Showing 211 - 220 of 2775 Literature annotations
Summary:Lament is a twenty-two line dirge in free verse with one rhyme, at the end of the poem, which is almost certainly intentional. The poem represents a mother’s terse lament over the death of the father of the two children whom she is addressing. More of a soliloquy than a dialogue, one receives the distinct impression that the children may not even be present as the mother announces matter-of-factly that their father is dead, that they must soldier on, and describes the manner in which she will distribute the coins and keys in his pocket to them. The final couplet succinctly sums up the poem’s sentiment:
Summary:Carol Levine began a roiling odyssey as a caregiver when a car accident left her husband paralyzed and in need of 24-hour care. She regards her husband’s survival as “a testament to one of American medicine's major successes — saving the lives of trauma patients.” But once he returned to their home, Levine encountered a healthcare system that was fragmented, chaotic, and inequitable. Unprepared to address chronic care, it remained oblivious to her needs as her husband’s primary medical “provider,” as they would say. Written nine years after the accident and eight years into her care giving, Levine’s essay recounts the stress and isolation she experienced attempting to navigate that system, to perform unrelenting chores, and to sustain her employment. Her job was, after all, the source of her husband’s managed care insurance, which regularly managed to leave Levine with unpaid bills. Even her work in medical ethics and healthcare policy could not help her locate the assistance she needed to assure the well being of her husband or herself. Or of other care-giving families.
Summary:A nurse-poet well-known for her empathic descriptions of patients, Cortney Davis suddenly found herself in the hospital bed with a life-threatening condition. Although she is a masterful writer, she could not find words to capture what she experienced as a patient. Instead, she started painting her emotions—fear, suffering, and loneliness expressed through color, line, and tone. The first of 12 paintings in this pathography shows her lying naked on a white slab, not literally what happened but expressive of how vulnerable and helpless she felt. Each of the 12 paintings carries an emotional and spiritual truth—often raw and miserable. Davis accompanies each painting with a brief commentary about how and when the painting was done, explaining, for instance, why some of the figures have no facial features. But the vivid paintings speak for themselves, and they add a different way of knowing not available through words.
Summary:This book examines the rise of the obesity epidemic through the perspectives of art, literature, and medicine, particularly in Britain, with brief mention of continental Europe and North America. In the first chapter, the authors set the scene by explaining the medical significance of obesity: namely, how and why obesity leads to illness. The remainder of the book is devoted to discussing historical perceptions of obesity, the history of eating, the history of exercise, and the history of weight loss remedies. Historical perceptions of obesity are addressed from several angles, including the business of “fat folk” circus freaks; the portrayal of obese figures in art, from Paleolithic stone sculpture to seaside post cards to modern film; and the depiction of obese figures in writing, from Chaucer to J. K. Rowling. Throughout the book, the authors are careful to emphasize that obesity is not simply a self-inflicted product of gluttony and sloth, but a condition brought about by many factors, including genetics and social influences. They conclude the book by urging society to take a more aggressive stance against obesity by reminding readers that obesity kills.
Summary:Bursting with Danger and Music reveals Jack Coulehan’s characteristic sensitivity to contradictions, tensions, and creative energy. The book is divided into six sections, thematically held together with such headings as “All Souls’ Day” and “Levitation.” Many of the poems are first person narrations by patients, physicians, and observers of the natural world. Sometimes the patients are near death, as in “Darkness is Gathering Me” and “Slipping Away,” where they observe their own dying without fear but with wonder and even a sense of celebration: “I’m pouring through the pores/ of this room, I’m already/ feeling the jazz and hormones begin” (p. 39). In “The Internship Sonnets,” he experiences the world of the medical intern, often scared and exhausted, who is caught between his subservient duty to the chief of medicine and his own violations of that duty, such as telling the truth to patients. Where is his primary duty? What ought he to do in these conflicting value systems?
Summary:Medicine and Art discusses the evolution of medicine and the changing role of the physician in society as depicted through art. The book is organized in rough chronological order, beginning with a copper statue of Imhotep of Egypt and a vessel featuring Hippocrates of Greece. Artworks depicting Ayurvedic, Tibetan, Persian, Chinese, North American Indian, and African medicine are also included, but the main focus of this book is Western medicine as portrayed in European and American paintings. These paintings take the reader through history, from nuns caring for the sick in the 1300s to quacks attracting gullible customers in the 1600s to the use of the stethoscope and the start of vaccination. The final artwork is a 2001 embroidery piece by Louise Riley depicting the link between patient and medical researcher.
Summary:Performance poet Bao Phi was born in Saigon; his parents emigrated to Minnesota, where he grew up and still lives. His poetry is rooted in Asian American immigrant experience, especially in Vietnamese American experiences, and speaks of racism, economic hardship, cultural difference, and the legacy of the Vietnam war. The collection is divided into four sections, each preceded by a quote from another (usually Asian American) writer. Four introductory poems set the tone for the poet's project of "refugeography" (from "You Bring Out the Vietnamese in Me", p. 9): recognition and celebration of the variety of Asian American lives, and anger at exploitation - both economic and cultural: "They box our geography / And sell it in bougie boutiques / Our culture quite profitable / But can somebody tell me / How our culture can be hip / And yet our people remain invisible?" ("For Us", p. 1)
Summary:In 1847, one of every six women whose babies were delivered by the medical students and supervising doctors at Allgemeine Krankenhaus (General Hospital) in Vienna died of puerperal fever (also known as childbed fever). In contrast, the incidence of this disease in women delivered by hospital midwives was dramatically lower and puerperal fever was quite rare when mothers had their babies born at home.While a few physicians (most notably Alexander Gordon and Oliver Wendell Holmes) realized that childbed fever was a contagious process, it was Semmelweis who identified the nature of the problem as stemming from the failure of obstetricians and medical students to wash their hands and change their clothing, especially after performing autopsies or doing surgery. He mandated that doctors and students wash with a disinfectant (chloride of lime) before examining any woman in labor.Despite the dramatic reduction of maternal mortality on his obstetrical unit, his ideas and methods were not well received. Semmelweis was reluctant to conduct experiments on animals to prove his theory and resisted publishing his findings in any medical journal. When he finally did write a book, The Etiology, the Concept, and the Prophylaxis of Childbed Fever, it was difficult to read and failed to impress many obstetrical experts.With his health failing and his behavior increasingly erratic and inappropriate, Semmelweis was committed to a state-run mental hospital. He died two weeks later. The official cause of death was sepsis secondary to an infection of his finger. The author is convinced, however, based on the autopsy report and findings upon exhumation of the body in 1963, that Semmelweis was beaten to death by the staff at the asylum. He may well have been suffering from Alzheimer's presenile dementia at the time.
Summary:This anthology is a sequel to Pulse: The First Year (2010). Both anthologies are comprised of postings to the website “Pulse: voices from the heart of medicine,” an online publication that sends out short poems and prose pieces every Friday. As the website subtitle suggests, the topics are from the medical world, the writing is personal (not scientific), and the writers give voice to feelings and perceptions from their direct experience as care-givers, patients, or family members of patients. All the pieces are short (typically one to five pages), usually with a tight subject focus. For example, in "Touched," Karen Myers reports how massage has helped her muscular dystrophy.