Showing 191 - 200 of 384 annotations tagged with the keyword "Cross-Cultural Issues"
Leland Fowler, a small-town Vermont attorney, is raising his small daughter alone two years after his wife's death in a car accident when he meets Carissa Lake, a homeopath, and falls in love. He originally seeks her services because of low-grade cold symptoms that won't go away. She attempts to keep their relationship purely professional, but finally advises him to see another homeopath so they can pursue a more intimate relationship.
She starts him on a regimen of highly dilute arsenic solution that helps him immediately. In the meantime another patient of Carissa's, a young family man suffering from severe athsma and allergies, has gone into a coma as a result of eating cashews to which he is violently allergic. The man's wife brings legal action against Carissa since it was under her care that Richard, the patient, started taking a homeopathic solution derived from cashews and apparently was motivated to try the cashews themselves by dint of misunderstanding the "law of similars"--that "like cures like"--that is a central homeopathic principle.
Leland's law firm prosecutes after Richard dies, and Leland is forced to keep his relationship to Carissa secret while he himself struggles with his own doubts about homeopathy. To protect Carissa, because he believes her innocent, he helps her doctor her casenotes. Eventually the case is dropped; Carissa leaves town; and Leland is left to ponder the forces that drive medical, legal, and personal decisions.
This unusual collection of contemporary art features full color prints of what might be termed comic doctor archetypes. Entitled by specialty, paintings feature doctors in a variety of incongruous settings that constitute fantastic anachronistic commentary on the situation of the doctor relative to different social groups or social expectations.
"The Internist," for instance, is represented as a modern female doctor in a medieval setting, commenting ironically on the various institutional pressures that come to bear upon women in the medical profession and expectations of the internist in particular. "The Pathologist" is featured getting his comeuppance as the doctor who usually has "the last word" in a confrontation with the figure of death--a skeleton straddling a Jungian snake among a horde of rats on the office floor. Each of the paintings is accompanied on the opposite page by a brief, but informative and insightful commentary by Spence.
Lara Ardeche, a glamorous sixteen-year-old, is elected homecoming queen at her Nashville high school, as her mother was years before. She works out daily on gym equipment supplied by her wealthy grandfather. She thinks her family is perfect: her mother and father are youthful and attractive, her younger brother is cute and smart, and she is popular, beautiful, and her father's "princess." Her best friend, Molly, is one of the few offbeat characters in her life; other friends call Molly "the Mouth." Molly is frank, funny, a little fat, and indifferent to the unsubtle slurs of the in-crowd.
Weeks after homecoming, Lara, who has never had a weight problem, begins to gain weight rapidly and inexplicably. Within months her weight soars to 200+ pounds. She is diagnosed with a rare "Axell-Crowne" syndrome, a severe metabolic disorder with no sure cure. Most of her friends abandon her, though Molly stays faithful and Jett, Lara's boyfriend, tries to maintain a relationship.
The family begins to fall apart. The father, it turns out, has been having an affair. They move to Michigan to get a "new start." But the affair continues, kids at the new high school are cruel, and Lara is miserable until she is introduced to a new, motley group of people through her piano teacher who shares her love of music and is about her size.
In a cross-generational, racially mixed jazz club she begins to think differently about who she is and on what basis real relationships survive. By the time her weight begins slowly to fall, she has come to terms with herself and the dysfunctions in her family in a whole new way, and at great cost. She still hopes to be thin again, but not because she any longer kids herself that a fashionably thin body is a key to happiness.
Set in an indefinite time and place that suggest pre-industrial Ireland, this story follows the fortunes of Marnie, eldest sister of a large family of tenant farmers. When the landowner's son takes an interest in her, though she is not drawn to him, she accepts his offer of marriage to help her family and travels with him to his dead grandmother's run-down cottage by the sea, which he claims is worth the whole of the rest of his family's estate.
Only a few days into their marriage, the bridegroom dies from a fall while thatching the roof. Marnie is left to fend for herself in a village of suspicious and superstitious locals where only the priest befriends her. The one other person with whom she has contact is a young boy called "The Raver" by the villagers who believe he is mad.
Gradually she comes to believe he is not mad, but deaf. She devises hand signs and wins first his trust, then his devotion as she opens a world of communication to one who has been isolated and ostracized his whole life, though the priest has taken care of him. However, upon seeing her effect on the mad boy (whose name Marnie has changed to "Raven") the locals decide that Marnie must be a witch.
They put her to a test for witchcraft, which the priest helps her endure and pass. After that they leave her alone. Eventually the priest, now like a father to both Marnie and Raven, marries them, and they leave with an heirloom ring found in the cottage to begin life again among people who might be able to receive the young couple with their strange hand-speech more open-mindedly.
Liza Winthrop, 17, first meets Annie Kenyon, also 17, at the Metropolitan Art Museum in New York, where she's gone to work on an assignment. Both Liza and Annie are avid museum browsers. Both love medieval lore and history and both have a flare for the dramatic. They are instantly drawn to each other, and their friendship grows quickly and deeply.
Liza attends an exclusive prep school, Annie a public high school in a working class area where she lives with her Italian immigrant family. Liza is student body president and a much respected leader. As the relationship deepens, both girls begin to realize with some trepidation that there's a dimension to it they didn't expect. Annie realizes before Liza that their attraction is sexual as well as spiritual. Liza finds she has some hard thinking and reading to do about homosexuality.
Their relationship becomes public in a traumatic way when, housesitting for two teachers at Liza's school (who, they discover, are lesbians, though the fact has never been made public) they are discovered by a punitive administrator who dismisses the two teachers and threatens Liza with expulsion. She is reinstated by the board of trustees, but emotional stress with peers and family remain to be worked out.
Ultimately, she finds she can let go of friendships that falter on this issue, and her family supports her, though her parents have to work through their own ambivalence. Annie goes to Berkeley, Liza to MIT, and after some months of silence, they resume contact with hope of reviving a relationship they still cherish, perhaps the more for the lessons it's brought with it.
Thirteen-year-old Jessie Keyser likes to accompany her mother, a midwife, to homes where there are births or illnesses. Her father is a blacksmith. She and her five siblings live in a log cabin in a small village. They believe the year is 1840. What Jessie doesn't know is that she lives in a replica of a 19th-century village and that the year is actually 1996.
When local children begin to fall ill of diphtheria, Jessie's mother takes her into the woods, provides her with food, blue jeans and a T-shirt, instructions on how to use a telephone, and amazing stories of the world outside that she and Jessie's father left when they joined the experimental colony. Jessie learns that tourists view them at their daily activities through hidden cameras. Now she is to escape and get needed medicine.
Armed guards surround the village. Safely outside the gates, Jessie wanders disoriented in 1996, looking for someone safe to ask for help. She finally talks to reporters who broadcast the news and send help immediately to the town. Medicines are brought and some children saved, though diphtheria has taken several lives. Jessie enters the present with some ambivalence, realizing there are large tradeoffs to leaving the simplicity of the past.
For months, Junior Brown, an obese adolescent, has been meeting secretly with his friend Buddy, a street-wise homeless boy who lives in an abandoned building, and a former teacher, now janitor, Mr. Pool. In the basement of the school building, Mr. Pool has rigged up a model of the solar system that rotates, illuminated in the dark. He and the boys discuss astronomy, math, and a vision of worlds to come while the boys skip classes and take refuge in their basement hideaway.
Junior is mentally disturbed; both Buddy and Mr. Pool know this and take care of him as they can. Junior's fiercely controlling mother exacerbates his obesity by serving him excessive helpings of food and feeding his fantasy that his father will return. She herself has asthma, which ties Junior to her as intermittent caretaker.
Junior has a musical gift, but his mother has removed the strings from the piano, so he practices on keys that produce no sound. Fridays he finds his way to the home of a demented old piano teacher who won't allow him to play her piano because of her delusion that a dangerous relative is hiding in her apartment. Ultimately the boys and Mr. Pool are caught in their marginal existence below the school.
They retreat to Buddy's urban hideaway where he cares for two other boys, teaching them how to survive. Buddy is convinced he can help Junior survive as well, with Mr. Pool's help. He knows that if he allows Junior to be retrieved by his mother or school officials, he'll be locked up in an institution where no one will recognize his gifts or his worth.
The story of Avram Halevi of Toledo, a late 14th-century Jewish doctor forced to convert to Christianity at the age of ten. He becomes a physician and surgeon in Montpellier and returns to the poor Jewish sector of his native city to live a dangerous professional life, serving the Christian rich. His relationship with the beautiful, ambitious Gabriela founders as his people are scattered in yet another attack by misguided Christian zealots.
His cousin, Antonio, is cruelly tortured and Halevi euthanizes him in prison. Escaping Toledo, he returns to Montpellier where he finds friends, a wife, a family, and eventually a professorship--but religious rivalry again intervenes through the brutality of a worldly cardinal. Try as he might to remain above the fray of religious and political struggles, Halevi is stripped of all he holds dear and dragged into controversy again because he senses what is morally right.
The narrator in each of the stories in this unusual collection is a home-care worker who helps people with AIDS. Each story focuses on a "gift," i.e. "The Gift of Sweat"; "The Gift of Tears"; "The Gift of Mobility" and so on. In each, we see scenes in the weeks or months shared by caregiver and patient. The patients vary widely in age, life situation, stage of illness, and attitude toward both the illness and the caregiver.
The caregiver/narrator also changes somewhat from one story to another, giving the reader some sense of the different stresses and rewards that come in the course of such work. The details of caregiving are elaborated in ways that are sometimes mundane, sometimes surprising, sometimes funny, sometimes harsh, often touching, and always straightforward.
This fine collection of short memoirs and stories by doctors offers a variety of narratives about memorable moments in medical education and practice that raise and explore practical and ethical issues in medicine. An explicit aim of the editors was to focus on some of the rewards in medical life as well as the struggles it entails--those often being inseparable.
Starting with a section on medicine and poetry which includes memories of William Carlos Williams by two of his well-known students, Robert Coles and John Stone, and a reflection on illness in poetry by Rafael Campo, the collection is then divided into two major sections: "Grand Perspectives" and "Intimate Experiences." The former includes narratives that show the development of practices, conflicts, or learning over time spent in hospitals and clinics, observing the careers of elders in the profession or the parade of patients whose expectations and needs stretch the physician's creative resources. Several, including Perri Klass and David Hilfiker write about particular patients whose cases became personal landmarks.
In the latter section, stories focus on single cases or incidents in the lives of doctors, some humorous, some tragic, some bemusing, all attesting to the chronic ambiguities of the work of healing and to the very human tensions that arise in institutions that both enable and inhibit the compassion all good doctors want to exercise.