Showing 301 - 310 of 510 annotations tagged with the keyword "Hospitalization"
The story begins as a young woman enters the hospital for cancer treatment. She struggles to maintain her identity despite the institutionalized depersonalization typical of the hospital environment. Later, loss of hair from her cancer treatment also threatens her identity, for her appearance is a large part of who she is. Although she is rather proud of the fact that she refuses to buy a wig, preferring scarves instead, she covers all the mirrors in her home. Finally, she learns that even her naked skull can be beautiful, and dares to walk outside bareheaded for the first time after her treatment.
This anthology of "healing poems" is designed, according to the editors, "to find readers who might not usually read poetry." They say it should also be read "by those sitting in waiting rooms in surgeries and outpatients' clinics." These are definitely large tasks to expect this small collection of poems to accomplish, but in a different world (for example, a world in which people believed in the power of poetry to heal), this particular anthology would have a good shot at becoming a standard waiting room fixture.
The therapeutic intervention is well thought out. The editors have arranged the book into eight sections, each containing poems that exemplify a different theme, or situation, or style of treatment. The sections include: Admissions, Poems to Make You Feel Better, What It Feels Like, For Those We Love, The Language of Pain, Healing Rhythms, Body Parts, and Talking to the Dead. There is considerable overlap among these categories, because good poems speak several languages and can't be pinned down to a single feature. However, the classification does serve a heuristic purpose. It is another way to hook the reader, by choosing a topic he or she likes; once inside the covers, the reader may explore at will without regard to categories.
Doctors Everett and Mimi Menlo are psychiatrists living in Toronto. The married couple sleeps in separate beds. They vow never to work as a team or in the same medical facility. Each doctor is deeply troubled by a patient who refuses to communicate. For Mimi, it is Brian Bassett, an eight-year-old boy with autism who eventually dies under her care. For Everett, it is Kenneth Albright, a hospitalized patient with severe paranoid schizophrenia who has attempted suicide four times.
Kenneth's dreams were once complex and intriguing but lately they lack detail and variety. One morning, he is found covered with blood but has no signs of injury. Despite a thorough investigation, it remains a mystery as to whose blood it really is. Following that strange occurrence, Everett experiences insomnia, but he is reluctant to admit the cause to Mimi. She worries that he might be having a nervous breakdown.
In truth, he fears dreaming. He has recurrent nightmares of a bloody Kenneth kneeling next to the bodies of strangers. Everett suspects that Kenneth has placed these corpses in his dreams. Everett finally tells Mimi about his nightmares. He shocks her with the revelation that Kenneth Albright has genuine bloodstains on his clothing and hands every day even though he is still confined to the psychiatric ward. There is only one spot Kenneth can escape to--dreams. After their conversation, Mimi falls asleep and dreams of Brian Bassett. She wakes up and finds Everett in the bathtub. His pajamas are saturated with blood. Mimi promises Everett, "I'm waiting here . . . until we both wake up" (596).
An overthrown Latin American ruler, Mr. President, is exiled to Martinique. The 73-year-old man develops a peculiar pain in his ribs, lower abdomen, and groin. He travels to Geneva, Switzerland in search of a diagnosis. After extensive medical testing, he is informed that the problem resides in his spine. A risky operation is recommended to relieve the pain.
The President meets a fellow countryman, Homero Rey, who works as an ambulance driver at the hospital. Homero schemes to sell an insurance plan and funeral package to the sick man, but the President is no longer wealthy and lives frugally. He is reduced to selling his dead wife's jewelry and other trinkets to pay the cost of his medical expenses and operation.
Homero and his wife, Lázara, grow fond of Mr. President. They provide financial assistance and care for him after he is discharged from the hospital. The President returns to Martinique. His pain is unimproved but no worse either. He resumes many of his bad habits and considers going back to the country he once ruled, only this time as the head of a reform group.
This is the house of Bedlam. So begins the strong poem by Elizabeth Bishop, the woman who wrote of that wretched old man who lived in the house of Bedlam. "This is the man / that lies in the house of Bedlam." So go the two lines of the following stanza of the 1950 poem about the cranky old man who was kept for his crimes in the house of Bedlam. "This is the time / of the tragic man" begins the three lines of the following stanza of the nursery rhyme poem by the consummate poet who wrote of "the Jew in a newspaper hat / that dances joyfully down the ward" and the brilliantly cruel and crazy man who lived in the house of Bedlam.
"This is the soldier home from the war. These are the years and the walls and the door." So starts the 12th and last stanza of the metrical rhyming repetitive poem by one of the finest American poets about Ezra Pound, an American poet, who found himself at the end of the war "walking the plank of a coffin board" and because of his treason becoming the man--the tragic, talkative, wretched and tedious man--who lived in the house of Bedlam. [79 lines]
Professor Sandra Bertman founded the Medical Humanities Program at the University of Massachusetts Medical Center and holds certificates in grief counseling and death education. This handbook outlines how she uses the visual and literary arts to "improve our professional abilities to deal with death and dying." Her premise is that the arts provide a valuable vehicle for exploring and making bearable the prospect and fact of death.
Bertman illustrates her presentation technique (Chapter 2) of juxtaposing dual images around six central themes, here abbreviated: the chosen death; death and afterlife; existential aloneness; loss of control, unmentionable feelings, grief; the land of the sick vs. the land of the well; the moment of death. The book offers dozens of paintings, sketches, and photographs (reproduced in black and white), as well as many literary excerpts. Classic works are represented (David's painting, The Death of Socrates; Michelangelo's sculpture, "Pieta"; Tolstoy's novel, The Death of Ivan Ilyich) but there are many unusual representations as well--greeting card messages, epitaphs, cartoons.
In addition, some groups with whom she works (for example, medical students studying Gross Anatomy) have submitted their own drawings and commentary. These are shown in Chapter 3, along with written responses to a follow-up Death Attitude Questionnaire. Responses are from junior and senior high school students; college students; medical students; graduate nurses; hospice volunteers.
Chapter 4 gives suggestions for how to use images and texts and for how to approach discussions of loss and grief. The course syllabus for "Dissection, Dying, and Death," taught with Gross Anatomy, is appended, and there is an extensive bibliography.
Simon Dykes is a successful artist about to open another big show of his work in London. A week before the opening, he goes out to a bar with his colleagues, indulges in drugs, has sex with his girlfriend, and falls into an uncomfortable sleep with bizarre dreams. He wakes up in a world where every person is a chimpanzee and where humans are kept in zoos or are experimented on in labs, and the few humans surviving in the wild are close to extinction.
Terrified and dismayed, he is taken to a psychiatric ward where the chimpanzee doctors try to help him overcome his "delusions" that he is actually a human. They eventually turn to Dr. Zack Busner, an alpha male, theoretical renegade and media star, as well as a maverick drug researcher, "anti-psychiatrist," psychoanalyst, and clinical psychologist. Together they try to understand the root of Simon's delusion and return Simon to his sanity and "chimpunity."
This film by Danish filmmakers focuses on two Scots, Wilbur (Jamie Sives) and his older, considerate brother Harbour (Adrian Rawlins), who own a family buy-and-sell bookshop, North Books, in Glasgow. The opening movie credits intersperse with Wilbur's suicide attempt by pills and gassing himself. Wilbur's attempt is thwarted first by the fact that he has to put more coins into the apartment gas meter, and then by his brother, whom Wilbur had telephoned just before losing consciousness. Wilbur continues suicide attempts throughout much of the movie, with methods that range from the absurd to the disturbingly tragic.
The brothers' father had recently died and several scenes occur at a hillside cemetery. Surrounded by imposing stone monuments, the brothers' parents are buried without markers, but with a view, if you cock your head and imagine, of the bookshop. The tragedy of the mother's death when Wilbur was only 5 years old, is invoked to explain much of Wilbur's disturbance.
Early in the movie, Alice (Shirley Henderson), a waif-like single mother who cleans the operating and trauma theatres and sells books she finds at the hospital to the bookshop, is introduced, along with her soon to be 9 year old daughter, Mary (Lisa McKinlay). Alice and Harbour wed, and Mary presciently plunks a penguin eraser she has just received atop the wedding cake next to the bride and groom: "That's Wilbur," she says.
Two hospital workers feature prominently in the film. Horst (Mads Mikkelsen) is a Danish ex-pat physician and "senior psychologist." He chain smokes, distances himself from the group therapy he supposedly supervises, and yet deftly discusses bad news with Harbour in several scenes. The psychiatric nurse, Moira (Julia Davis), however, who, with ever-changing hairstyles and inappropriate nurse-patient interactions, acts primarily as comic relief, delivers the same bad news with unthinking, devastating directness.
The narrator of the story, a former district doctor in Russia, reminisces about his frequent encounters with patients suffering from secondary syphilis ("the speckled rash"). The first case he diagnoses is a 40-year-old man seeking treatment for a sore throat. The doctor recommends the application of a bagful of mercury ointment once a day and a follow-up visit after 6 days, but the man never returns. The physician advises him that his wife needs to be examined also, but she is never seen in the clinic.
The doctor remembers many other cases of secondary syphilis in the community. Except for one young woman, patients seem to have little fear of the disease. Children and even entire families are infected. The physician decides to tackle the widespread venereal disease and to confront the rampant patient apathy in the district.
His weapons include mercury ointment, potassium iodide, Salvarsan (an arsenic compound) injections, harsh words, and warnings about the horrible effects of the disease if left untreated. He opens an inpatient unit to treat patients with syphilis. Now long-removed from that remote medical outpost, the narrator still wonders about the people living there.
Fifty-two year old Pete, the hospital mailman, suddenly experiences severe abdominal pain. He is evaluated and treated in the emergency room. His diagnosis is acute surgical abdomen, but the exact cause of his pain is still unknown. The surgeon-narrator determines that the severity of Pete's condition mandates exploratory surgery. During the operation, "an old enemy" (18) is encountered--pancreatitis.
Afterwards, the surgeon assures Pete that he will get better. One week later though, the mailman dies. His death has been painful. An autopsy is scheduled, but the surgeon deliberately arrives 20 minutes late. He does not want to view the intact body of his deceased patient. No matter, the pathologist has waited for him to arrive before beginning the post-mortem examination. The pathologist closes Pete's eyelids before starting the autopsy, mindful of how the mailman's "blue eyes used to twinkle" (21) when he delivered the mail everyday.