Showing 221 - 230 of 521 annotations tagged with the keyword "Hospitalization"
Summary:As editor Judy Schaefer writes in her introduction, this collection provides "the rare opportunity to read both the poem and the poet's commentary." It is somewhat like a good poetry reading, where we get to hear about the events, thoughts, feelings and contexts that have stimulated the poem. Often the writer's commentaries have a richness of their own, complementing the poetry but not necessary to it. Also the commentaries describe some of the writing process the nurse poets go through in creating the poem. The fourteen nurse poets in this volume have all published their work in journals and anthologies, but this is the first collection to include commentaries along with the poems.
An adolescent boy enters a hospital for crippled children. His initiation into institutional life is painful. At first he wants nothing more than isolation and protection from patients he regards as "freaks." But as alliances form and the subtleties of ward life become clearer, he learns new methods of self-identification that have more to do with the peculiar structures of this confined world than with the world outside. Home becomes an increasingly remote reference point and the camaraderie of suffering in exile the dominant source of affirmation.
The story is a coming of age tale intensified by burdens beyond what adolescence is normally required to bear. A boy becomes not only a man, but in some sense an old man before his time, and returns to youth "outside" both scarred and gifted with what suffering has taught him, and with a new sense of who are his "brothers and sisters."
Something is wrong with Billie Weinstein's older sister, Cassie, now in her first year at Cornell. She has given away all her clothes except an old sweatsuit and blue jeans. She studies obsessively, convinced she's failing despite a stellar academic record. She rescues food and paper products from the garbage, unable to bear seeing anything wasted. And she's losing weight dramatically.
Even though their father is a doctor, it takes the family several months to recognize and acknowledge all the classic symptoms of anorexia and get Cassie to a psychiatric hospital. In the meantime Billie, still in high school, divides her energies between worrying about her sister, coping with an overbearing father, and finding her way in a relationship confused by sexual pressures and ethnic differences.
Her best friend's large, close, messy, jovial Italian family offers her a refuge from her own much less expressive one, but she discovers they have their own stresses, mostly financial, which drive them suddenly out of town in a moment of crisis. So it's a year of loss, transition, and rapid maturing for Billie, who finds, when her sister comes home with an uncertain prognosis, that she can no longer be the "baby," but has assumed a new, more responsible place in the family system and a new authority over her own life, defined in terms that have less to do with her sister, and more with her own desires and purposes.
This unusual collection of contemporary art features full color prints of what might be termed comic doctor archetypes. Entitled by specialty, paintings feature doctors in a variety of incongruous settings that constitute fantastic anachronistic commentary on the situation of the doctor relative to different social groups or social expectations.
"The Internist," for instance, is represented as a modern female doctor in a medieval setting, commenting ironically on the various institutional pressures that come to bear upon women in the medical profession and expectations of the internist in particular. "The Pathologist" is featured getting his comeuppance as the doctor who usually has "the last word" in a confrontation with the figure of death--a skeleton straddling a Jungian snake among a horde of rats on the office floor. Each of the paintings is accompanied on the opposite page by a brief, but informative and insightful commentary by Spence.
This fine collection of short memoirs and stories by doctors offers a variety of narratives about memorable moments in medical education and practice that raise and explore practical and ethical issues in medicine. An explicit aim of the editors was to focus on some of the rewards in medical life as well as the struggles it entails--those often being inseparable.
Starting with a section on medicine and poetry which includes memories of William Carlos Williams by two of his well-known students, Robert Coles and John Stone, and a reflection on illness in poetry by Rafael Campo, the collection is then divided into two major sections: "Grand Perspectives" and "Intimate Experiences." The former includes narratives that show the development of practices, conflicts, or learning over time spent in hospitals and clinics, observing the careers of elders in the profession or the parade of patients whose expectations and needs stretch the physician's creative resources. Several, including Perri Klass and David Hilfiker write about particular patients whose cases became personal landmarks.
In the latter section, stories focus on single cases or incidents in the lives of doctors, some humorous, some tragic, some bemusing, all attesting to the chronic ambiguities of the work of healing and to the very human tensions that arise in institutions that both enable and inhibit the compassion all good doctors want to exercise.
This three-part collection of poems offers powerful images and vignettes from the life of a family practitioner living and working among the urban poor. The first section is the most explicitly medical in theme, including poems that pay painful tribute to a mother after stillbirth, a hydrocephalic child, an addict covered with boils, a young man murdered at eighteen, an old man with a failing heart.
The second section weaves images from the writer's personal story together with those from his life as physician, and the third focuses primarily on life lived as a gay man among the sick and dying, patients to be treated and friends to be mourned while life remains to be claimed and savored.
Despite the pain and grief attested to in many of the poems, a lively voice of clarity, compassion, and consent to the goodness of life even on hard terms gives the collection a defining note of celebration. Pereira's lines about a bereaved Cambodian seamstress suggest something true about his own work: ". . . she joins the circle / of other Khmer women to sew. / Punctuating the fabric / with yellow thread, finding her remnants / into a piece that will hold." ("What is Lost")
This collection by a physician-poet covers a wide spectrum in topic and tone. The poems in the first of the four sections speak in voices of those waiting surgical outcomes, those whose loved ones are about to undergo invasive and dangerous procedures, those who are coming to terms (partly clinical terms) with death. The poems in the second section focus more explicitly on Jewish experience, and on experiences of suffering that take place in the wider context of biblical tradition and recent history.
The third section features lighter-hearted poems, many rhymed, that make playful reference to moments in domestic life and relationship which, while not free of suffering and anxiety, are also the stuff of laughter. The fourth focuses on love--erotic, romantic, familial--and death, which includes the ordinary losses that living through time entails. Elegiac, wistful, musing, and poignant, they end the collection in a complex, sustained key that holds an elegant tension between sorrow and hope.
Summary:Neely Tucker, a white journalist from Mississippi on assignment to Zimbabwe, and his wife, Vita, an African American from Detroit, volunteer to spend time with orphaned and abandoned children, many victims of the desperation caused by AIDS. In the orphanage, where a distressing number of children die due to lack of medicines or basic materials, or lack of adequate staff training, they come upon and find themselves deeply drawn to a particularly tiny, sick, vulnerable baby, abandoned in the desert. The director of the orphanage picks a name for her as she does for the other orphans: Chipo.
Summary:Ellison uses the trope of invisibility in this novel that traces the Invisible Man’s journey from idealism to a grim realism about the racism that confronts him every step of his way. Every episode ends with the Invisible Man’s escape from near disaster, brought about by his naiveté and the virulent racism in which he must function. By novel’s end, the hero is living clandestinely in the basement of a large building, burning hundreds of lights at the expense of the electric company, and planning for an eventual re-emergence.
South African lawyer and leading member of the ANC (African National Congress) during the tumultuous 70s and 80s, lost an arm, sight in one eye, and suffered hearing loss and diminished use of his legs when the bomb planted in his car exploded on April 7, 1988. This book chronicles the accident, his long recovery in a hospital and rehabilitation unit, and the process of re-entering life and politics after such a harrowing experience.
Sachs connects his personal recovery with the emergence of an apartheid-free South Africa and tells his individual story within the context of political struggle. The 2000 edition includes a forward by Desmond Tutu, an introduction by Nancy Scheper-Hughes, and a new epilogue by Sachs.