Showing 251 - 260 of 523 annotations tagged with the keyword "Hospitalization"
Summary:The narrator is visiting a patient in a mental hospital and sits chewing his sandwich. He has also brought a sandwich for the patient (his brother? father? friend?), but the patient just holds his sandwich motionless in front of his mouth. The narrator tries to accept this as ordinary; he keeps chewing. But his "past is sitting in front of" him, trying unsuccessfully "to bring the present to its mouth."
Summary:Pym’s novels depict ordinary life among middle class Englishmen and women with compassion, humor, and irony. The quartet denoted in this title consists of two men and two women in their sixties, the autumn of their lives. These characters hold menial jobs at the same office in London during the nineteen-seventies; two live in rented rooms, and two own their own small houses. Pym’s opening chapter catches them going to the library, because it is free. She clues us in to their personalities by describing their hair: Edwin’s hair is “thin, graying and bald on top”; Norman’s hair is “difficult”, as he is; Letty wears her faded brown hair too long and soft and wispy. Marcia’s hair is “short, stiff, lifeless” and home dyed. (1-2)
Summary:Having remarried after a long and partly happy life with a woman who bore him three sons, novelist Campbell Armstrong lives in rural Ireland with his second wife. He learns that his first wife, who works in Phoenix, has advanced lung cancer and, with his second wife’s blessing, goes to spend time with her and their grown sons. In the course of that trip, he reflects on their life together, their romance, his alcoholism and its effect on their family, their move to the U.S., their losses, and the remarkably enduring affection between them and, surprisingly, between the first wife and the second.
Summary:At seven months, Remy, daughter and second child of Heather and Lon Davis, is hospitalized with a seizure that, after several days of agonizing uncertainty, is traced to a brain tumor. This narrative of her diagnosis and treatment, told by her mother and very much from her mother’s perspective, is not only a chronicle of a medical event, but, perhaps more centrally, of a spiritual awakening in the mother’s life. From a person uncertain about and largely indifferent to prayer, faith, and spirituality, Ms. Davis becomes, over the course of her daughter’s treatment, convinced of the presence of God, the power of prayer, and the availability of grace in precisely those circumstances that threaten life and lifestyle and bring individuals face to face with their deepest fears and deepest needs.
This is the first full-length collection by pediatrician and international health physician Roy Jacobstein. These 40 poems engage a wide range of topics, settings, and tones, but all demonstrate the same fine craftsmanship and strong voice.
Among the most engaging of Jacobstein’s poems are those dealing with memories of childhood and adolescence. Consider, for example: “Mr. Gardner in 10th grade told us there was no purpose / to mitochondria, only function.” (“Atomic Numbers,” p. 5). Or, “What transgression made fat Mr. Handler / drop his towel, his gloves, everything… to chase you from one end / of Fullerton to the other?” (“The Lesson,” p. 30) The poet displays a delightful sense of humor in pieces like “Bypass” (p. 36) and “Squid’s Sex Life Revealed in USA Today” (p. 59). Poems with explicit medical themes include “Pre-Med” (p. 6), “Admissions” (p. 8), and “What It Was” (p.11).
Summary:The 25-year-old narrator returns to his hometown after a five-year absence. He accompanies his 14-year-old cousin to the hospital. The cousin's right ear is damaged, and his hearing is ruined. Although previous treatments have been unsuccessful, a new ear specialist is going to perform a procedure on the boy's ear.
Summary:Daniel has plenty of problems. He is already divorced. He loses his job. He is stalked by a mysterious group of well-dressed men (maybe federal agents) for an unknown reason. They follow him around in a blue Toyota SUV and show up at his ex-wife's house asking questions. On his way to an interview for an assistant manager's job at Dunkin' Donuts, Daniel drives through a medical district containing six hospitals. His mother died in one of these buildings. When he spots the blue SUV trailing him, he takes evasive action. After parking his car in a hospital lot, he wanders into the hallway outside the intensive care unit.
Summary:Except for her canary and cat, Martha (Sheila Florance) lives alone in an apartment containing fragments and memorabilia of the past which speak to a rich and complex life comprised of various relationships and wartime horrors. Many of the fragments are further referenced in flashback scenes. Three current relationships--with her caretaker, her son, and her dependent and declining neighbor, Billy (Norman Kaye)--are central to this moment in time and provide an illuminating portrayal of Martha’s struggle for independence and undiminished zest for life. While her kind caretaker, Anna (Gosia Dobrowolska), respects the old woman’s fierce need for autonomy, her son, concerned about her frailty and safety, is intent on relocation to a nursing home where she can be supervised. Martha, on the other hand, provides gentle and kind care for Billy, who has been abandoned by his family; during the night, when he is unable to find the bathroom, Martha provides gentle and unobtrusive assistance. Martha’s strength comes from character and spirit, remarkable traits which leave an indelible impression about our tendencies to conventionalize aging.
The story is told by a man living in "the drooling ward," part of a California mental institution. The narrator has been in the ward over 25 years; he helps feed and care for the others. He calls himself a "feeb"--feeble minded--but believes himself to be better than the droolers and certainly better than the stuck-up "epilecs" who though they seem normal throw such terrible fits. He feels as if he could get released from the hospital at any time, but he would rather stay. He tells of the two times he left the hospital. The first time, he was adopted by a couple that ran a ranch. He was forced to do many chores and the man beat him. He snuck off and returned to the home. The second time, he ran away with two "epilecs," but they were hungry and afraid of the dark so returned.
This is a long (110 lines) narrative poem about the poet’s wife’s cancer, "large, rare and so anomalous / in its behavior that at first they mis- / diagnosed it." At first the poet personifies the cancer, then he demonizes the chemotherapy. He describes Tumor Hell and Tumor Hell Clinic, which "is, it turns out, a teaching hospital. / Every century or so, the way / we’d measure it, a chief doc brings a pack / of students round." Back on earth, his wife’s cancer is gone.
"This must be hell for you," some of his friends said. He reflects on the meaning of Sartre’s hell (created in Sartre’s own image) and Dante’s hell (created in his city’s image), and he considers the tumor’s name. He concludes that his wife should "think of its name and never / say it, as if it were the name of God."