Showing 221 - 230 of 372 annotations tagged with the keyword "Trauma"
The narrator of this story, a wounded American soldier, is recuperating from his injury in Milan, Italy. He receives treatments delivered by machines each afternoon at the hospital. His doctor seems overly optimistic. "You are a fortunate young man," he tells the narrator, promising the soldier that his injured knee and leg will recover well enough for him to play football again.
The physician's prognosis for another patient, an Italian major receiving treatment for a shriveled hand, is also dubious. The officer was once a renowned fencer and is now angry and bitter. His invalid condition and the recent death of his young wife from pneumonia have sapped his will. He professes no faith in the machines treating his hand injury and does not believe in bravery.
Injury fosters camaraderie and the narrator socializes with four other young men undergoing treatment at the hospital. The narrator admits his injury was not the result of heroic action but merely an accident. The medals he received were undeserved. Life may be a series of random events but some people have it worse than others. The only certainty in the lives of these characters is the fact that "the war was always there."
For three weeks the narrator has been working as a clerk in the emergency department. His good friend, Georgie, is a hospital orderly. Both men abuse drugs, and Georgie steals them from the hospital. The ER staff includes Nurse (an overweight woman who shakes) and the Family Service doctor (a physician with limited competence who is not well-liked).
At 3:30 A.M., a man named Terrence Weber arrives at the ER. He has a hunting knife stuck deep in his eye. Ironically, his other eye is artificial. Weber's wife apparently tried to blind him because he ogled the woman next door. The doctor immediately decides the situation is beyond his expertise and calls for an ophthalmologist, neurosurgeon, and anesthesiologist.
Meanwhile Georgie is prepping Weber for surgery. The drugged-up orderly, who cannot even tie his shoe at this point, somehow removes the knife by himself. Weber's vision is fine. Later on, the narrator and Georgie get lost while driving around in a pick-up truck without headlights. The truck runs over a jackrabbit on the road. Intent on making rabbit stew, Georgie cuts the animal open with the hunting knife he had earlier removed from Weber's eye. The rabbit is pregnant with eight miniature bunnies inside her.
Georgie decides to save the babies. Unfortunately the narrator forgets about the rabbits and accidentally squashes them to death. At the end of the story the two men encounter a hitchhiker who has gone AWOL from military service. Georgie promises to take him to Canada.
Manlius is a 5th C Roman patrician living in Provence who has studied with the wise, reclusive Sophia. He writes his understanding of her teaching in his essay, 'Dream of Scipio,' which trades on an essay by the great Roman orator, Cicero. Sensing that the Empire is gravely threatened, he makes a pact with barbarians, sells out his neighbors, slays his adopted son, and becomes a bishop of the Christian religion, which he has long despised. Late in this ruthless and doomed attempt to salvage what he values most in his world, Sophia makes it clear that he has misunderstood her teaching.
Olivier is an astonishingly gifted 14th century Provencal poet whose intolerant father tries to stifle his love of letters, among which is Manlius's 'Dream'; his father destroys the manuscript, but Olivier recopies it from memory. As plague advances on their region, Olivier finds a mentor in the high churchman, Ceccani, who is bent on keeping the papacy in Avignon. He plans to destroy Jews as symbolic expiation for plague, widely construed to be a form of divine punishment. Olivier befriends a Jewish scholar and falls in love with his beautiful heretic servant.
The 'Dream' and the imprisonment of his friends lead Olivier to question and then betray his mentor. Either because of his efforts to save them, or for his role in a murder, he is mutilated--his tongue and hands cut off to rob him of speech and writing. The brutal mutilation appears early in the book--it is not fully explained until the end.
Julien is a French historian who has studied the poet, Olivier, and the rendition of Manlius' manuscript. He finds solace in his erudition as his county falls to the Nazi occupation. An old school friend who is a collaborator, gives him work as a censor and tolerates Julien's Jewish lover, the artist Julia. In the end, Julien is forced to choose between saving either another school friend in the Resistance or Julia. He chooses Julia, looses her anyway, and commits suicide in a vain attempt to warn his friend.
Summary:This story of one exceptionally accomplished family's discovery of their past and future relationships with Huntington's Disease (HD) is also the story of how the Wexler family changed the cultural narrative of HD for other families at risk for this genetically-transmitted and currently incurable disease. The HD diagnosis of Leonore Wexler (the author's mother) inspires Milton Wexler, a psychologist, to create a major foundation for HD research, which develops critical mass and influence as Leonore Wexler's condition deteriorates, and after her death. The book interweaves the story of the Wexlers' emotional and other negotiations with HD and the story of their efforts to create an HD community comprised of those with active symptoms of HD, family members, advocates, and researchers.
At a flower sale on Count N.'s estate, the head gardener tells the story of Thomson, a doctor who lived in a certain village and who was such a good man that no one could conceive of wishing him harm. Even the bandits held him in such high esteem that they wouldn't rob him.
One day Thomson was found dead in a ravine. Even though it looked like murder--he was stabbed--the people thought he must have died in a strange accident because no one would be evil enough to kill the doctor. Later, a vagrant was caught trying to sell Thomson's snuffbox. The police found the doctor's bloody shirt under his bed.
Thus, the vagrant was put on trial for the doctor's murder. At the last minute, however, the judge acquitted him because, "I cannot admit the thought that there exists a man who would dare to murder our friend the doctor."
This is a collection of 23 stories, five of which take the form of "letters" in which an older physician (not surprisingly, a surgeon) gives advice to an imaginary young surgeon. However, every one of the stories "fits" as a tale that might be told in such a letter--assuming the author was a wise and gifted writer, in addition to being a surgeon.
The book begins with the gift of a physical diagnosis textbook on the occasion of the young doctor's graduation ("Textbook") and ends with a reflection on "your first autopsy" ("Remains"). Among the other stories are Imelda (see annotation), Brute (see annotation), Toenails (see annotation), Mercy (see annotation), "A Pint of Blood," "Witness," "The Virgin and the Petri Dish," and "Impostor."
The new interns, Roy Basch (Tim Matheson), Chuck (Howard Rollins, Jr.) and Wayne Potts (Michael Sacks), begin their year of internal medicine training in a busy city hospital under construction. After initial introductions led by the vague staff man and vapid chief resident, they become the specific charges of the cynical resident doctor "Fats" (Charles Haid). Fats teaches them attitude and language: how to "buff" (improve) and "turf" (transfer) "gomers" (Get Out of My Emergency Room)--the words used to describe management of incurable, hateful patients who "never die," regardless of the abuse the clumsy housestaff might inflict. But Fats has heart.
Soon, they fall under the command of the militaristic and lonely woman resident, Jo Miller (Lisa Pelikan), who cannot bring herself to withhold treatment, even at a patient's request. She blames underlings for the failings of medicine and nature, as well as herself.
Wayne throws himself from the hospital roof because of a misplaced sense of guilt over a patient's demise. Roy falls in love with the nurse, Molly (Kathryn Dowling), but nearly loses her as he begins to emulate Jo's cold, calculating style. He is "rescued" in the nick of time by his friends, Fats, and the death of a physician patient (Ossie Davis) whom he admires. With recovered equanimity and renewed anger over the suicide of his fellow intern, Roy refuses to go on with his residency.
This book, a sequel to It's Not About the Bike: My Journey Back to Life, chronicles five-time Tour de France winner Lance Armstrong's personal and professional triumphs and agonies from late 1999 (after he won his first Tour and after the birth of his son Luke) to mid-2003, the 100th anniversary of the Tour. Armstrong defines himself by his cancer experience and survival; he devotes himself to both one-on-one connections with fellow cancer patients as well as his public persona to raise awareness and funds for cancer programs and survivors' needs.
There are many medically related themes in the book. Descriptions of cycling sports injuries and illnesses include a severe concussion, a broken cervical vertebra, dehydration, road rash, tendonitis and exhaustion. Armstrong experiences the loss of friends and acquaintances to cancer and trauma. He is the subject of an intense investigation into the possible use of recombinant erythropoietin and finally cleared of suspicion after nearly two years. As a world class athlete, he is subject to frequent, random drug testing.
His wife experiences a failed in vitro fertilization cycle, though a subsequent successful treatment leads to the birth of healthy twin girls. The Red Cross invites Armstrong to visit NYC firefighters soon after the devastation of September 11, 2001 in a successful effort to boost morale. Armstrong, though, describes encounters with some cancer patients in which he felt he did not succeed in providing the desired inspiration.
Despite reaching his five-year cancer-free milestone, Armstrong, like many other cancer survivors, wonders if the cancer will return. He is hyper-vigilant of his body not only because of his elite athlete status, but also because of his cancer history. Nonetheless, he is reckless and jumps from a steep cliff to sense the rush of fear and freedom.
Armstrong trusts and believes in modern medicine and technology, as well as the physicians, nurses and other health care practitioners dedicated to cancer treatments and health care. He also lauds complementary practices, particularly the team chiropractor who uses a variety of techniques to support the riders during the grueling Tour.
This film is based on the true life story of Lucille Teasdale, one of Canada's first female physicians. She received many refusals for positions in Canadian hospitals so she joined an Italian colleague to work in a Catholic mission hospital in Uganda. She and her colleague later married and continued their work at the hospital where they trained nurses and doctors, sheltered refugees, and gradually modernized their facilities. They spent their lives caring for the lost, sick, and dying in a world of poverty, tribal conflict, and civil war.
A daughter was born to them. The child resented her mother's commitment to the patients in the hospital. After being sent to Italy for school, she finally recognized her parents' dedication and became a physician herself, working in Italy and helping to support the hospital. Dr. Lucille contracted AIDS from surgical injuries but continued to work until her death in 1996.
Following a car accident that claims the life of her husband (a well-known European composer) and their only child, Julie de Courcy (Juliette Binoche) must find ways to survive emotionally and make a new life for herself. She determinedly simplifies her life, but several complications arise.
From the beginning, she is subject to occasional mysterious blackouts following bursts of music of the sort that her husband composed. There are also her feelings for an attractive collaborator of her husband’s (Olivier, played by Benoît Régent), who is hoping to complete an important composition her husband had left unfinished. Then, half way through the film she discovers that her husband had had a mistress for several years before his death and that the mistress is now pregnant with his child. And of course there is Julie’s grief, which she is trying hard not to show, and which we sense is expressed in her coolness and detachment.
Julie finally comes through these things and emerges from her self-imposed isolation after she makes some fundamental changes in her view of what belongs to her and what belongs to her husband, his mistress, and their child. We finally discover that a hint dropped early in the film is significant, that in fact Julie is the composer of the much-praised works that had been attributed to her husband. In the end, she decides to come out as the composer by finishing the big piece, which will bring her the credit she has long deserved. Having made that decision, she feels free to welcome Olivier’s fine attentions. The house she’d lived in with her husband she gives to her husband’s mistress and her unborn child.