Showing 201 - 210 of 234 annotations tagged with the keyword "Nursing"
Registered Nurse, Muriel Murch decided, at mid-life, to return to college to obtain her BSN (Bachelor of Science in Nursing). She relates this odyssey through a series of generous and quirky letters written to her mother, her children, her husband, and, most strikingly, her deceased Uncle Harold, whose memory serves as Murch's spiritual touchstone.
The book works on two levels. Her struggles as an older woman and already-experienced nurse in a BSN program are delightfully detailed in letters to friends, but to Uncle Harold she reveals the turbulence of her quest: how at mid-life she must rethink her role as wife and mother and view patient care from a new perspective.
The 18 poems in this chapbook (26 pages) focus on caring relationships, especially between nurse and patient. In "Standing There" the poet admits that "our history isn't an album of healers." There is little to be triumphant about in the world of nursing and medicine: "Our story is how we did not break / and run--no matter how close / the lightning gouged." In "Blue Lace Socks" she evokes a nurse beside the bed of a dying child, "listening for the whisper of her blood pressure."
"Butterfly," a poem about caring for young men with AIDS, is characterized by honesty and sensitivity: "They cough as I enter their room, / and something in me stiffens." Yet, the nurse is able to close the gap between herself and the patients and demonstrate her care: "they are migrating back to the cocoon, / the place where brown masks / protect the unbeautiful." Some of the other poems deal just as sensitively with the explosive topics of childhood sexual abuse ("Taste of Tin") and rape ("This Red Oozing"). Blue Lace Socks", Butterfly, and This Red Oozing have been annotated in this database.
Summary:A nurse works at the bed of a child who is an accident victim: "She is not yet dead." Even though they are about to transport the child by helicopter, there is no question that she will die. The poet brings the reader into the immediacy of the moment in which she is listening to "the whisper of her blood pressure" and the "Thump. Thump. Thump. Thump." of the helicopter's blades. There is no way, though, to reach the child: " . . . I want to put / my arms around her, / tell her we are all terribly sorry for this . . . . "
Summary:The nurse reflects on the men in the room with "B" for "blood hazard" on their door. They are too weak to make love, but they still take care of one another: "as they press cool cloths to foreheads, / pass tissues for sticky green phlegm." Being only human, when she enters their room and they cough, she confesses that "something inside me stiffens." Yet she sees them as "half a butterfly on gray cement . . . . " She cares and she wants them to know that she cares, these men who "are migrating back to the cocoon, / the place where brown masks / protect the unbeautiful.
This anthology presents a selection of poems from the hundreds that have appeared in the Journal of the American Medical Association. The poets are physicians, nurses, patients, technicians, lay caregivers, and family members; their poems "display the many ways people have of perceiving, conceiving, and coming to terms with what unsettles us." A sampling of titles hints at the variety of topics--occasionally humorous and often startling--that are examined in this slim volume: "Tinnitus," "Dear Left Knee," "Thoughts of a Nurse Returning to the Base Camp at Cu Chi," "Lovesickness: a Medieval Text," "Since the Accident," "Body Language: 5 East, NIH."
As Joanne Trautmann Banks indicates in the Foreword of this fine anthology, "when we are sick, very sick, it is often the nurse who is closest to our bodies, minds, and souls." This experience of closeness to suffering is well-reflected in the poetry and prose of the 49 nurses whose work is collected here. While these writings vary widely in form and style, they focus almost exclusively on the nursing interaction; they are nurses' stories of patients and nurses' reflections on nursing. Two major themes pervade the book. One is the powerlessness of nurses in the face of illness and suffering. The other is their tough, unsentimental devotion to their patients and the profession.
Of the poetry, particularly fine pieces include: "Raiment" (Carol Brendsel); "Daffodil Days" (Celia Brown); Butterfly (Jeanne Bryner; see this database); "What the Nurse Likes" and The Body Flute (Cortney Davis); "Hospital Parking Garage" (Jeanne LeVasseur); and "Euthanasia" (Belle Waring). Among the excellent prose pieces are "Nighthawks" (Carolyn Barbier), a tale in the voice of a ventilator-dependent woman who has elected to discontinue treatment and die; "While His Life Went on Around Him" (Angela Kennedy); "Wisteria" (Leslie Nyman); "Where Are You Now, Ella Wade?" (Joyce Renwick); and "Bev Brown" (Sybil Smith).
The film opens with a short series of images of hospitals, dead bodies, landscapes, a hand impaled by a nail, and a bespectacled young boy lying uncomfortably under a thin sheet. (The shot of an erect penis was removed for distribution outside Scandinavia.) A young nurse (Bibi Andersson) is assigned to look after a great actress, Elizabeth (Liv Ullman), who had been playing Electra to critical success. Elizabeth is completely mute, but the psychiatrists cannot detect any discrete pathology and have no diagnosis.
At first the nurse worries that the case may be too complicated for her, because of the difference in age and experience. The pair are sent to the doctor's summer cottage by the sea. The actress remains silent, but her nurse chatters endlessly, trying to draw out the patient. Eventually, in a complete reversal of psychotherapeutic roles, she is compulsively confiding her fears and intimate secrets of sexual adventures.
To her horror, she reads a letter written by Elizabeth to the psychiatrist that describes the confessions as nothing more than amusing diversions. She is angered and deliberately tries to harm Elizabeth. Then she delivers a stern accounting for her patient's silence, as a rejection of her femininity, her marriage, and especially of her son. This scene is portrayed twice--once with the camera on the nurse; once with the camera on the patient. The irritated husband comes for his wife, they return to the city, where Elizabeth's future is ambiguous. But at the completion of their relationship the nurse has grown in wisdom and confidence.
At Christmas, 1913, the two Rappard boys and their grandmother (May Robson) bring a cake to the Brussels nursing home where the English matron, Edith Cavell (Anna Neagle), is caring for their dying mother and many small children. The prayer is for peace, but in a few short months war has spread over Europe and the oldest boy is sent to fight.
He is taken prisoner, but escapes to the nursing home because he hears that Germans are shooting prisoners. Cavell, with a network of friends including the boys' grandmother, the barge-owner Mme Moulin (ZaSu Pitts), and a dignified Countess (Edna May Oliver) help him and two hundred other wounded young men to escape into Holland and France.
By August 1915, Cavell and her friends are betrayed by a German spy and put on trial. Despite international pleas for her release or detention, she is shot at dawn on 12 October 1915. Linking nursing to religion, the priest who attends her final hours tells her, "it is God's will," while the hymn, "Abide With Me," sung in the final scene of her 1919 memorial service at Westminster Abbey, reminds viewers that she had been "help of the helpless."
This is a collection of poems based on Robert Service’s experience as a Red Cross ambulance driver in France during World War I. The book begins with the patriotic call to war: "High and low, all must go: / Hark to the shout of War!" Some of the volunteers never come back (e.g. "The Fool," "Our Hero," and "My Mate"). Others are severely wounded (e.g. "The Convalescent" and "Wounded").
Many of the narrators express their love of home, family, and especially their fellow soldiers (e.g. "The Man From Athabaska," "Carry On," and "Bill the Bomber"). Only a small number of these poems evoke specifically Red Cross work. One of these is "The Odyssey of ’Erbert ’Iggins," in which two medics carry the wounded from the battlefield. Another is "The Stretcher Bearer," in which the narrator is unable to clean a blood stain from his stretcher and wonders, "if in ’Eaven’s height, / Our God don’t turn away ’Is Face."
Throughout the collection there is evidence of ambivalence toward the individual German soldier. In some moments he is "Only a Boche" (or Hun) who has killed the soldier’s buddies, but in other moments the narrators reflect that their opponents are also ordinary men, sons and fathers, who love their families.
This history of western medicine in the nineteenth century chronicles the lives of some men and women who were innovators in the field of medicine. Williams begins the book in the 1700s with the life of John Hunter and his influence on nineteenth century medical practice and research.
The book consists of 16 chapters, many of which, like the one on Hunter are biographic. For example, Williams writes of the contributions, education, and lives of Florence Nightingale, Hugh Owen Thomas (orthopedics), Marie Curie, Joseph Lister, Ignaz Semmelweis (maternal health), Patrick Manson (tropical medicine), Jean-Martin Charcot, and William Conrad Röntgen. Other chapters are more theme-oriented, such as body-snatchers, discovery of anesthesia, homeopathic medicine, blood transfusion, and medical use of spas.
Black and white illustrations, such as Mrs. Röntgen's hand in an X-ray photograph help the reader to appreciate the advances in medical knowledge in the nineteenth century.