Showing 191 - 200 of 236 annotations tagged with the keyword "Anatomy"
Summary:The poet recalls an incident when "a far gone girl" comes waddling onto the scene. The month is June; the place, a mountain stream; and the time, when "there was no dark yet between us." Shoeless, the pregnant woman steps into the stream, "your skirt drawn up thighs / white as the growing mists." Years later, he treasures the image: "you waddle with that quick weight / of the beginning, deliberate as the earth's dim intentions / you keep bearing it like glory." [40 lines]
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.
The scene is a medical office where "a white sleeved woman wraps a rubber / sleeve around your arm, steps back, listens, / whistles." Wow! The pressure must be amazingly high. The author imagines the blood pressure's power--"a tide of electrons," a "lightning snake, a "black rain." The patient sits on the cold table. How vibrant his interior chaos is compared to his quiet external appearance! He says the ordinary things--he'll lose weight, he won't complain--but behind his eyes is a flash of turbulence. [30 lines]
The armless woman appears "on some cold suburban corner." She holds a pen between her teeth, she types with her toes, and she is competent and straight. Why do you fear her? Why do you follow her? Why do you ask her to give back the magic of your own arms and elbows? [21 lines]
Summary:The poet looks through a one-way window into a room where a speech therapist is working with his father, who has had a stroke. The father doesn't seem to be doing well with re-learning language, until suddenly he begins to sing an old hymn, "Jesus loves me, this I know, / For the Bible tells me so . . . " [23 lines]
Summary:In this simple 21 line poem, the writer speaks to her uterus, which has served her well throughout life, "patient / as a sock." Now, they want to cut it out. Where, the writer asks, where can I go without you? And "where can you go / without me"?
Some interesting and very odd characters (including a few scientists and researchers) inhabit the eleven short stories in this collection. In "Concerning Mold Upon the Skin, Etc.," Anton van Leeuwenhoek creates his first microscope and becomes so absorbed by the invisible worlds revealed to him that he neglects his own family. "Nowhere" is the tale of an old anatomy professor who aspires to spice up the curriculum by obtaining a corpse for his students to study. "Tumbling" recounts the difficult life of a young woman understandably haunted by the possibility that she may inherit Huntington’s chorea from her father and her inspired liberation of over one thousand laboratory mice.
In "Chloroform Jags," a professional midwife self-experiments with chloroform "not to escape time but to dissolve time." Other stories describe the execution of an elephant; the murder of a physician who happens to be an important figure in the French Revolution; a woman with a talent for insomnia who has not slept for six months; a psychoanalyst and his patient; an eighteenth century blind beekeeper; and Dorothea Dix, an early advocate for the humane treatment of the mentally ill.
In her Introduction to this posthumous collection, the poet’s daughter writes, "If I had to identify a single distinguishing figure of his imaginative world . . . it would be his preoccupation with the human task of sustaining the intensity of experience against a backdrop of desensitizing forces and death." These 25 poems range across Bruce Ruddick’s lifetime of sensitive responding to those desensitizing forces. Some spring from the pen of Ruddick as a young Canadian poet; others from the life experience of an aging psychoanalyst. All share the discipline, imagery, and economy of line that characterizes them as the work of a fine poet.
In "#25"(p. 10) Ruddick adopts the voice of a medical student who categorizes and quantifies the life of his cadaver. But the patient needs more than this. Indeed, the patient needs "a physician’s ear." ("The Patient," p. 11) Ruddick demonstrates such a sensitive ear in poems like "Ache" (p. 13)," Rehabilitation" (p. 39), and "Fever" (p. 41). And he also puts his "grouchy" heart on the table for all to see in "When the Dog Leaped"(p. 33) and "Spring" (p. 17).
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 this complex poetry collection (divided into three sections, "Body," "Home," and "World"), the author moves from the specifics of the individual diseased or dying body to the more universal realm of suffering and politics. Not so much a poet of narratives as a conjurer of images, Levin writes from changing points of view: first as a man, then as a woman; as a surgeon, then a patient.
Poet Louise Glück's introduction states that the book's power "derives from ambiguity: the raised scalpel-healing that looks like assault," and Levin's raw imagery is indeed both challenging and celebratory. In the opening poem, "Lenin's Bath," we watch with Dr. Sergei Debov as Lenin's corpse is tenderly submerged in a vat of embalming fluid. Debov imagines the germs that crawl along the cadaver "seeking a way in."
In the next poem, "Eyeless Baby," the reader becomes a caregiver searching a deformed infant's face that is nothing but a single nostril and a cleft palate. In "Bathhouse, 1980," we see (as the blind baby cannot) through a young homosexual man's eyes both the human longing for passion and the viral "scourge" that, again, seeks entrance. The angels that gather in the bathhouse's corner become nurses ("The Nurse") who swarm like moths over a hospitalized patient's body.
This interweaving of place and point of view continues throughout, creating a magical, disturbing world in which a reader can be both body ("The Baby on the Table") and healer ("In the Surgical Theatre"). Other powerful poems include "Personal History," "The Beautiful Names" (in which a young boy learns to name the sexual organs and so discovers their beauty), and "Witness."