, wonders if the cancer will return. He is hyper-vigilant of his body not only because of his elite athlete status, but also because of his cancer history. Nonetheless, he is reckless and jumps from a steep cliff to sense the rush of fear and freedom.
Armstrong trusts and believes in modern medicine and technology, as well as the physicians, nurses and other health care practitioners dedicated to cancer treatments and health care. He also lauds complementary practices, particularly the team chiropractor who uses a variety of techniques to support the riders during the grueling Tour.
When Dan Shapiro was 20 years old and a junior in college, he was diagnosed with "nodular sclerosing Hodgkin's disease." Thus began a five-year ordeal of chemotherapy, radiation treatments, and a bone marrow transplant that failed. But this memoir, which recounts diagnosis, treatment, and two relapses, is more than a narrative of illness. Woven in and out of the subjective experience of physical and emotional trauma is the author's life as an adolescent, a family member, a young man who falls in love with the woman who eventually becomes his wife, a graduate student learning to be a clinical psychologist.
Sequences of ordinary life are carefully juxtaposed with sections on illness and treatment, emphasizing the author's determination to incorporate his illness into his life, all part of one continuous fabric. Even though disease was enormously disruptive, "[l]ife doesn't stop when something horrible happens" (158). Part of that life was a mother who decided to grow marijuana plants in her backyard ("Mom's Marijuana") so that her son would have an antidote for the terrible nausea that accompanied his chemotherapy. It is Mom who learns in a waiting room conversation that it might be advisable for Dan to bank his sperm for the future-- and who then proceeds to make the arrangements. As the memoir ends, Dan's mother finally disposes of the dry marijuana leaves that have been hanging in her attic for several years.
In this documentary film about euthanasia in the Netherlands, a man--Kees van Wendel de Joode--with amyotrophic lateral sclerosis (ALS, Lou Gehrig's disease) requests death in his home, to be performed by his doctor, Wilfred Sidney van Oijen. The film mostly consists of what appear to be unscripted discussions between Kees, his wife Antoinette, and the doctor; however, there are also interviews with the doctor and views of the doctor seeing other patients. The film shows the doctor performing euthanasia: we watch him inject a barbiturate and then a muscle relaxant and we see him supporting Antoinette during the bedside deathwatch.
Kees has had a rapid deterioration of his ability to function: he is unable to move his legs and right arm, he can no longer speak coherently, and he is having difficulty swallowing. His wife cares for him in their Amsterdam apartment. The film documents the legal requirements for euthanasia in the Netherlands: Kees's repeated requests for euthanasia, confirmation that he has an incurable disease, the second opinion doctor's visit, and reporting the death to the municipal coroner and public prosecutor.
The film's strength lies in the sensitive treatment of the impact of this request on the patient, his wife, and especially on his doctor. Dr. van Oijen is an introspective man who cares for his patients--he makes house calls, explains medical terms to his patients, touches his patients, and asks what they are concerned about. He allows his patients (Antoinette is, in many ways, his patient too) to weep and be emotional.
The religious and moral dimensions of euthanasia are explored mostly with the doctor, who does not view himself as a wanton killer, but rather a doctor whose duty includes the alleviation of suffering. The film concludes with a voice-over stating the doctor will not sleep this night, but still has a clinic full of patients awaiting him in the morning.
In this tightly organized study of the relationship between creativity and manic-depressive disease and its variants, the author asks and attempts to address some interesting questions. Is there sufficient evidence in the histories of well-known artists and their families to demonstrate a genetic linking of creativity and depressive disorders? Are there phases in classic bipolar cycles that are particularly conducive to bursts of, or sustained, creative productivity? Does treatment (be it chemical or psychotherapeutic) of his or her psychiatric symptoms blunt the ability of the artist to work successfully?
In an attempt to answer these and other intriguing questions, Jamison explores in some detail the personal, family and creative histories of writers long suspected of being depressed with or without alcohol or having periods of mania. She opens by defining for the novice the parameters of the disorders in question, examines some of her subjects' family history of "madness," and discusses evidence for relationships among the waxing and waning of depressive disorders and creative productivity.