Showing 221 - 230 of 358 annotations tagged with the keyword "Abandonment"
At thirteen, Clair's mother has died, her father has withdrawn, and she suddenly stops speaking. Uncertain what to do with or for her, her father, a pastor, opts for complete change and follows his own dream, leaving an upscale suburban parish for a remote one among the rural poor in the northern Michigan woods. Furious, Clair strikes a deal with him that if she doesn't like it in six months, they'll return.
In the course of that time, while her father builds new kinds of relationships and trust among the local people, Clair discovers and becomes friends with a girl her age who lives mostly alone in a makeshift shelter, avoiding the attentions of her laissez-faire chain-smoking grandmother and, more importantly, her violent father who is temporarily in prison and therefore unable to hurt her.
From this girl, Dorrie, Clair learns a great deal about survival, both physical and psychological, and ultimately, surprised by an emergency into the necessity, learns to speak again. As the six months draw to a close, she finds her sisterly bond with Dorrie, whom her father has invited to live with them, and a growing appreciation of the natural setting and local people have made her not only willing, but eager to stay and make a new life where she is.
When Ben Nowak reached the age of fifty, his primary care physician for the past fifteen years, Dr. Ellen Parrish, began performing annual digital rectal examinations on him. Ben is still embarrassed by the female physician checking his prostate gland. He finds the younger Dr. Parrish attractive and available. She divorced her husband because the man was abusive.
Dr. Parrish's office receptionist happens to be the wife of Ben's friend, Jerry, who works at a landfill and brings home cases of expired beer. Once, Jerry found a dead newborn baby in the landfill. Dr. Parrish informs Ben that his prostate has gotten larger. The tests she orders come back "inconclusive" so additional tests are done. Ben concedes that he might have prostate cancer, but rationalizes that things could be "a hundred times worse" (29).
When his second set of test results are normal, Ben grasps that it is likely a temporary reprieve; he is only fine "until the next time" (34). He drives to the site of an illegal dump. The trunk of his car contains ten cases of expired beer (courtesy of Jerry). At the dump, he proceeds to drink one bottle of beer from each case and smashes the other twenty-three.
Professor Sandra Bertman founded the Medical Humanities Program at the University of Massachusetts Medical Center and holds certificates in grief counseling and death education. This handbook outlines how she uses the visual and literary arts to "improve our professional abilities to deal with death and dying." Her premise is that the arts provide a valuable vehicle for exploring and making bearable the prospect and fact of death.
Bertman illustrates her presentation technique (Chapter 2) of juxtaposing dual images around six central themes, here abbreviated: the chosen death; death and afterlife; existential aloneness; loss of control, unmentionable feelings, grief; the land of the sick vs. the land of the well; the moment of death. The book offers dozens of paintings, sketches, and photographs (reproduced in black and white), as well as many literary excerpts. Classic works are represented (David's painting, The Death of Socrates; Michelangelo's sculpture, "Pieta"; Tolstoy's novel, The Death of Ivan Ilyich) but there are many unusual representations as well--greeting card messages, epitaphs, cartoons.
In addition, some groups with whom she works (for example, medical students studying Gross Anatomy) have submitted their own drawings and commentary. These are shown in Chapter 3, along with written responses to a follow-up Death Attitude Questionnaire. Responses are from junior and senior high school students; college students; medical students; graduate nurses; hospice volunteers.
Chapter 4 gives suggestions for how to use images and texts and for how to approach discussions of loss and grief. The course syllabus for "Dissection, Dying, and Death," taught with Gross Anatomy, is appended, and there is an extensive bibliography.
According to the Soviet version, in 1921 Russian scholars discovered the manuscript of a "lost" play by Chekhov among his papers in a safety deposit box in a bank in Moscow. In reality, the play wasn’t lost at all. During the turmoil of the Revolution in 1918, Maria Chekhov, Anton’s sister, had placed in the safety deposit box papers and manuscripts that she considered particularly valuable.
Subsequently, she was unable to travel to Moscow from her home in Yalta until 1921, because of the continuing Civil War in southern Russia. By the time she did return to Moscow, the Communists had "liberated" her brother’s safety deposit box and made their amazing discovery. The title page of the manuscript was missing, so scholars named the play "Platonov" after its major protagonist.
"Platonov" is a huge wreck of a play with numerous characters and subplots that would require about six hours to perform. It is obviously Chekhov’s earliest known play. The majority belief is that it was written between 1880 and 1882, during his first or second year of medical school. Most critics stress its many dramatic faults. However, as Michael Frayn points out in his introduction to "Wild Honey," the play is more remarkable for its strengths than its weaknesses, especially considering that a 21 or 22-year-old medical student wrote it. By carefully pruning the underbrush, Frayn has created a clearly Chekhovian comedy that takes perhaps two and a half hours to perform.
The story takes place in a provincial country estate (so what else is new?), where the widowed landowner returns for the summer after spending the winter months in Moscow. All the local friends and hangers-on gather to greet her, including among others two elderly suitors, the district doctor, and Platonov (the schoolteacher) and his wife. The widow wants to have an affair with Platonov--in fact, three women, one of them married, vie for Platonov’s attention; while Platonov, for the most part, tries to remain faithful to his wife.
The first scene of the second act is a classic comedy of errors. It takes place at night in the forest, just outside Platonov’s house where his wife is sleeping. Anna Petrovna, the landowner, appears out of the darkness and wants to spirit Platonov off to the summerhouse to make hay. But various other characters, some of them drunk and some sober, keep interrupting this rendezvous. One of them is Sofya, married to Platonov’s best friend, who wants to run away with him. The comings and goings in this scene are hilarious--reminiscent of one of Shakespeare’s comedies in which each character misinterprets what every other character says or does.
The play ends, though, on a dark note, or at least a sobering note. Platonov’s wife has left him due to these misunderstandings, and each of the three other women is closing in for the (metaphorical) kill. He decides to run away, and the play ends as he is running down the tracks distractedly, not paying any attention to the train that overtakes him from behind and kills him. This is not a tragic death; it’s funny, but also very sad. Platonov is, after all, a good man, even though weakness and indecision led to his downfall and meaningless death.
As Bertman says in her introduction, this book "is meant to refuel therapists, counselors, social workers, physicians, nurses, clergy and all others who are committed to providing support to those in grief." While the caregivers' focus is on those in grief, they also have to give some attention to their own bodies, minds and spirits. This collection of essays, poems and stories, illustrated with drawings and photographs, examines grief from several perspectives.
The opening section looks at professional roles in experiencing and understanding suffering and empathy. Section two provides several descriptions of how caregivers use the arts for themselves and for those they companion. Section three is devoted to lessons from old and new cultures. The final section explores basic needs of grieving people.
After the overthrow of the tyrannical Nicolae Ceaucescu in December, 1989, the world became aware of the horrendous conditions in which so many Romanian children were living. Thousands of handicapped and able-bodied children were living in squalid "orphanages" and thousands more, numbering at least 20,000, were living on the streets. A combination of crushing poverty and disastrous state policies regarding contraception and child care contributed to one of the worst tragedies of modern Europe.
This documentary film focuses on the lives of a group of children living in a Bucharest underground station, the oldest in her late teens, the youngest barely past toddlerhood. The camera captures how these children live, and the ways in which they care for each other and for themselves as they endure violence and abuse, huff paint fumes from paper bags, and try to survive.
Summary:Steve James, director of the film, Hoop Dreams, spent four years filming the life of Stevie Fielding, a young man with a long and disturbing history of physical abuse, sexual abuse, learning difficulties and abandonment. The film is a reunion of sorts, chronicling how the director and Stevie get to know one another and each other's families after years have passed. Since they first met, Stevie seems to have turned from a troubled kid into a violent, cynical, debilitated young man and during the course of the film, Stevie is brought to trial for perpetrating child abuse. When the director Steve James was at Southern Illinois University, he was in the Big Brother-Little Brother programme: Stevie Fielding was his Little Brother.
The front cover of this collection shows the outline of Africa completely filled with the names of patients ("Tyra Lynette Deja Nya Rovert Marqui Fatima Terry Alexia Michon Ty . . . ") On the last page, poem #120 consists of an outline of the United States of America, also completely filled with the names of patients, also African. The poems in this collection constitute a journey through these Dark Continents, both of which lie within.
Kelley Jean White stakes out her territory very clearly: "I suppose I embarrassed you / at all those mainline / plastic surgery parties / talking Quaker and poor and idealism" (3). There are no elegant parties, nor plastic surgeons, after page 3. Instead, persons like Shawanda live here: "At seventeen, Shawanda has never spoken. / Her brother easily carries her frail body / into the exam room--37 pounds" (36). And the nine year old girl who delivers her baby by C-section: "The nurses said it was the worst thing / they’d ever seen . . . She took her to her grandmother’s home / to raise. / The man did time / for assault." ("Freedom," 55)
But the poet hasn’t lost hope at all. She is filled with love and humor and imagination: "I dream I’m marrying this guy I used to work with who spent a lot of money on his hair" (73). "I musta been looking pretty down / when I left you today . . . " because the legless man pulling his wheelchair to his favorite begging spot said, "love, you gotta be always looking up . . . I just smiled and looked at / my too big shoe feet" (118).
Summary:This collection by the Canadian physician-poet Kirsten Emmott includes poems on a wide range of medical topics, focusing on the physician's personal and professional growth, and the patient's experience as seen through the physician's eyes. Many of the poems deal with pregnancy, childbirth, and women's health issues. (104 pages)
In this narrative poem, the narrator enters his doctor's waiting room only to find that the room is full of "mostly old / dying women," and the doctor is not in. So the narrator decides to go to the racetrack, where he finds the doctor "standing there with / a hot dog and a beer."
The doctor explains that his practice is depressing; for example, "there's one / old woman, she's got / cancer of the ass." The doctor gives his patient a good tip on the next race. The narrator reveals that he, too, has cancer of the ass. The doctor gets them both another hot dog and beer and starts "talking / about what / a horrible woman / his wife was." [103 lines]