Showing 211 - 220 of 261 annotations tagged with the keyword "Infectious Disease"
Bruno Kamenar is a pale and thin ten year old boy who lives with his stepmother and younger brother in Croatia in 1948. His father, Pero, has just returned home after serving in the Yugoslav Federal Army. With the constant threat of a Soviet invasion serving as a backdrop, Bruno is plagued by frequent nightmares as well as a cough. He finds solace both in drawing and in the company of the family cow.
Sadly, Bruno contracts tuberculosis from the cow's fresh milk. At first he is unable to be treated because the government rejects an offer of free streptomycin from the Swiss. It is only after Pero publicly criticizes his country's refusal of medical aid and becomes a political prisoner that UNICEF physicians arrive at Bruno's home and treat him with streptomycin and PAS.
He recovers and his father is released from prison. As he watches the family cow and its pen incinerated, Bruno is filled with horror and relief by the death of an animal that once provided food and comfort but almost killed him.
Summary:This sketch is teeming with images: in what appears to be a science lab, two researchers stand in the background, surrounded by gray lab equipment; one peers into a microscope. In the bottom of the frame a horse and cow flank three sheep. At the center stands a muscular baby, loosely draped in a white cloth and held up by a nurse in a white apron and cap. To his left stands a rather grim looking doctor, who holds the baby's arm with one hand and injects a vaccine with the other.
This novel is the fictionalized account of author Thomas Moran's real-life experience as a patient with disseminated chicken pox. During his five months in hospital, much of that time on a ventilator, Moran experienced "coma visions" and near death which he retells here through his alter ego, James Blatchely, a man who struggles to remain emotionally alive in spite of the virus's physical assault. Blatchely does this by observing, befriending, and then fantasizing a life for his two Irish nurses--Brigit who, he discovers, uses drugs to endure the pain she witnesses daily in Intensive Care, and Nuala, with whom he falls in love.
Through the depiction of Blatchely's erratic, inching descent toward death, readers gain visceral insight into a patient's encounter with critical illness--but the real heroes of this book are the nurses. We observe them through Blatchely's eyes, and they are the force that enables him to survive, if not in body, at least in mind. This beautifully written novel creates a world in which both patients and caregivers are fully human, bound together by their shared experience of the patient's illness and by the life the imagination enjoys when the body cannot.
An American physician's life is irrevocably bisected by World War I. Before volunteering for medical duty in the war, Dr. William Lloyd's existence was structured, safe, and even obedient. After his experience supervising a hospital in France, his life becomes uninhibited, tumultuous, and eventually dangerous.
After the war ends and he returns home, Dr. Lloyd soon divorces his wife and leaves his family. He returns to Europe with the sole purpose of being reunited with Jeanne Prie, a bewitching and extraordinary nurse he worked with in France. She is also a dedicated microbiologist and possesses some of the characteristics of Joan of Arc. Dr. Lloyd has become infatuated with her. Ironically, he dies a victim of scientific research after inoculating himself with an experimental serum that he hoped might be a successful vaccine.
Jacob Hansen is sheriff, undertaker, and pastor in the little Wisconsin town of friendship. A Civil War veteran like many of the men in his town, he has seen many faces of death and knows how to balance compassion, prayer, and practicality in the presence of grief. When he recognizes a diphtheria epidemic as one after another the people of Friendship fall ill and die, he has to shoulder responsibility for protecting public health.
This means imposing and enforcing quarantine, extending even to the encampment of religious revivalists at the edge of town who mostly keep their distance and their own ways. Jacob's equanimity falters when his wife and baby daughter succumb; he keeps them alive in his mind and unburied for days, unable to acknowledge his own loss, though he helps others through theirs.
Finally he forces a passing railroad engineer to transport the survivors across the quarantine border into a neighboring town for safety, but the train is sabotaged, wrecked, and the fugitives killed. Jacob survives almost alone to return to what is now a ghost town and cope with the grim fate of survival.
Amidst the desolate pampas of Argentina, two nameless fugitives serendipitously meet and fall deeply in love. The woman, an orphan, is running from her tragic past and sheltered life. The man, a gaucho, is fleeing from the seven vengeful brothers of a man he killed during a fight.
Although both are emotionally wounded and isolated, they become joined by the simple act of cleaning and dressing the deep laceration of the gaucho’s arm. When they discover the ecstasy and contentment of love, their passion is abruptly and violently challenged by the gaucho’s injured arm which becomes infected with tetanus.
The woman faithfully cares for her suffering lover who silently endures the fever, severe muscle spasms, and wasting of tetanus before succumbing to the painful death of lockjaw. Ironically his face is paralyzed with a twisted smile due to the persistent muscle contractions.
The brothers of the man whom the gaucho had killed arrive too late to exact their revenge so they set fire to the couple’s farmhouse and burn it to the ground. The woman places a handful of her lover’s burning ashes in her mouth thus preserving his remains and uniting his spirit with hers forever.
This is a collection of partly fictional, partly autobiographical stories about a young Russian doctor sent to practice at a rural hospital immediately after graduating from medical school. Muryovo hospital serves the peasantry in a remote region lacking decent roads and amenities like electricity. The doctor works day and night, aided by a feldsher and two midwives. Sometimes he sees over 100 patients a day in his clinic while attending to another 40 in the hospital.
The stories reveal in a clear, engaging style the doctor's anxiety as daily he encounters new problems (his first amputation, his first breech presentation, his first dental extraction) and-- for the most part--overcomes them. They also reveal a constant tension between the peasants' ignorance and the doctor's instructions. Full of blizzards and isolation, the stories are also warm and companionable, with vignettes of friendship, gratitude, and nobility.
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: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.
Editors Angela Belli, professor of English at St. John’s University in New York, and Jack Coulehan, physician-poet and director of the Institute for Medicine in Contemporary Society at the State University of New York at Stony Brook, have selected 100 poems by 32 contemporary physician-poets for this succinct yet meaty anthology. The book is subdivided into four sections, each of which is prefaced by an informative description and highlights of the poems to follow.
Section headings take their names from excerpts of the poems contained therein. There are poems that describe individuals--patients, family members ("from patient one to next"), poems that consider the interface between personal and professional life ("a different picture of me"), poems that "celebrate the learning process" ("in ways that help them see"), and poems in which the poet’s medical training is brought to bear on larger societal issues ("this was the music of our lives").
Several of the poems have been annotated in this database: Abse’s Pathology of Colours (9); Campo’s Towards Curing AIDS (13) and What the Body Told (94); Coulehan’s Anatomy Lesson (97), I’m Gonna Slap Those Doctors (21), The Dynamizer and the Oscilloclast: in memory of Albert Abrams, an American quack (129); Moolten’s Motorcycle Ward (105); Mukand’s Lullaby (33); Stone’s Talking to the Family (79) and Gaudeamus Igitur (109).
Other wonderful poems by these authors are also included in the anthology, e.g. Her Final Show by Rafael Campo, in which the physician tends to a dying drag queen, finally "pronouncing her to no applause" (11); "Lovesickness: a Medieval Text" by Jack Coulehan, wherein the ultimate prescription for this malady is to "prescribe sexual relations, / following which a cure will usually occur" (131); "Madame Butterfly" by David N. Moolten, in which the passengers in a trolley car are jolted out of their cocoons by a deranged screaming woman (142).
Space prohibits descriptions of all 100 poems, but each should be read and savored. Some others are particularly memorable. "Carmelita" by D. A. Feinfeld tells of the physician’s encounter with a feisty tattooed prisoner, who ends up with "a six-inch steel shank" through his chest as the physician labors futiley to save him (23). In "Candor" physician-poet John Graham-Pole struggles with having to tell an eight-year old that he will die from cancer (27). Audrey Shafer writes of a Monday Morning when she makes the transition from the "just-awakened warmth" of her naked little son to tend to the patient whom she will anesthetize "naked under hospital issue / ready to sleep" (72).
In "The Log of Pi" Marc J. Straus muses about being asked "the question / I never knew" that he "pretend[s] not to hear" whose "answer floats on angel’s lips / and is whispered in our ear just once" (113). Richard Donze wants to know why "Vermont Has a Suicide Rate" (132). Vernon Rowe remembers the "hulk of a man" who shriveled away from an abdominal wound and begged, " ’Let me go, Doc,’ / and I did" (44).