Showing 201 - 210 of 629 annotations tagged with the keyword "Survival"
In October, 1939, Josef Kavalier arrives at the New York City apartment of his cousin Sammy Klayman after an arduous escape from Prague and the Nazi invasion. Kavalier’s escape involved hiding in the casket of the oversized Golem of Prague, and was possible due to his training with Bernard Kornblum, one of the premier illusionists in Europe. Kavalier, the son of two physicians, and older brother to young Thomas, struggles to secure the freedom of his family, and to adapt to his adopted country.
His cousin, Sammy, however, is a first generation New York City Jew, the son of a psychiatric nurse at Bellevue and a fly-by-night vaudeville actor called the Mighty Molecule. Sammy was afflicted with polio as a child, with resultant spindly but usable legs--this later prevents his entry into the armed services after the attack on Pearl Harbor.
Sammy, who changes his name to Sam Clay, forms a partnership with his cousin to create a new kind of comic book, The Escapist, with innovations such as the Luna Moth, a female superhero. Much of the book follows their energies in the comic book industry in mid-twentieth century New York.
Rosa Luxemburg Saks, Sammy and Joe form an unusual love triangle. Rosa is an artist who introduces the cousins to the art culture of NYC, including a visit from Salvador Dalí, whom Joe rescues from asphyxiation in a diving suit during a Greenwich Village party. Joe and Rosa’s relationship, however, is interrupted by World War II, when Joe, devastated by news of his family in Europe, enlists, only to survive again--this time from carbon monoxide poisoning in an Antarctic Kelvinator Naval station.
Meanwhile Sam and Rosa marry to raise her son. Sam, a homosexual at a time when such a designation was largely viewed as a disease and as Un-American, spends much of his life in denial of his yearnings. Nonetheless he is eventually forced to testify to a Senate Judiciary Committee in 1954 on the role of the comic book industry in the trumpeting of male-male relationships.
Summary:The foreground of Painting features a man dressed in a black suit and holding an umbrella. His face, hoary and grotesque, is obscured above his moustache by the shadow of an umbrella. A yellow flower attached to the lapel of the man's jacket stands out clearly against the black of his clothing, and is the only yellow used in the painting.
Summary:Sarah and Peter Bedford are sailing with their parents off the coast of Indonesia when the tsunami strikes. As they attempt to escape, their father breaks his leg. Their mother insists the children run ahead, so they do, up the hills into the jungle. Sarah later finds her mother, dead, on the beach, but not her father. Peter is soon running a fever and Sarah embarks on an arduous overland journey to try to get him help. At the same time Ruslan, an Indonesian boy, has taken his own escape route out of his village, and is looking for his father, along with many who are searching for missing relatives. Ruslan and Sarah recognize one another when their paths cross, as he had waited on her family on an earlier stop in his village. Together, with a few other refugees, they make their way to another village where Peter may be able to receive help in a makeshift hospital. Ruslan is threatened by an additional danger, since his family are partisans in a local conflict, and he is suspected of activity on behalf of the rebels.
Summary:The author dedicates this collection to "my brother Andy, in memory." Indeed, the second half of the book (Part II) contains 22 poems that concern the brother's suicide at age 47. Although two poems in Part I are in memory of recently deceased poet-friends, most of Part I handles a variety of experiences, memories, and reflections, all written with self-deprecating humor. There is "My Worst Job Interview"; a poem about a writing class in which the instructor repeatedly announced to the class that Harrison was "hopeless" ("Fork"); a riff on being one of those "who know something about the world / but not a whole lot" ("Incomplete Knowledge"); a poem about a disastrous breakfast with a friend who is said to have Asperger's syndrome ("Breakfast with Dan"); and in a more serious vein, "My Personal Tornado," in which Harrison presciently speculates about "the maelstrom" that is bound to hit him, just as all lives undergo "this beast of wind that sucks you into / the updraft of its hungry funnel."
Summary:After living with various foster families, nine-year-old Gabe is taken to live with his aging Uncle Vernon in West Virginia. The relationship with his mother's gruff and distant older brother, a Vietnam vet, is distant at first, but warms up over time. But after his first day in 6th grade, Gabe comes home to find his uncle dead on the floor.
Dr. Pauline Chen is a transplant surgeon and hence highly trained in the surgical care of desperately ill patients. She found, however, that although she had intensive and first rate training, time and again the message she received from her mentors and peers encouraged a distance from frank discussions about dying with patients who were clearly dying. Dr. Chen successfully suppressed her urges to reflect on the meaning of illness and death. Years into her training, she finally witnessed an attending surgeon stay with a patient and the patient's wife until the patient passed away. The widow sent a thank you note to Dr. Chen for allowing a "dignified and peaceful death." (p. 101) Chen notes that observing her attending stand with the patient during death changed her profoundly: "...from that moment on, I would believe that I could do something more than cure. This narrative, then, is my acknowledgment to him." (p. 101)
Final Exam chronicles Chen's journey from medical student to attending surgeon and examines her experiences with death and serious illness - of patients, family members, friends. The memoir contains three parts: Principles, Practice, and Reappraisal - each with three chapters. The book is chronologically arranged, beginning with anatomy dissection at the start of medical school and ending with Chen as an attending arranging for hospice, thus honoring a patient's desire to die at home rather than in hospital. Chen skillfully weaves her stories around commentary on the social, cultural and philosophical issues surrounding death and the medical response to death. An introduction and epilogue bookend the text and 46 pages of extensive notes and bibliography complete the book.
Although Chen claims to have slowly and painfully awakened to the fact that patient needs extend well beyond good technical care, in fact one sees Chen emerge as a caring physician even from her initial patient contacts in medical school. Chen speaks more to her role as an Asian-American than to being a woman in a male-dominated field, but she clearly has what it takes to succeed in this extremely competitive field, including a good dose of compulsiveness and an incredible work ethic.
An already depressed second year medical student, Deborah, finds herself even more confused about the meaning of life after her aunt sustains a head injury and is in critical condition. Auntie Jenny’s convertible car collides with a utility pole and the impact ejects the woman (who was not wearing a seatbelt) onto the concrete road where she smacks her head. Five days later, Jenny remains in a vegetative state and connected to a ventilator. Deborah’s mother and Auntie Sal keep vigil over their unresponsive younger sister.
Deborah has been slacking – missing classes, sleeping a lot, and uninterested in most activities she formerly enjoyed. Previously she has suffered from insomnia and has fifteen barbiturate sleeping pills remaining. She questions the medical librarian as to how the drug works and the physiologic effects of an overdose. In the seventh grade, Deborah was hospitalized and out of school for one month with unexplained abdominal pain. In retrospect, her mother now admits that Deborah was likely suffering from depression as a child but no diagnosis was made and no treatment provided.
Jenny’s medical status remains unchanged. Deborah’s mother gives her an ultimatum: “You’ve got to make up your mind. The living or the dead” [p 119]. Deborah envies Jenny. No more worries about finding answers to important questions. Survival itself seems to be out of her control. Jenny’s fate rests in the hands of her close relatives who confer with the doctor about whether to continue artificial life support or “pull the plug.”
The book opens with a thought "exercise": thirteen short essays, each in a different national voice and beginning "We, the people of a nation . . . " The honest, intelligent "speakers" love their countries and traditions; however, they try to express the ugly truths about their homelands as challenges for the future.
For example, American smugness over its know-how and wealth combines with American failure to recognize the resentment sparked elsewhere by these same attributes. Similarly, the mutual intolerance of Canada's linguistic and religious duality is portrayed as a grotesque irony. The U.S.S.R. has exchanged an old tyranny for a new; Japan must face the issue of controlling its population, if it is to control its impulse to aggression.
Chisholm then returns to his role as a socially committed psychiatrist who hopes to avert a war that could annihilate the human species. World aggression, he writes, is caused by the "anxiety" that emerges from intolerance typifying narrow parental guidance and even narrower systems of education and religion. People must learn to be comfortable with differences in population, race, language, and wealth. The message is simple: "anxiety" leads to "aggression." The book ends with a ideal curriculum for "world citizenship," surprisingly different from any currently in use.
Sultana, a doctor who escaped her illiterate nomadic background to study and work in France, returns to her native Algeria when she hears of the death of her former lover and fellow physician, Yacine. She is treated with hostility, but defiantly stays in Yacine’s place at the clinic. Vincent, a Frenchman who is the baffled recipient of a perfectly matched kidney from a young Algerian woman, travels to the desert to explore the culture of this unknown person whose death has brought him back to life.
Sultana and Vincent meet through their common friendship with the furtive, questioning children, Dalila and Alilou. Vincent and Salah, Yasmine’s best friend, both fall in love with Sultana, but she seems indifferent to them. The violence and suspicion of the town leaders causes her to regress into anorexia and mutism, during which she is tormented by the horrible memory of the loss of her parents. Her three male friends and the village women help her to recover a sense of self worth, but she must flee when the leaders set fire to their dwellings. A glimmer of optimism can be found in the aspirations of the children and the solidarity of the women.