Showing 201 - 210 of 258 annotations tagged with the keyword "Illness Narrative/Pathography"
Two scholars found and translated a personal narrative of a blind 22 year old, Thérèse-Adèle Husson, written in 1825 to the director of the Quinze-Vingts Hospital, an institution that provided permanent lodging and support for the blind in France. Husson hoped to be placed there. Subtitled "Reflections on the Physical and Moral Condition of the Blind," Husson writes about the gait, demeanor, table manners, touch, hearing, character, perceptions of the sun, moon, flowers, furniture and cloth, marriage considerations, and concludes with an education plan for the blind.
After "Reflections" Husson wrote 10 novels, including Story of a Pious Heiress; the editors have included this novel’s introduction, "Note on the Author’s Youth," which gives further autobiographical details. These two writings of Husson are framed by a thoughtful introduction by editors Weygard and Kudlick about the historical conditions of the blind in early 19th Century France, and an equally interesting and provocative concluding chapter about the manuscript, life, and world of Husson.
Born breech and deprived of oxygen for two hours, Irish poet and writer Christopher Nolan was diagnosed with cerebral palsy and is unable to speak and virtually unable to move voluntarily. His book, subtitled "The Life Story of Christopher Nolan," is narrated as a third person account of the life of "Joseph Meehan." The memoir opens with Meehan's winning the British Spastics' Society Literary Award for his first book of poetry, Dam-Burst of Dreams (1988) and ends with his last day at Trinity College, having turned down the invitation to continue his studies there towards a degree.
In the mixture of linear, traditional life narrative and lyrical, neologistic description that falls in between, the memoir addresses Meehan's birth, early life, education, and growing acclaim as a poet and writer. It recounts how his family and teachers helped develop a combination of medication, tools (a "unicorn-stick" attached to his forehead), and assistance that allowed him to type.
It details, above all, how various family, friends, and health and education professionals advocated Meehan's special-school and mainstream education and made available to him such normative life experiences as riding a pony, boating, fishing, skipping school with his mates, and going on school trips without his parents--and such unusual life experiences as becoming an award-winning writer.
Ruth Picardie was a journalist working in London. Shortly after her marriage in 1994 to Matt Seaton, also a journalist, she found a breast lump. After testing, she was told it was benign. Two years later, and a year after giving birth to twins, the lump enlarged and this time she was diagnosed with advanced, inoperable breast cancer. She rapidly developed bone, liver, and brain metastases and died in September 1997, aged 33.
This book consists of a selection of Picardie's e-mail correspondence during the last year of her life, the columns she wrote for the Observer newspaper (a series about dying she called "Before I say goodbye"), readers' letters responding to her column, and an introduction and epilogue by her husband. While not, then, strictly a memoir, this collection of texts constitutes an intimate view of a witty, angry young woman undergoing an intolerable illness.
The expected elements are there: diagnosis, chemotherapy, radiation, hope, the loss of hope. What is unexpected is the way these are presented, and the vividness with which we share the prospect of saying good bye to her children, her gradual detachment from her husband, and, as the brain metastases spread, the loss of coherence and the appalling silencing of her powerful voice.
Summary:Carol White (Julianne Moore), an upper-middle-class Los Angeles housewife, is stricken with a mysterious illness that her doctor cannot diagnose or explain. He believes her illness to be psychosomatic, but Carol, through contact with a support group, realizes she has "environmental illness," an immune disorder that causes her to physically overreact to common chemicals, fumes, and environmental pollutants. The film follows her journey to a clinic in New Mexico in search of relief from her increasingly debilitating symptoms.
Spencer Nadler, a surgical pathologist for over 25 years in southern California, offers 8 essays, as well as an introduction, epilogue and 9 full color histopathology plates in this collection. As he explains in the introduction, Nadler began his training in surgery, but, during a required year of surgical pathology, he finds his true vocation: "I realized a flair for surgical pathology that I had never demonstrated in surgery." (p. xix) However, over the years, he realizes he misses patient contact--these essays, written over 10 years, are forays into an unusual relationship: the pathologist-patient relationship.
Each essay is about a different patient (or other contact) and tissue. One of the most compelling is the first, "Working Through the Images," in which a woman (Hanna Baylan) with metastatic breast cancer seeks Nadler out so that she may view her cancer cells. She arrives in his office unannounced at 6 p.m. and he proceeds to not only show her the slides, but to listen to her. He becomes a witness to her pain, loneliness, sorrow and hope.
"For years I have processed thousands of such cases, determined the manifold forms of disease, but I've never been an intimate part of anyone's illness, never felt the connections of cells to a larger self." (p. 12) During later visits, Baylan cries in his arms and even brings her youngest son in to meet Nadler and view her cells. By this time, Nadler is completely connected to her: "This is heartrending to me, for I have come to love her . . . I can no longer think of Hanna in terms of the cells I see on her slides." (p. 21)
Other chapters highlight fat and bariatric surgery; neurologic disorders such as brain tumor, Parkinson's, Alzheimer's and paraplegia; heart disease; sickle cell disease; and palliative care. Each chapter conveys Nadler's visual sophistication and ability to graphically describe cells. For instance, within a fat cell "a large fat globule steamrolls other cell contents flat against the outer membrane until it bulges like a mozzarella." (p. 32) More importantly, Nadler ably extends his cellular acuity to the larger human dimension.
Nan Shin was an American woman living as a Zen Buddhist nun in France. She is diagnosed with advanced uterine cancer, undergoes surgery and chemotherapy and, by the end of the book, it appears, is dying. Her account does not, however, take the conventional form of the illness narrative; in fact its form might be called anti-narrative, for its focus is not on the story of Shin's illness and dying, but rather on the "every day living" that is at the center of her Zen beliefs.
The book consists of several strands that recur in alternating sections. One strand describes, in minute detail, the course of a single day's devotions and activities in the life of a Zen nun. Another traces the author's travels in the United States with her sensei, an astonishing man whose perspective on American culture is both detached and hilariously insightful.
A third tells of the author's frequent horseback rides through the French countryside, with beautifully focused and precise descriptions of the natural surroundings. Finally, there is the illness, presented matter-of-factly but conveying powerfully the author's (not always wholly successful) efforts to put into practice, in such trying circumstances, all she has learnt as a practitioner of Zen.
The editor, herself a writer and one who has suffered depressive episodes, collects a series of personal essays or illness narratives about experiences with depression. Her contributors are all artists, primarily writers, who generally but not exclusively speak to the relationship between their art and their mood disorders. Some of the essays included have been previously published, but most are original contributions to this collection. The collection is introduced by Kay Redfield Jamison whose academic work has examined the relationship between creativity and depression, including manic-depressive disease.
Kirklin, a physician and Lecturer in Medical Humanities at the Royal Free and University College Medical School, and Richardson, a historian and associate at the Wellcome Trust Centre for the History of Medicine, are both educators in medical humanities in London. This well-written and concise volume focuses on "the role of the humanities in medical education" and is aimed at "those wishing to integrate medical humanities into their own teaching, and learning." (p. xv) The chapters are written by a variety of educators with a wide range of backgrounds, including artist, medical student, writer, nurse, surgeon and philosopher.
At least two stimuli are cited as reasons for the development of this book: (1) the 1993 publication by the General Medical Council of Tomorrow's Doctors which recommends the inclusion of medical humanities in the required curriculum for undergraduate medical education in the UK and (2) a national conference, "The healing arts: The role of the humanities in medical education" in London, March, 2000. The rationale for such a book is delineated in several prefatory statements including remarks by Professors Sir David Weatherall and Sir K. George M. M. Alberti (Alberti is the president of the Royal College of Physicians). The book concludes with recommendations for further reading, schemata for undergraduate and graduate degrees in medical humanities at University of Wales, Swansea, and an index.
The nine chapters in this volume combine pedagogic philosophy, citations for literature and art and how to encourage reflection about these selections, tools for encouraging student creativity, reproductions of art and literature generated by students or patients or used by teachers for discussion, and some practical advice about teaching medical humanities and its, at times, uneasy connection to the rest of the curriculum. Each chapter reflects the individual contributor's area of expertise and experience. For example, in "Fostering the creativity of medical students", the authors Heather Allan, Michele Petrone (who painted the striking cover art), and Deborah Kirklin provide useful guides for teaching creative writing and art production by students studying cancer and genetic disease.
In a particularly insightful chapter, "Medical humanities for postgraduates: an integrated approach and its implications for teaching," Martyn Evans describes the challenges of developing a full-fledged interdisciplinary program for graduate as well as undergraduate studies in Wales. He addresses concerns about "bolt-on" versus integration of medical humanities in the curriculum, risks of superficiality, and how such studies may transform the culture of modern medicine. Several chapters address a theme (such as "clinical detachment" or understanding the patient's perspective) and include topic-specific sources and guidelines.
Through a compilation of journal entries, prose, and poetry, poet and activist Audre Lorde considers her breast cancer and mastectomy. Lorde emphasizes the importance of having a support network of other women. As a lesbian and feminist, she also offers a different perspective on this surgery. Her concern is not attracting or pleasing men despite the loss of a breast.
In one chapter, "Breast Cancer: Power vs. Prosthesis," Lorde considers the political implications of prosthetic breasts, arguing that hiding women’s pain and suffering disguises the widespread nature of the disease and places too much emphasis on "normal" femininity. She also writes about plastic surgeons who perform dangerous reconstructive surgery in the name of "quality of life."
These fourteen sonnets interweave themselves to form a unified work, just as lines are repeated or echoed to interweave in the individual poems, providing an account of the author’s experience of breast cancer, radical mastectomy, and recovery. The medical details appear more prominently in the early sonnets, but gradually, other themes take precedence: suffering and how to compare relative degrees of suffering among individuals and groups; the reaction of oneself and one’s lovers to a disfigured body; and the search for affirmation, for a reason to want to live and be rid of the horror of disease and death.