Showing 31 - 40 of 163 annotations tagged with the keyword "Pregnancy"
Summary:This collection of stories offers a sidelong view of medicine from the perspective of a thoughtful, experienced doctor of internal medicine at a teaching institution (UCSF) in an urban setting that brings a wide variety of types of patients to his door. In a context of evident respect and admiration for even the quirkiest of them, Watts admits to the kinds of personal responses most have been trained to hide-laughter, anger, bewilderment, frustration, empathetic sorrow. The cases he recounts include several whose inexplicabilities ultimately require action based as much on intuition as on science. He includes several stories of illness among his own family and friends, and makes it clear in others how his professional decisions affect his home life and his own state of mind.
Summary:The unusual title is borrowed from Nathaniel Hawthorne's story, "The Custom House," to suggest a shift in fortune when immigrants "strike their roots into unaccustomed earth." Set almost entirely in the United States (the unaccustomed earth), eight separate stories are connected most obviously by cultural dissonances affecting characters who are Indian or have Indian parents. Three of the stories, however, are linked by a strong narrative connection that is unexpected, profound, and unforgettable.
Summary:In this disturbing work Kahlo paints herself lying on her back in a hospital bed after a miscarriage. The figure in the painting is unclothed, the sheets beneath her are bloody, and a large tear falls from her left eye. The bed frame bears the inscription "Henry Ford Hospital Detroit," but the bed and its sad inhabitant float in an abstract space circled by six images relating to the miscarriage, all tied to blood-red filaments the figure holds in her left hand. The main image is a perfectly-formed male fetus. The others refer to aspects of childbearing.
A woman is pregnant. She is a nurse married to a physician, Jeff, and they have a young son, Willie. The couple is pregnant with their second child. Long before her due date, the woman--author Susan LaScala--begins experiencing signs of premature labor. Because she is a nurse, because she is married to a doctor who takes call, she doesn't want to over-react or bother her obstetrician unnecessarily. But when vague aches turn into cramps, the author enters, as a patient, the world she had known, until then, only as a caregiver.
It is impossible, in a brief annotation, to describe fully the richness of this memoir. Because the author is a nurse, she brings to the story of the premature birth and survival of her daughter, Sarah, a wonderful double vision: LaScala tells this tale not only as a mother and a patient but also as a clinician able to explain, in simple language, the complex technologies used to sustain the life of her one pound nine ounce baby. The author's rendering of the bells and whistles of neonatal medicine, whether describing the process of intubating a preemie (p. 23) or ultrasounding a baby determined to survive (p. 182-3) are precise and haunting.
Equally compelling (and instructive for caregivers) are the author's candid revelations of how it feels to be a patient. She takes to "grading" the doctors and nurses--an "A" for the staff that lets her see her newborn girl (p. 3), and a "C" for a nurse with "No kind words. No warmth" (p.11). She describes her own bodily sensations in language both lovely and informing: the pushing and tugging she feels during her C-Section is a "quiet violence" (p.21); standing beside her daughter during the ventilator weaning process she feels "a witch's brew of fear and panic mixing and growing inside" (p. 225).
In an introduction, physician Barbara Wolk Stechenberg, describes the "gift" that the author has given by writing this memoir. The author has allowed Dr. Stechenberg, who was part of the team that saved Sarah, "a rare glimpse into two worlds" (p. xii). One was the world of intensive care nurses and how "they truly are the primary caregivers" (p. xii). The other world was that of physicians, who "may feel we are empathic and caring, but we really have no idea of the emotional roller coaster many of our parents are riding" (p. xii).
Summary:This novel begins as it ends - as an interior monologue, a soliloquy only the reader hears. Paula Hook, married 25 years to her husband Mike, who is asleep beside her throughout the entire novel, is reflecting on the discussion she and her husband have decided to have with their fraternal twins on their sixteenth birthday (June 10, 1995), which is the "Tomorrow" of the title. Although the book begins with "tomorrow" yet to come, it ends on "today" around dawn. The twins, Nick and Kate, have no idea that this revelation--that they are the products of artifical insemination (AI), i.e., that Mike is not their biological father--is forthcoming.
Summary:Dora Rare, the only girl child born in multiple generations of her family is encouraged by her mother to establish a bond with Miss Babineau, an odd isolated midwife, whose wisdom on health matters is much sought after by the local women in their small Nova Scotia community. Gripping and intimate encounters with her neighbours as birthing mothers and as women seeking control over their fertility lead Dora to accept a role as Marie’s successor. When arrogant, young Dr Gilbert Thomas comes to town with his strong ideas about science and birth, he is appalled at the practices of the local women; he also resents the competition. Dora embarks on a difficult marriage herself and seeks temporary refuge in the United States where she witnesses a new kind of independence.
Manuela (Cecilia Roth) a nurse who works in a transplantation unit, witnesses the accidental death of her romantic son, Esteban, as he chases a car bearing the famous actress, Huma Roja (Marisa Paredes), from whom he wants an autograph. Esteban had longed to know about his absentee father, but his mother had always refused to tell him. His heart is transplanted, and Manuela is shattered by grief, leaves her work, and sets out to recover her past.
Obsessed with her son’s obsessions, Manuela trails the famous actress, Huma, who gives her a job. She finds old friends in the underworld, and a beautiful nun, Rosa (Penélope Cruz), who works with the poor and plans to go abroad. Soon it emerges that Esteban’s father is "Nina," a transvestite prostitute, and that Rosa is not only pregnant by him/her, she has also contracted AIDS.
Rosa’s austere mother was unhappy about her decision to become a religious, but she is even more horrified by her daughter’s pregnancy and illness. Initially reluctant, Manuela nurses Rosa and after her death, she adopts the infant son who is of course named Esteban.
Summary:Sophie, who has lived with her aunt in Haiti for the 12 years since her birth is being sent to live with her mother in New York. She leaves her aunt and grandmother amid a riot at the airport, and arrives in New York to meet her mother and her mother's long-term lover. Her mother has frequent nightmares, related, as it turns out, to the rape that eventuated in the birth of Sophie. Sophie's mother insists that the only road out of poverty is to study hard; she wants Sophie to become a doctor, and jealously oversees her work and protects her virginity, frequently testing her to make sure she has not been sexually active.
In her senior year of high school, having uncharacteristically drunk too much at a party, Angel Hansen consents to be taken home by a boy she normally doesn’t care much about, and ends up having sex with him. Two months later, with the help of her best friend, Karin, she takes a pregnancy test, finds it is positive, and visits an abortion clinic. Karin, who has had an abortion, is ready to support her in complete secrecy. Tim, the father, is horrified, but consents to pay for the procedure. At the last minute, however, and without being able to explain her reasoning to either of them, Angel decides not to go through with the abortion.
In the ensuing months, she endures her parents’ disappointment, her friends’ distancing, and the loss of a number of hopes, including the Yale education she was expecting. In the course of those months, however, she also finds new levels of relationship evolving with parents, grandparents, and the few friends who decide to engage with her on new terms, including Danny Stanton, a friend she’d grown up with, and had recently come to love in new (but, she thought, hopeless) ways. To her great surprise, Danny asks to accompany her to Lamaze classes, and, after taking her to the prom in her ninth month, sees her through the baby’s birth. The story, told in the first person in the form of journal entries, chronicles a young woman’s process of maturing through the consequences of a mistake into acceptance of responsibility for choices, even one she can’t fully account for.
One interesting scene records a conversation between Angel and Karin where Karin admits that her weeks-long estrangement comes from a feeling that Angel’s choice to keep the baby implies a judgment of her for terminating her own earlier pregnancy. Angel makes it clear that she respects their differences, fosters no judgment, and can’t even fully articulate why she felt strongly about needing to make a different choice, but feels clear and sure about her own.
Summary:Serving as a summer hospital volunteer, fifteen-year-old Teri d'Angelo meets Valerie Ross, a girl her age who has damaged a nerve in a fall, and lost the use of one leg. Valerie's anguish over her partial paralysis takes the form of anger; she manages to keep most of those who try to help her at a distance. But Teri finds her intriguing, and Valerie's condition evokes a kind of sympathy and interest in her that overcomes even the patient's most strenuous rebuffs. Gradually, and with much caution on Valerie's part, they become friends. Valerie finds herself welcomed into Teri's large, warm Italian-American family. Teri's compassion for Valerie grows as she recognizes her loneliness; Valerie's parents are divorced, her father rarely visits, and her mother keeps up a hectic work schedule.