Showing 301 - 310 of 452 annotations tagged with the keyword "Parenthood"
Winter investigates the process by which Freudian psychoanalysis became legitimized within modern Western culture and internalized as a kind of "psychological common sense" (4). She argues that Freud's adoption of the Oedipus myth allowed him to draw on the cultural status of classical scholarship and claim the universality of the tragic theme for his own project. She traces how Freud worked to establish an institutional infrastructure for psychoanalysis, to establish it as a profession. His analysis of culture and society represents another strategy in establishing and extending the importance of psychoanalysis: the claim that psychoanalysis powerfully illuminates not only the workings of the human brain (the domain of psychiatry, psychology, and neurology) but also the functions of society (the analytic domain of anthropology and sociology).
Physician, poet, artist, parent, astute observer of his environment, Dr. Schneiderman gives us a wide vision of the things that inform his personal world. This collection of poems and pen and ink sketches spans almost four decades of its creator's life and life experiences. The author has collated his work around nine key foci, roughly but not totally, temporal in sequence. Through his eyes we meet his history related to New York City, his profound love for and attachment to his beloved wife and son, his humbleness before the labors of his chosen profession and the persons he meets in this context, and, finally, his tributes to the bravery of the men and women who responded to the horrendous assault of 9/11/01 upon his birthplace, the Great City.
Henry Moss is a medical geneticist specializing in Hickman syndrome, a fictitious disease resembling progeria. Children with Hickman syndrome experience premature aging and invariably die before the age of twenty. The physician meets Thomas Benhamouda, a teenager who genetically has Hickman syndrome but astonishingly has no physical manifestations of the disease. Dr. Moss identifies a protein that "corrects" Hickman syndrome in the blood of Thomas and proceeds to synthesize it.
Dr. Moss violates medical ethics by administering the experimental enzyme to his favorite Hickman patient, William Durbin, a dying 14-year-old boy. It is a last-ditch effort to save William's life even though the substance has not been tested for safety or efficacy in human beings. Dr. Moss also injects himself with the enzyme. He realizes the tremendous potential the drug has not only in curing Hickman syndrome but also in extending longevity in normal individuals. He is well aware of the great financial rewards he might reap from his discovery.
After a series of injections, William's deteriorating health stabilizes and even improves but he dies in his home. Dr. Moss has failed to save the doomed boy but in the process of breaking the rules and risking his career has learned how to understand and appreciate his own life as well as reconnect with his family.
Summary:In a bleak setting, at an ocean's edge, a family grouping of three poor people, barefoot, huddled and shivering, are lost in contemplation. The figures' proportions are elongated. Imposing in their size, they take up the entire canvas. Rendered entirely in shades of blue, all other details are eliminated from the composition adding to the mood of blue empty coldness of sand, sky, and sea.
This is psychiatrist Ron Charach's seventh collection of poems. It begins with the narrator going through security in order to board an airplane--a metaphor for contemporary society: we structure more and more "security" into our lives, but the uncertainty seems to increase, rather than decrease. The theme of the book is safe passage: our attempts to achieve it, our failures, and our companions along the way. In the last poem ("The Night After"), Charach tells us, "all the talk in the world cannot dampen my fear / of a world bereft of holiness." The quest is unsuccessful, yet somehow saved by a few fleeting moments of contact with something else; perhaps, it is the sacred.
In 1822, a young Canadian paddler named Guillaume Roleau is near death after suffering a gunshot wound to the stomach. His recovery is dramatic and scientifically important. The injury has resulted in a traumatic fistula--a porthole between the outside world and Guillaume's abdominal cavity and organs. The treating physician, Dr. William Barber, immediately recognizes the incredible opportunity for medical research and conducts a lengthy series of experiments on the process of human digestion.
Guillaume--patient, research subject, and guest in the doctor's cabin--is rowdy and frequently uncooperative. He continues to participate in the grisly experiments at least partially out of affection for the physician's wife, Julia, who helps nurse him back to health as well as providing emotional sustenance.
Julia ultimately makes a large, uncredited contribution to Dr. Barber's research. At her husband's request, she has sexual relations with Guillaume so that the unreliable man will remain with the doctor until the experiments are all completed. The efforts of this tragic trio result in a landmark textbook on gastrointestinal physiology authored by Dr. Barber and Julia's illegitimate son, Jacob, sired by Guillaume Roleau.
Poet and writer Jeanne Bryner has assembled 24 short stories to give us Eclipse, a wise and tender collection that reflects her blue-collar roots in Appalachia and industrial Ohio, and also her work as a registered nurse. These stories are about real human beings, flawed and graced, who, for the most part, care for one another, whether family or stranger, with compassion and the kind of acceptance that comes from living a hard life. Bryner's writing skills move these characters beyond easy stereotype and turn their actions--their anger over the death of a loved one or the cooking of a Sunday supper--into transformative metaphors that illuminate the sorrows and joys of everyday life.
The following stories might be of particular interest to those teaching or studying literature and medicine: "Sara's Daughters," in which a woman undergoes artificial insemination and, through her thoughts and her conversations with the nurse, perfectly reveals an infertile woman's humiliation, longing, and hope; "The Jaws of Life," in which a young woman takes her Aunt Mavis to visit Uncle Webster in a nursing home and there observes the poignant interactions of the well and the dying, the young and the old, moments infused with both charity and dread.
In addition: "Turn the Radio to a Gospel Station," in which two cleaning ladies in a hospital ER observe and philosophize about what goes on around them, the deaths and near-deaths, the kindness or mutinies of nurses, the doctors' mechanical repetition of questions, the lovers hiding in the linen closet; "The Gemini Sisters," in which a group of weight-watching women meet to shed pounds and talk about life; "Foxglove Canyon," in which a registered nurse with forty year's experience relates memories of her work, her family, and how things change when a writer comes to teach the staff and the patients about poetry, "the flower you stumble across growing near the barn, a purple bloom that nobody planted."
"Red Corvette" examines the intimacy that develops between family members, particularly when one is caregiver to the other. In this story a woman comes to visit her post-op sister and remembers, while watching her sister suffer in pain, their childhood, those moments of freedom and health she yearns for her sister to regain.
"The Feel of Flannel" is about a woman who, like her mother and grandmother, has breast cancer. She refuses to participate in a research project but instead barrels ahead into her uncertain future, planning to wear her nightgown to the grocery store and tattoo her husband's name "right here when this port comes out."
Grace Rhodes (Lisa Eichhorn) is an unmarried New York advertising executive. Around forty years old, she decides that she wants a child and has no more time to find the right man. She becomes a client of Cryogenetics Sperm Bank and conceives by donor insemination.
As soon as she is pregnant, she becomes obsessed with learning more about the sperm donor, and her friend, Elaine, helps her by taking on a temp job at the sperm bank and breaking into their files, discovering the identity of Grace's donor, a photographer named Peter Kessler (Stanley Tucci). He is single, having an affair with a married woman, and his landscape photographs never include human figures because, he says, "people mess up the composition."
Grace visits Peter's upstate New York studio. They meet, become friends, and then begin dating. Grace tells him she is pregnant and that he is the child's donor father. He is outraged and throws her out. Months pass, and Peter arrives in New York to apologize to Grace, who is now heavily pregnant. He gives her a photograph he had taken, of her. The film ends ambiguously, but suggests that they will become a couple and parent the child together.
The first part of this novel presents a detailed picture of the Jewish Californian Cooper family, centering on the sixty-year-old Louise, who is dying of breast cancer. Her husband, Nat, is unfaithful, and, she suspects, only loves her when she is at her weakest and most sick. Her daughter, April, is a lesbian folk singer who becomes pregnant with the help of a gay male friend and a turkey baster. Danny, the son, is also gay, living in New York with Walter, his lover, who is becoming increasingly detached and obsessed with internet sex groups.
Louise considers herself lucky, though, compared with her younger sister Eleanor, partially disabled by childhood polio, disorganized and ill-groomed and married to Sid, whom Louise finds deeply unattractive. Eleanor's son is a sociopathic drug addict, and her daughter has ovarian cancer caused by Eleanor's taking DES (diethylstilbesterol) in pregnancy. She sends Louise newspaper cuttings about the causes of homosexuality and the dangers of AIDS.
The first part having established the complex dynamics and histories of the family's relationships, the second brings the entire family together in the crisis of Louise's final illness and death (a reaction to chemotherapy drugs causes severe chemical burns and she dies in a burn unit in a San Francisco hospital). After her death, the new dynamics of the family are established, and Louise's son and daughter conclude that their mother had "a terrible life" (p. 261).
The short third part shows that no such conclusion is possible, that even those closest to us remain terribly but fascinatingly unknowable. A flashback to a point just before Louise's final illness describes her attempt to convert to Catholicism and a brief moment in which she experiences a marvelous sense of complete harmony.
Liv is pregnant. She is an artist, and married to Erland. She names the fetus, a boy, Ersatz (a replacement, a copy, a person not yet real?). This book-long poem, divided into short segments making up nine (month-like) chapters, reconstructs her pregnancy in words, often literally, using words-within-words (for instance in a section called "Proximity of Posed to Exposed"), echoing people-within-(pregnant)-people, ideas emerging from words, and life (and death) emerging from bodies.
The poem does not offer a simple coherent narrative, although it does follow the biological narrative form of gestation. Instead it circles around the experience of containing another person, and the dissonance Liv seems to find between biological and verbal or cultural creating. Liv's ambivalence about this tension is captured throughout the work, perhaps most notably in her exploration of a painting of the dead Virginia Woolf, the drowned body of a childless woman writer, now become "beached debris." The final part of the poem captures powerfully the experience of childbirth, and the afterword is in a new voice, that of Liv's son.