Showing 281 - 290 of 524 annotations tagged with the keyword "Hospitalization"
Summary:This extraordinary graphic work began its life as a Web comic, posted anonymously, tracing in image and word the story of a son, his sisters and their mother who was diagnosed with a brain tumor, metastatic from her lung. This comic caught on, and news of it was passed by email and link from reader to reader. About a year later, the author, Brian Fies, was presented the Eisner Award for Best Digital Comic. The entire sequence has now been published in a small, wonderful hardback book that will fit into a lab coat pocket.
The narrator, Jennifer, is a young, eccentric, struggling writer who lives in a small northern California coastal town full of even more eccentric individuals. Her father, Wallace, a kind and generous intellectual, is diagnosed with a brain tumor and has to undergo surgery and postoperative radiation therapy. It is a story of a family dealing with the rage, grief, anxiety and sudden changes in everyone’s lives when a family member has a serious illness. This is a family knit well with love, tenderness, alcohol, and lots of humor (often black and exceedingly funny)--the diagnosis brings the family and small circle of friends even closer together.
The writing shifts easily between the specifics of observed details to general philosophizing about life and death. Despite the horror and uncertainty, Wallace notes: "I still believe that life is supposed to be good, and my life as a cancer patient can be good, lived one day at a time, and at some point it may be determined that I am no longer a cancer patient, and my life will be better for this scare we’re having. We’re all on borrowed time anyway, and it’s good to be reminded."
This collection of contemporary poems published by the National Association for Poetry Therapy Foundation is accompanied by an introduction and materials for use in support groups and poetry therapy groups dealing with loss and grief. Organized under the rubric, “Seasons of the Heart,” in sections entitled “Autumn,” “Winter,” and “Spring,” they reflect a range of responses to loss, both sudden and gradual.
Poets include Rainer Maria Rilke, Naomi Shihab Nye, Billy Collins, William Stafford, Denise Levertov, and other well-known and widely anthologized poets as well as some less known, but well worth reading. The poetry is skillfully selected, of consistent literary quality, and the accompanying materials helpful in suggesting ways and reasons to enter into the work of reading and writing poetry in time of loss.
The story opens with the protagonist, identified only as the "Patient," being forcibly carried into the insane asylum. Once there, he no longer protests, but seems to accept his incarceration in the huge, overcrowded hospital. The doctor and other staff members seem particularly kind. Because the Patient rapidly loses weight, despite his good appetite, he receives a special diet.
The Patient notices a single scarlet flower among the many beautiful flowers in the hospital garden. He suddenly realizes that all the evil in the world is condensed into the scarlet flower. His mission is to destroy it. But when he attempts to pick the flower, hospital personnel prevent him from doing so, since picking flowers is prohibited. Eventually, he manages to destroy the flower, but notices a second scarlet blossom in the garden. He destroys that one as well, but a third scarlet flower appears. Finally, the Patient sneaks out at night to deal with the third flower, and then is found dead in the garden the next morning, clutching the remains of the scarlet blossom.
Summary:A long hallway stretches almost all the way to the end of the viewer's perspective. One solitary figure about halfway down the hall makes a quick exit from our view as it ducks into an abutting room. The hallway is colored in somber tones--browns, greens, and muddy yellows make up most of the coloration. These colors make the hallway appear as though it is composed of awkward rivers flowing across the plane of the floor, suggesting a sort of moat or barricade across which travel might be difficult. Additionally, the archways are not stylistically consistent--the arch closest to the viewer is more plain, more bleak, and seems to cordon off the viewer's end of the hall from the remainder of the corridor.
Summary:The story takes place in the town of Weston, the site of Weston Medical School, with its teaching hospital and private faculty clinic. The main characters are a group of seven men (six physicians and one administrator) who met while serving together in the Army during the Korean War and later joined to form the nucleus of Weston Medical School. These men all occupy prestigious positions as chiefs of various clinical departments and conduct lucrative private practices at the clinic.
Summary:When "death came in out of the cold / And laid a glove on me . . . ." the poet worked feverishly, sang angry songs, "paroled / Myself with garlands of last words." He acted as if he were the hinge of the world. The dramatics were soon over, however, when he "fell into the ocean’s arms . . . . " Later, he "crept back into life as into much / Too large a pair of trousers."
Outside, on a stony street, the narrator watches as the hospital he’s about to enter materializes out of Edinburgh’s cold morning mists. The hospital is described as a place "gray, quiet, old / Where Life and Death like friendly chafferers meet." Like contemporary hospitals, it has a "draughty gloom" and loud spaces.
The narrator, who is the entering patient, follows into the hospital a small, "strange" child with her arm in a splint. She precedes him gravely; he limps behind. The narrator feels his spirits fail as he recognizes the "tragic meanness" of the place, a place with "corridors and stairs of stone and iron / Cold, naked, clean--half-workhouse and half-jail."
The surgeon Jack McKee (William Hurt) carries on an outwardly successful practice while treating his patients with aggressive sarcasm and general disrespect. "There is a danger in becoming too involved with your patients," he warns his residents, reminding them of the surgeon’s credo: "Get in, fix it, get out." Then McKee himself is diagnosed with cancer of the vocal chords, and the doctor discovers patienthood. The process is enormously uncomfortable for him, as he experiences a sharp decline in autonomy and everything that goes with it, and he begins to develop some empathy for those he has always scorned.
Particularly inspiring are several encounters with a coldly professional specialist and a platonic friendship with a young cancer patient named June (Elizabeth Perkins) who is dying because her doctors failed to diagnose her brain tumor. By the end of the film, Dr. McKee is both recovered and converted, and in the last scene is requiring his residents to spend 72 hours as hospital patients as part of their medical training.
This remarkable book takes the reader into a Dutch nursing home where many of the 300 patients are terminally ill. The main protagonist is Anton, a competent, tough, and compassionate physician who tries to discover some meaning in the suffering of his patients, while at the same time disavowing any such meaning. Anton’s colleagues include Jaarsma, a somewhat detached and bureaucratic older physician, and Van Gooyer, a young physician who still believes that science has all the answers.
The first-person narrative consists of short, punchy segments (almost like an endless series of discrete physician-patient interactions) detailing the stories of Anton’s patients and his reactions to them. Many of these persons request assisted suicide or euthanasia. Anton reveals what he feels about these requests, how he goes about judging their validity, and the manner in which he actually carries out assisted deaths. A strong spiritual theme permeates the book; while Anton denies the relevance of God and religion, he seems constantly to be searching for a spirituality that "makes sense" of contemporary life.