Showing 21 - 30 of 69 annotations tagged with the keyword "Law and Medicine"
This anthology culls 1,500 excerpts from approximately 600 works of literature primarily written in the past two centuries and representing all major genres--the novel, drama, poetry, and essay. These brief selections highlight how literature portrays the medical profession and also provide ample evidence of many recurrent themes about the doctor-patient relationship and the personal lives of physicians present in the pages of fiction.
The book is organized into eleven chapters devoted to the following subjects: the doctor's fee, time, bedside manner, the medical history and physical examination, communication and truth, treatment, detachment, resentment of the medical profession, hospital rounds, social status, and the doctor in court. Many well-known authors including Anton P. Chekhov, Sir Arthur Conan Doyle, Ernest Hemingway, Thomas Mann, W. (William) Somerset Maugham, Leo Tolstoy, Tennessee Williams, and William Carlos Williams are featured in this anthology but less notable writers are also introduced. A twenty-three-page bibliography of primary and secondary sources is a useful element of the book.
Summary:Vicki Forman's twins, Evan and Ellie, were born in 2000 at twenty-three weeks' gestation. Fetuses could legally be aborted up to twenty-four weeks, but rules regulating treatment of extremely premature babies differed from one hospital to another. Daughter of a doctor, Forman knew how slim were the chances of survival and how great the chances of serious disability if either of the twins did survive. Grieving, but realistic, she and her husband asked for a DNR order, but learned that such orders did not strictly apply to the situation of children like their twins. Instead, the line between the parents' authority and the doctors' remained blurry and decision-making vexed not only by technical and emotional complications, but by conflicting legal guidelines as they made their way through many months of hospitalization and home treatment of their surviving son.
Baiev’s chronicle of medical life in wartime is full of incident—tragic, touching, and repeatedly traumatic: his own life was threatened repeatedly by Russians who suspected him and Chechens who resented him for treating Russians. Members of his extended family were killed and his father’s home was destroyed. He straddled other boundaries: trained in Russia, he fully appreciated how modern medicine may bring relief not available even in the hands of the most respected traditional healers, but he mentions traditional ways with the reverence of a good son of devout Muslims. His perspective is both thoughtfully nationalistic and international.
Finally coming to the States where he couldn’t at first practice the medicine he had honed to exceptional versatility under fire, he lives with a mix of gratitude for the privilege of safety and a longing for the people he served, whose suffering was his daily work for years that might for most of us have seemed nearly unlivable. Before writing the book, he struggled with his own post-traumatic stress, and continues to testify to the futility of force as a way of settling disputes. Medicine is his diplomacy as well as his gift to his own people, and the Hippocratic Oath a commitment that sustained him in the midst of ethical complexities unlike any one would be likely to face in peacetime practice.
Summary:This collection of stories offers a sidelong view of medicine from the perspective of a thoughtful, experienced doctor of internal medicine at a teaching institution (UCSF) in an urban setting that brings a wide variety of types of patients to his door. In a context of evident respect and admiration for even the quirkiest of them, Watts admits to the kinds of personal responses most have been trained to hide-laughter, anger, bewilderment, frustration, empathetic sorrow. The cases he recounts include several whose inexplicabilities ultimately require action based as much on intuition as on science. He includes several stories of illness among his own family and friends, and makes it clear in others how his professional decisions affect his home life and his own state of mind.
Summary:This book chronicles a tortured parenthood during the birth and brief life of a severely brain-damaged female infant, Silvie. Doctors predict that the child will live only a few days but instead she survives for seven months. The story is told in first person by the mother, beginning with her arduous labor during a home delivery in the presence of an experienced midwife and the family physician. The baby does not cry when she is born and turns blue even with oxygen that the doctor administers. An ambulance is summoned; "a bigger, better oxygen machine" restores the baby's color and she is brought to a hospital neonatal intensive care unit where she is artificially ventilated and fed.
Three childhood friends, now adult neighbors who have drifted apart, are brought together through the brutal murder of Jimmy's 19-year-old daughter. Sean Penn plays the grieving father; Kevin Bacon plays Sean, the plainclothes cop on the case; and Tim Robbins is Dave, a man deeply troubled following his childhood abduction and sexual abuse by two strange men. It's an important part of this film that the action takes place in a tough white working-class neighborhood north of Boston in a culture that seems to have no place for emotional problems like Dave's.
This leaves Dave alone with his agonies, feeling alienated from himself and living a kind of Jekyll-and-Hyde existence driven by a love-hate relationship with pederasty. One night he kills a child abuser, and then tells contradictory stories to explain the bloodstains he returns home with. Through a tragic misunderstanding, these things are connected with the death of Jimmy's daughter, and Jimmy turns violent and takes justice into his own hands. Shortly after, Sean finds the true killers, who confess.
In this film based on a true story, Ramón Sampedro (Javier Barden), a young fisherman from the northwest coast of Spain, is injured in a diving accident that leaves him paralyzed from the neck down and completely dependent for his care on his older brother and his sister-in-law, who make numerous sacrifices in order to care for him. Twenty-seven years later, in his 50's, Ramón is weary of his life, which he feels is without dignity, and he tries to get legal permission to end it.
His brother is adamantly opposed to euthanasia, but Ramón is comforted and aided in his quest by two women who are drawn into his circle. Julia (Bélen Rueda), a lawyer suffering from a degenerative disease, begins to design a legal case for Ramón but soon falls in love with him (although she seems happily married), and he with her. In a particularly moving scene, Ramón-who of course cannot move--tells Julia that her smell is the beginning of his erotic fantasies about her.
Julia helps him edit and publish a book of his poetry, but then, having agreed to a joint suicide, she mysteriously backs out. Rosa (Lola Dueñas), a young single mother who works in a fish-packing factory and who has had a hard life, also falls in love with Ramón. For some time she tries to change his mind, arguing that his example has inspired her and saved her from a life of despair. Ramón challenges her: "The person who truly loves me will be the one who helps me [commit suicide]."
When Ramón's legal appeal (for the same rights the nondisabled have to end their lives) is lost on a technicality, he seems to have nowhere to turn, but Rosa, converted by her love for Ramón, finally agrees to help him die. He achieves his goal in a videotaped end in which he argues that what he is doing is his right and that no others should be blamed or prosecuted for it, sips poison through a straw, and dies.
This video is the film of the staged one-woman play written and acted by white South African Pamela Gien. The play begins in 1963, in a white suburb of Johannesburg, in the fenced yard of the Grace family and their black servants. Gien starts as six-year-old Lizzie Grace. Gien then fluidly shifts roles to enact twenty-eight different characters from newborn to age eighty-two, black and white, male and female--who talk, gesture, sing and dance in this tour-de-force performance.
The set contains only a large, plain swing; even the berry-bearing syringa tree to which the swing is attached is left to the imagination. Gien’s costume is similarly muted--she is barefoot and wears a beige jumper over a simple tee shirt. A sound system provides music of ethnically diverse origins at appropriate moments.
The play opens with Gien swinging and talking in a girlish voice and using exaggerated childlike gestures. Lizzie exclaims that she is "a very lucky fish": she proceeds to explain to the audience the meaning of her favorable white nailbed spots. Lizzie is, by self-definition, a "hyperactive," outspoken child with great imagination and energy. She is cared for by Salamina, a loving nanny and servant.
Lizzie’s father is Dr. Isaac Grace, who delivers Salamina’s baby in the home. The child, Moliseng, "has no papers" and is harbored illegally by the Grace family--a constant source of worry for all, including Lizzie. Isaac is a Jewish atheist, and Lizzie’s mother, Eugenie, is Catholic and of English descent. Their neighbors, however, are bigoted Afrikaners and create great tension for the Grace household. "Don’t ever make this place your home," advises Dr. Gien to his daughter after dealing with racist clients who do not want to be in the same examining room after a black patient.
Lizzie’s liberal, generous grandfather is brutally murdered by a Rhodesian freedom fighter shortly after the resolution of another crisis: Moliseng, suffering from malnutrition, is missing from the overcrowded hospital. The play then fast forwards through Lizzie’s college years, when Moliseng, at age fourteen, is murdered in youth riots. Lizzie leaves for America, land of the (she pounds her chest) "free and brave." She returns years later, with her infant son named for her grandfather, to visit her father, her demented mother, and, above all, her beloved Salamina.
This book, designed to accompany an exhibition "on the frequently Excessive & flamboyant Seller of Nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements & other Graphic arts over the last five centuries," displays and comments on 183 illustrations associated with the art of quackery. As the title suggests, Helfand surveys the graphic material of quackery of England, France, and America during the modern period, although most of the material dates from the eighteenth and nineteenth centuries. In his introduction, Helfand discusses the uncertain boundaries between "regular" (now termed allopathic) physicians and their "irregular" or "empiric" counterparts--quacks.
Through the mid-nineteenth century, many practitioners of both sorts relied on pharmaceutical agents like mercury, antimony, and opium; developed trade symbols and packaging; and flaunted the honorific "Dr." and their affiliation with science. Many patients visited both regulars and irregulars, who might consult with each other. Some physicians even prescribed quacks' proprietary preparations. Helfand also notes differences, such as irregulars' lack of medical training, exaggerated advertising, refusal to disclose the contents of their products, and use of entertainment and sometimes even religion in their "medicine shows."
Paul Edgecombe (Tom Hanks) is in charge of death row in a 1935 Louisiana penitentiary. The cell block is nicknamed "The Green Mile?due to its green linoleum floor--the path that an inmate must walk from his cell to the room with the electric chair. Paul, a decent, moral man, treats each prisoner with respect. His life changes, however, with the admission of John Coffey (Michael Clarke Duncan), a huge African-American man convicted of the rape and murder of two young sisters. Despite his powerful build, Coffey is gentle--and possesses a miraculous, mysterious power to heal.
Coffey heals Paul's bladder infection, resurrects a dead mouse, Mr. Jingles, that is the treasure of another inmate, "Del,?and cures the warden's wife of her inoperable brain cancer. Each healing requires direct contact between Coffey and the "patient,?and is accompanied by much electric and mystical effects. Coffey takes the infection, brokenness, disease into his body and is able to expel it, though it exhausts him.
Coffey's powers extend to visions and he directly feels the pain of others. He transmits his visions of the death of the two girls to Paul--who realizes that Coffey is innocent (indeed he had been trying to "heal?the children when he was apprehended) and that another inmate on the green mile is guilty of the crime. Paul, counseled by his supportive wife (Bonnie Hunt), asks Coffey what to do. Coffey, exhausted from suffering the knowledge of the evil of the world and cognizant of his lowly position as a poor black man, asks to have the execution proceed. His only request is to watch a "flicker show.?Paul arranges for him to see a Fred Astaire movie.
The executions are graphically depicted. One is particularly gruesome because of the evilness of the whiny, rookie guard, Percy, who deliberately causes a prisoner (Del) to suffer in the extreme. After giving the orders for Coffey's execution and watching him die, Paul quits his job.
The story is framed by Paul as an old man in a nursing home. Paul "tells?his story to another elderly "inmate?as an explanation for why he was overcome when watching the Fred Astaire movie in the common room. Paul reveals that he is far older than thought possible--as is Mr. Jingles who is still alive six decades later. Paul and the mouse were "infected with life?when touched by Coffey.