Showing 211 - 220 of 375 annotations tagged with the keyword "Trauma"
Two men who are not very fond of one another and opposites in almost every way are brought together by their affection for the same woman. Isabel is the 30-year-old wife of Maurice Pervin and the longtime friend of Bertie Reid. While fighting in Flanders during World War I, Maurice is blinded and sustains a disfiguring facial scar. He also has episodes of major depression. Maurice and Isabel have become socially isolated since his injury. Although their first child died in infancy, Isabel is pregnant again and due to deliver soon.
Bertie, a bachelor and barrister, pays a visit. The three of them enjoy dinner together. Afterwards, Maurice becomes restless and leaves the house. When Bertie goes out to check on him, he finds Maurice in the barn. The blind man asks Bertie for permission to touch him. With one hand, Maurice examines Bertie's skull, face, and arm.
He then asks Bertie to touch his useless eyes and awful scar. Without warning, Maurice places his hand on top of Bertie's fingers, which still rest upon the maimed face. The experience is a revelation for both men. Maurice suddenly understands the splendor of friendship while Bertie realizes how much he fears intimacy.
Looking back on his first year of medical practice in an out-of-the-way section of Russia, a 25 year old physician reflects on how much he has changed both personally and professionally. He lists the year's accomplishments: performing a tracheostomy, successful intubations, amputations, many obstetrical deliveries, and setting several fractures and dislocations. With pride, the doctor calculates he has seen 15,613 patients in his first twelve months of practice.
He recalls some poignant moments. A pregnant woman has a baby while lying in the grass near a stream. The doctor pulls a soldier's carious tooth but is horrified when a piece of bone is attached to it. During a delivery, he inadvertently fractures a baby's arm and the infant is born dead.
Basking in his year's worth of experience and newfound clinical confidence, the physician quickly comprehends the limits of his knowledge on the first day of his second year in practice when a mother brings her baby to the doctor. The infant's left eye appears to be missing. In its place sits an egg-like nodule. Unsure of the diagnosis and worried about the possibility of a tumor, the physician recommends cutting the nodule out. The mother refuses. One week later she returns with her child whose left eye is now normal in appearance. The doctor deduces that the boy had an abscess of the eyelid that had spontaneously ruptured.
The narrator is an inexperienced and overworked doctor in a remote region of Russia. Although accustomed to seeing as many as a hundred or more patients in a day, a blizzard brings him unexpected relief. Only two patients show up in the clinic. He welcomes the prospect of a leisurely day but soon receives a summons for help from a physician in a nearby district.
A bride-to-be has fallen out of a sleigh and is unconscious. The narrator travels more than 2 hours to lend his help, but she is already dying. He later realizes the young woman had a fracture at the base of the skull. Ignoring advice to stay the night, the doctor insists on returning home. Four hours after departing in a sleigh, the doctor and driver are lost and trapped in the snow. With great effort, the two men free the sleigh and horses from the drifts.
As their journey resumes, wolves chase the sleigh until the doctor fires his pistol. Finally, he sees the lights of his hospital in the distance. Once safe in his house, the doctor picks up a manual containing information about skull fractures but decides instead to go to sleep.
A stray bull has been grazing on Mrs. May's farm for several days. She is outraged that her tenant/farmhand, Mr. Greenleaf, hasn't chased the bull away; and her outrage only grows stronger when she learns that the bull belongs to the tenant's sons, who have settled not far away with their French wives and bilingual children.
Mrs. May is a widow lady whose two sons, both in their mid-30s, live on the farm with her, but have no interest in farming. One sells life insurance to black folks; the other is an intellectual. Mrs. May thinks she knows how to "handle" Mr. Greenleaf; she has employed him for 15 years despite his stupidity and shiftlessness. His wife is a religious fanatic and faith healer. His twin sons, unlike Mrs. May's, went away to the war in Europe, rose in the ranks, came home with European wives, and now each had a piece of good land and three children in a convent school. They also have a bull that escaped, but they evidently don't it want back.
Mrs. May becomes more and more obsessed with the bull that is eating her out of house and home. Finally, she demands that Mr. Greenleaf shoot it and insists on accompanying him to make sure the deed is done. When the bull escapes to the woods, Greenleaf follows it. Shortly thereafter, it comes charging out of the wood directly toward Mrs. May. Mr. Greenleaf finally shoots the bull just after it has gored Mrs. May in the chest and killed her.
Miracle McCloy received her name because, as she's been told many times, she was pulled from the body of her mother shortly after her mother was run over and killed by a bus. Raised largely by her grandmother with her depressed and dysfunctional father nearby, she has learned a great deal about séances, contacting the dead, reading auras, and paying attention to energy fields. But she doesn't know much about how to locate her own confused feelings about her parents, her identity, and her relationships with "normal" kids at school who see her has some kind of freak.
She perpetuates this image by casting "spells" to help fellow students connect with boyfriends. But after her father disappears, and her grandfather's house is destroyed in a tornado, she lapses into mental illness and burns herself badly trying to "melt" as she believes her father did by dancing among flaming candles. She is taken to an institution where an astute therapist and an aunt who realizes how much Miracle needed her combine their efforts to help her recover a sense of who she is--a dancer, a strongly intuitive, intelligent girl with an interesting history and a promising life to live, liberated from the obsessions of a superstitious grandmother and mentally ill father.
Fifteen selections--short stories, essays, and memoir--make up this collection. Two stories are notable: The Whistlers' Room and Atrium: October 2001 (see annotations). The title story is a translation and retelling of an obscure German tale published 75 years ago. Set in a military hospital in Germany during World War I, four soldiers share a common wound--throat injuries and laryngeal damage necessitating a tracheostomy for each man. This remarkable quartet of patients forges a fellowship of the maimed.
"Atrium: October 2001" describes the random meeting between a physician and a terminally ill teenager in the hospital atrium. The subject of death dominates their discussion. "Parable" chronicles an elderly doctor's efforts to comfort a dying man, and in the process, ease both their suffering.
Excerpts from Selzer's diary reveal much about the character of the author as well as the characters in his life. He also reminisces about growing up in Troy, New York. Approximately one-quarter of the book is devoted to Selzer's musings on works of art (sculpture and painting). Lighter fare includes a discussion of life behind the podium, a description of his home, and a new ending for A Tale of Two Cities by Charles Dickens.
Closed like confessionals, ambulances weave through the city. One of them might come to rest anywhere. When that happens, the onlookers momentarily see "a wild white face that overtops / Red stretcher blankets" as the patient is taken into the ambulance.
Suddenly, just for a moment, they "sense the solving emptiness / That lies just under all we do." The onlookers whisper in distress. But the ambulance moves on, the traffic parts to let it by, and "dulls to distance all we are." [30 lines]
Esther (Marina de Van, who also directed the film) is a young urban professional woman. At a party, she goes out into the dark garden and trips, falling and tearing her trousers. Only several hours later does she realize that she has seriously wounded her leg. This is either the beginning of, or the first evidence of, a radical shift in her relationship with her own body.
The doctor who stitches the wound is surprised that she had not felt injury, and tests her for neurological damage, finding none. She starts cutting at the wound, refusing to let the skin close. Her boyfriend, Vincent (Laurent Lucas) and her friend Sandrine are both concerned and repelled by her behavior. She experiences a kind of separation from her body, and it appears that her mutilation of it is an effort to re-anchor herself in her own flesh.
At an important business dinner with clients, she drinks too much and suddenly experiences her left arm as separate from her body, a severed object that threatens to act on its own. She has to stop her left hand from playing with her food and, holding her arm on her lap, she cuts it as if to make it feel, to use pain to reattach it. To explain away the damage she has done to herself, she has to fake a car accident.
Eventually the compulsion exceeds her ability to control it, and she enters a crescendo of mutilation. She hurts her body with calm, detached interest, cutting her face, attempting to tan a piece of skin she has removed from herself, even eating her own flesh. At the end of the film she is alone, in some kind of new state that is not explained.
A classic heterosexual triangle between an inordinately selfish young rake, O'Byrne (who helps his equally disgusting brother run a pornography book shop in London--thus the title of the short story) and two women: Lucy, a nurse, and Pauline, a nursing trainee. (The "Sister" used to refer to Lucy is a British term for nurse and does not mean she is a religious. See my review of John Patrick's The Hasty Heart, in this database).
O'Bryne has "the clap" (gonorrhea), yet cavalierly, even maliciously, continues his sexual relationships with both women, who do not (at the beginning of the story) know of each other's existence. When they learn of his affliction, his infidelity and his uncaring infliction of "the clap" on them, they begin to wreak a horrid revenge on him in a perversion of their surgical and nursing skills.
David tells the apparently fairly simple story of two young friends feeling their youth, their growing friendship, and their love for the mountainous outdoors of rural Canada. The narrator, unnamed until nearly the end of the poem, falls under the charismatic spell of David, the leader and more experienced climber of the two.
After introducing us to David, the narrator describes a particular climb they had been anticipating for months. During the ascent, the narrator slips. David saves him and then slips and falls himself, landing many feet below on a jagged rock that has broken both his fall and his back, leaving him paralyzed. David asks his friend to push him over the cliff citing paralysis as no way for someone like himself to live, i.e., in a wheelchair. The narrator acquiesces.