Showing 281 - 290 of 373 annotations tagged with the keyword "Trauma"
Mohammed (Mohsen Ramezani), an eight year old blind boy attending a special school in an Iranian city waits for his widowed father (Hossein Mahjub) to bring him home to his isolated, but idyllic Iranian village for summer recess. During several interminable hours of waiting outside the school, viewers come to recognize the boy’s sensitivity to his surroundings. Through sound and feel he is at one with nature. Remarkably, he is able to rescue a vulnerable baby bird and return it to the tree branch nest from where it has fallen.
Unfortunately, Mohammed’s father fails to exhibit this kind of care with his son. The tardy reunion is painful: rather than embracing the boy, the father requests that school officials keep the boy during the recess. When the request is refused by embarrassed faculty members who are sympathetic to the child’s family needs, father and son begin the long walk, then bus ride into the distant countryside.
In contrast, Mohammed receives a warm and loving welcome from his Granny (Salime Feizi), his sisters, and the neighboring children. Immediately, the children run with him into the meadows to explore and celebrate. Clearly, this is Mohammed’s nest.
Even though Mohammed’s abilities at the local school are superior to those of his classmates and even though he is able to function in normal play with his peers, the father focuses only on the boy’s removal from the family and the village so that he can find a new wife to care for him and his other children. The unprepared boy is taken abruptly by his father to a blind carpenter many miles away where he will serve as an apprentice. Although the carpenter is kind, Mohammed is devastated by the cruel separation from Granny and the children.
Unburdened, the father goes forth with plans for another marriage, but before the arranged ceremony occurs both the heartbroken Granny and Mohammed die. The bride-to-be and her family regard these losses as unhealthy portends. Marriage plans are canceled. Only then, does the father recognize his own blindness.
This memoir begins in Africa, where Dr. Grim is with Médecins sans Frontières managing a meningitis outbreak in Nigeria. Conditions are appalling, but she has come here because of burnout: "so I won't be back home and in the ER" (11). Later in the book, she describes her other "escapes" from the Emergency Room, caring for war refugees in the Balkans.
The book centers, however, on life in an American emergency department, as Grim remembers it from the vantage point of Africa (where she does eventually become nostalgic for well-stocked supply cupboards and a more comprehensible chaos). She organizes her stories into a series of "Lessons in Emergency Medicine," in which she addresses the reader directly. After going through a step-by-step account of death in the ER, illustrated with several moving and alarming cases, she concludes: "Congratulations: you have successfully declared someone dead. Now, as an encore . . . you'll get to do it all over again" (28).
The ironic, even bitter, tone warns us of the difficulty of working in such perpetually crisis-ridden circumstances, but it does not conceal a vulnerability that seems necessary to doing the job well, such as when Grim has to tell a family that the father has died of the heart attack he had at his daughter's wedding: "you just stood there," she says, "looking at the corsage, the tuxedo and the pearls . . . You had no idea what to say and you don't really remember what you finally came out with" (26).
The stories are organized around several lessons: "How to deliver a baby," "How to crack a chest," "How to write a prescription" (which includes a discussion of addiction to prescription medication and a withering account of the doctor who overprescribes), and, as if it's as inevitable as the rest, "How to burn out."
By the book's final chapter, emergency medicine has merged, along with the vaccination of refugee children and the impossibility of treating tetanus in Nigeria, into the story of almost unreasonable determination in the face of endless frustration--but this, Grim shows in her final chapter, "Why I do what I do," is the point. Against this backdrop her final story, about the rescue of a child, makes its point: the feeling of saving a life explains all the rest.
In this collection, Thomas Lynch, a funeral director, examines many of the same topics he explores in his essays (see this database for annotations of The Undertaking: Life Studies from the Dismal Trade and Bodies in Motion and at Rest: On Metaphor and Mortality). In section one, he writes about sin and redemption ("Attende Domine," "Inviolata," "Panis Angelicus"), death and grief ("Late April," "Month’s Mind,"), love and sex ("O Gloriosa Virginum," "Casablanca," "Veni Creator Spiritus," "The Hammock"), and introduces his own point-of-view as one who tends the dead ("In Paradisum").
In the second section, Lynch delves more deeply into sin ("Byzance") and memory. In the section’s first poem, "Liberty," Lynch introduces himself as a man from a "fierce bloodline of men," and in the next five poems writes about "Argyle," perhaps a relative, perhaps an alter-ego. A long poem, "The Moveen Notebook," follows, relating the story of Lynch’s family home in Ireland and his relatives who lived and died there, ancestors who are also represented in Lynch’s essays. The rest of the poems expand upon family and memory and serve to complete the portrait of the narrator, a man who tends "toward preachment / and the body politic," who rages and who wants to "offer a witness" ("St. James’ Park Epistle").
The poems in section three serve as laments. Here Lynch addresses the failures of gods and men ("A Rhetoric upon Brother Michael’s Rhetoric upon the Window," "One of Jack’s") and the wonder of aging ("Loneliest of Trees, The Winter Oak"). But the main body of this section comprises stark poems about women and poems about Lynch’s work ("Heavenward," "The Lives of Women," "That Scream if You Ever Hear It," "These Things Happen in the Lives of Women," "How It’s Done Here," "At the Opening of Oak Grove Cemetery Bridge").
In "Couplets," Lynch speaks of teaching his sons the funeral business and the horrors they witness. In the brief poem "Aubade," he tells of an abused woman’s suicide. The last poem of the book, "Still Life in Milford--Oil on Canvas by Lester Johnson," is both a portrait of the town and of the author: "Between the obsequies, I play with words."
Frank is an emergency medic and ambulance driver working night shifts for Our Lady of Mercy hospital in Hell's Kitchen, New York City. The novel begins with Frank's resuscitation of an elderly man called Mr. Burke, who has had a heart attack, and ends a couple of days later with Mr. Burke's death in the hospital. Frank is haunted by the patients he has failed to save, some of whom inhabit his experience like kinds of ghosts.
Most insistent is a teenage girl called Rose who died during an asthma attack, in part because Frank was unable to intubate her in time. He is also unable to forget his marriage, which ended because of the deadening effects of his work. And now Frank is also haunted by doubts about the value of restoring life.
He has successfully started Mr. Burke's heart, but the man is brain dead. Frank thus watches as Mr. Burke's family is first given hope and then must learn that there is none. Frank almost falls in love with Mr. Burke's drug-addicted and disillusioned daughter, Mary, perhaps seeing in her an opportunity for a mutual restoration to health.
But when her father finally dies--when the attending realizes that the patient's struggle hasn't been the "survival instinct" but rather a "fight to die"--she blames Frank, who recognizes that his purpose is not simply to keep people alive (or to bring them back from the dead), but rather that "saving lives" means preserving their value, somehow, in his memory. He walks away from the hospital, and when he gets home, Rose--her ghost, and Frank's own symbol for all the patients he hasn't resurrected--is waiting there, to forgive him.
The poem, a domestic epic, employs the convention of in medias res. The central issue, the death of a child, has not been addressed by the parents whose lives are in strange suspension. A staircase, where the action of the poem occurs, symbolizes both the ability of husband and wife to come together and the distance between them.
In their first discussion of this traumatic event, readers learn that the child was buried in the yard by the father during the New England winter, while the mother watched from a window in the staircase landing, stunned by her husband's steadfast attendance to the task. His energy and "carelessness" at a time when she was shaken and immobilized by grief was incomprehensible and infuriating. The husband, meanwhile, has grieved in a different way, reconciling the death of his child to fate and the caprices of nature.
When the poem opens, their separate interpretations and feelings finally are expressed, and each is surprised by what the other says. The husband speaks from the bottom of the stairs, she from a step just above the landing. Significantly, they don't come together on the architectural bridge and, when the poem concludes, readers are not assured that this marriage will regain the closeness it might have had prior to the child's death. The highly dramatic poem underscores the impact of loss and the need for communication or discussion of loss by those involved. When no reconciliation occurs, the loss intensifies to become destructive.
Summary:The author describes war from the soldier's perspective--"we cursed through sludge . . . Men marched asleep. Many had lost their boots, but limped on, blood shod." The author remembers a soldier dying in poison gas. He challenges the reader: If you only knew the horrors of war, you would not repeat "the old Lie: Dulce et decorum est / Pro patria mori."
An old man bending I come upon new faces . . . . The old poet is asked by the young to tell of his experience during the war. In silence and in dreams, he returns to the battlefield: "Bearing the bandages, water and sponge, / Straight and swift to my wounded I go, / Where they lie on the ground after the battle brought in, / Where their priceless blood reddens the grass . . . . "
He describes the rows of the hospital tent, where one man has a bullet through his neck, another an amputated arm. The poet cleans and dresses each wound. Even though he never knew these soldiers before, "Yet I think I could not refuse this moment to die for you, if that would save you." At the end of the poem, he remarks, "Many a soldier’s kiss dwells on these bearded lips."
The film covers two days in the life of Frank Pierce (Nicolas Cage), a burned-out EMT (emergency medical technician) working the socio-economic underside of Manhattan. From the beginning, Frank is upset because recently all his patients have been dying on him, and he is haunted throughout by the hallucinated ghost of Rose, a young woman who collapsed on the street and died, apparently because he could not intubate her correctly.
Frank is highly stressed, he has no life outside his work, and he is self-medicating with alcohol. He tries to quit, but his boss keeps him on by promising time off in the future. In the film's first action, Frank does manage to miraculously resuscitate Mr. Burke, a heart-attack victim, but the patient winds up in the hospital with a very bad prognosis, so even that "saving" works against Frank.
Frank has encounters with numerous patients, many of them street people whose lives are out of control, some of whom are ER (Emergency Room) regulars, such as the demented young Noel (Marc Anthony). He also deals with (and is dealt with by) several highly idiosyncratic EMT partners in his ambulance rounds (John Goodman and others). Frank gets to know Mary Burke (Patricia Arquette), the daughter of the heart-attack victim, and they tentatively move toward being a couple who might help each other survive their lives.
Near the end, Frank, who knows Mr. Burke had tried to tear out his tubes during a brief moment of consciousness, and who feels he has been getting pleading messages from him to end his agonies, surreptitiously takes him off life support long enough for him to die. The physician who responds to the code decides not to attempt resuscitation of this patient who had already been resuscitated 14 times that day. Frank goes to tell Mary that her father has died (but not how), and exhaustedly falls asleep on her breast, apparently having forgiven himself because he has in some sense finally "saved" Mr. Burke.
This is the second anthology from Donley and Buckley derived after many years of teaching "What's Normal?"--a literature and medicine course at Hiram College where they explore the cultural and contextual influences upon the concept of normality. With the first anthology, The Tyranny of the Normal, the editors focused on physical abnormalities (see this database for annotation). In this second anthology, the focus is exclusively on mental and behavioral deviations from societal norms. With this edition, Donley and Buckley present their case that, as with physical abnormalities, there is a similar tyranny of the normal that "dominates those who do not fit within the culture's norms for mental ability, mental health and acceptable behavior (xi)".
The anthology is divided into two parts. Part I is a collection of essays that introduce various clinical and bioethical perspectives on the subject of mental illness. These essays bring philosophic and analytic voices to the topic. Stephen Jay Gould's terrific essay on Carrie Buck and the "eugenic" movement in the United States in the early part of the 20th century illustrates one of the major themes that can be found throughout the anthology.
Oliver Wendell Holmes wrote the majority opinion in the 8-1 Supreme Court decision that sealed Buck's fate. Gould begins his essay reminding his readers of the often referenced Holmes quote, "three generations of imbeciles are enough." He then takes us on a fascinating historical adventure that uncovers a deeper and more complicated drama that led to this unfortunate period in American history, and the tragic incarceration and sterilization of Carrie Buck.
This essay, as with other stories, poems, and drama in the anthology, contemplates the relationship between societal values and mental illness, and illustrates how society through medicine can turn to the myth of "objective" diagnostic labels as a way to compartmentalize and control behavior and imaginations that are "abnormal." D. L. Rosenhan's essay from "On Being Sane in Insane Places" further illustrates the failure of the mental illness label. Irvin Yalom's story from Love's Executioner and Other Tales of Psychotherapy provides an example of what is possible when diagnostic labels are avoided, when health care professionals with power turn with humility, curiosity, and kindness toward others, substantiating that these qualities are far more powerful than statistical notions of "normal."
Part II is a collection of fiction, poetry and drama. Intended as a complement to part I, part II engages the reader in the lived experience of the narrators. It is divided into six sections. Section one considers children and adolescent experience of mental illness. Included are Conrad Aiken's "Silent Snow, Secret Snow," an excerpt from Susanna Kaysen's Girl, Interrupted (see annotation in this database), and an excerpt from Peter Shaffer's Equus (see annotation).
Section two includes stories that capture the world of mental disability and retardation. An excerpt from Of Mice and Men and Eudora Welty's short story Lilly Daw and the Three Ladies are included. Charlotte Perkins Gilman's The Yellow Wallpaper (annotated by Felice Aull; also annotated by Jack Coulehan) is in section three where women's experiences with mental disorders is the theme (these are annotated in this database).
Section four and five focus on men and mental illness. War experience is considered in the works of Toni Morrison and Virginia Woolf. Section six concludes the anthology. Alzheimer's disease and dementia are examined in Robert Davis's My Journey into Alzheimer's Disease, and in the story, "A Wonderful Party" by Jean Wood.
Summary:In this eight-line poem, the speaker describes her own birth. Kenyon uses rich imagery and word-sound to evoke her appearance on this earth. Emerging from her mother's "large clay" as the surgeon "parted darkness," the newborn is assaulted with harsh light, noise, and a "vast freedom" that is "terrible."