Showing 321 - 330 of 507 annotations tagged with the keyword "Hospitalization"
For those who have enjoyed his previous collections, this edition of new and collected poems (22 new, the rest culled from collections published from 1972-1998) will be a welcome and rich sampling of Stone's work, wide-ranging in style and subject. The three sections of new poems include a series about incidents in Serenity Gardens, his mother's nursing home; a series of "Reflections from the Middle East" that chronicle moments evocative of classical and biblical story and ethos as well as touching, comic incidents in the life of a 60-something tourist; and a short series of poems based on memories from childhood and young adulthood.
The poems tend toward narrative; many are little stories complete with plot in one to two pages of short lines; Stone's gifts for both chronicle and condensation give many of the poems a lively tension: what is told suggests how much isn't.
As a collection it is possible here to trace the stylistic development from the early poems in The Smell of Matches with their strong autobiographical focus and sense of intimate scene and situation to the recent ones, still strongly personal, but reflective, sometimes ironic, with lines that render the self-awareness of the older poet in sometimes comic flashes.
In this collection of poems, Alan Shapiro looks unflinchingly at his brother David’s illness and death from brain cancer in 1998. David was an actor and a "song and dance" man on Broadway, hence the title and the frequent allusion to songs and show business. The poems trace an arc from the two boys’ childhood, when they dance together lip-syncing to Ethel Merman’s "There’s No Business Like Show Business" ("Everything the Traffic Will Allow," p. 1) through the diagnosis of brain tumor ("Sleet," p. 8) to the poet’s "Last Impressions" after his brother’s death (p. 57).
The everyday, ordinary world bursts its seams as the poet sits in a radiology waiting room waiting for his brother to return from his "Scan" (p. 10) The poet tries to watch a basketball game on TV, but "soon as my brother’s name / was called" a woman sitting next to him begins to tell the story of her husband, who has turned into "a well trained zombie." Soon his brother David moves toward zombie-hood as well. In "The Phone Call" (p. 23), he listens to "the mangled speech, aphasic / pratfalls halfway through the / sentences . . . " that tells him "you can’t imagine it at all."
But brain damage doesn’t mean the loss of wisdom. In "The Last Scene" (p. 33) the poet sits beside his dying brother, who bestirs himself from somnolence to ask, "Do you think / you have a / problem?" "Look at yourself," he says, "how you sit here / drinking all alone."
David dies without missing a beat, according to the script, but his brother loses his place in the text; he simply doesn’t know his lines. In the beautiful "Broadway Revival" (p. 43), he concludes, "I play / the brother / who doesn’t know his lines, / and you the actor / who waits there in the wings, / who holds the script, / who knows it all / by heart and / will not say."
A medical school graduate, E. A. Talbot, fails twice his qualifying examination for a position as British Army surgeon. He leaves England and vows never to return to Europe. He lands a job working for the Dutch government as the administrator of Halak-Proot, a psychiatric hospital that houses about 100 mentally ill officers and some colonists. It is located in the jungle of Java. The institution is a magnet for madness. Patients never improve and sometimes get worse there. The soldiers are more inclined to feign psychosis than return to battle.
When his father dies, Talbot inherits property. He sells it and uses the money to transform the psychiatric hospital into a luxurious estate. Cases of dementia soon plummet. The facility no longer accepts any patients except those who are indisputably insane. Soldiers somehow discover their sanity and are refused entry. Talbot grows old in his exclusive paradise that now has room for only him, a guard, and a custodian.
Steven is a gifted junior high school drummer with an imagination that takes him some distance from his writing assignments into musing on his own life. The book chronicles his experience of the year his five-year-old brother, Jeffrey, was diagnosed with leukemia. The shift from consuming preoccupation with preparation for a drumming contest and competition for a particular girl's attention to radical concern about a brother he has primarily regarded as a pest takes him through ruminations both profound and hilarious.
Jeffrey's illness oddly makes Steven an object of his friends' admiration and pity, neither of which he thinks he wants or deserves. His priorities and plans begin to take a back seat to working with his parents to get Jeffrey through treatments, in the course of which he meets a girl at the hospital who teaches him a new level of friendship before her own disease gets the better of her and she dies. The story ends with Jeffrey's return home, an uncertain future, and an altered perspective on life for Steven who finds himself able to love in ways he hadn't imagined.
Rafael Belvedere (Ricardo Darin) is a 42 year-old, divorced, father who runs the restaurant that his parents established nearly fifty years ago. His father, Nino (Héctor Alterio), is mostly retired and makes daily visits to the hospital where his wife, Norma (Norma Aleandro), has been placed for her Alzheimer's disease. Avoiding the horror, Rafael has not seen her in a year.
Guilt for having dropped out of law school drives him to prove himself by making the business a success; he defiantly resists offers to sell. But his finances are a mess, his temper thin, and his relationships strained; he works too hard, sleeps too little, and drinks and smokes too much. Inevitably, Rafael has a massive heart attack and spends 15 days in ICU (Intensive Care Unit).
This intimation of mortality convinces him to change his life, sell his restaurant, and open his heart to the needs and worth of the people around him. He agrees to help his atheist father fulfill a romantic wish to finally marry the still beautiful but grievously departed Norma in a church, something she had long desired and he had always refused for his "principles." The priest declines the request because of Norma's disease, but an engaging solution is found.
While on an airplane, Carson experiences abdominal pain. He is a divorced man in his fifties and a sales representative for a computer and information technology firm. He spends much of his time traveling and fancies himself "a connoisseur of cities." The increasingly severe stomach pain forces Carson to reschedule his business meeting and retreat to his hotel room.
His suffering mounts and he decides to visit the emergency department of the city hospital. Carson is evaluated by two young male doctors and later a middle-aged female physician. Despite blood tests and X-rays, his diagnosis remains murky and a surgical consultation is obtained. The surgeon suspects appendicitis. He postulates that Carson may have a retrocecal appendix and explains that in such cases the anatomical location of the organ often confounds the diagnosis.
Carson undergoes surgery. His appendix is indeed retrocecal and rupturing. He spends five days convalescing from the operation. During that time he acquires an intimate knowledge of the city from his stay at the hospital. The experience revitalizes him. Carson reasons that the world is miraculous in part because it is so simple yet still spectacular.
Written as an interior monologue, Destiny begins as Chris Burton receives a phone call informing him of his schizophrenic son's suicide. Burton, a British ex-pat journalist in the final stages of writing his chef d'oeuvre--a cultural history on national character--is married to Mara, a provocative, capricious, flamboyant Italian. The vitriolic arguments and hurtful stratagems that characterize their discordant marriage intensify with the crisis of death and its aftermath--the identification, transport and entombment of Marco's body. Family relationships are further complicated by Mara's distrust and estrangement of her adopted daughter, Paola.
Burton reveals the chaos that schizophrenia imposes not only on the patient, but also on the entire family. In order to avoid prison following an attack on his family and home, Marco had been placed in a psychiatric institute, Villa Serena, and it was at this facility that Marco stabbed himself to death with a screwdriver. The onset of disordered thinking and erratic behavior, the search for therapies, the various repercussions of guilt and blame (including recriminations about the intense, border-blurring maternal love lavished on Marco), are re-examined by Burton as he travels from London to Rome, sits vigil by his son's body in the camera ardente, and confronts his wife at her family's tomb.
Burton's physical distress mirrors his mental anguish. Burton has heart disease and obsesses about lacking his anti-coagulant medication. In addition to the worry of clot formation, urinary retention prevents Burton from emptying his bladder. These physical ailments of containment, confinement, obstruction and blockage form resonances throughout the book: the tomb, the strictures of marriage and the leakage of adultery, the oppressive family 'house of ghosts,' the separateness of interior thought from observable behavior, the barriers of language, the herky-jerky redirections of emergency travel.
Furthermore, the will to create permanence, to make one's destiny more than a transient destination, informs Burton's moves. In the midst of his exploding marriage and tormented trek home, Burton agitates over his work, and in particular, his book, which "must serve to transform a respectable career into a monument" (p. 1).
A child dies in the hospital shortly after the infectious disease consultant, Dr. Michael Grant, evaluates her. The 35-year-old physician has cause to be troubled by the patient's death. He failed to perform a careful examination, did not check the results of her most recent lab tests, and held off on ordering antibiotics. Although an autopsy was not performed, it is believed she died of sepsis.
Divorced and recently relocated to North Carolina, Dr. Grant is already depressed. Now he must worry about the possibility of a malpractice lawsuit. Jonas Williams, the father of the dead child, is also ill. He complains of fatigue, visual disturbances, confusion, night sweats, and fever. Jonas has developed unusual lesions in his throat and retina--white threads in a serpentine pattern. A biopsy of his oral lesion demonstrates the presence of osteoblasts and new bone formation. Dr. Grant becomes convinced he has stumbled onto a completely new infectious illness even though he cannot identify the causative organism.
Jonas experiences gastrointestinal bleeding as a result of a low platelet count. He dies in a trailer that has caught on fire. Dr. Grant soon develops the same symptoms as his patient. He remembers coming into contact with some of Jonas's blood. He is admitted to the hospital with massive gastrointestinal bleeding. His physician attributes the bleeding to ulcers, gastritis, and thrombocytopenia. Dr. Grant, however, believes the bleeding is due to the same mysterious disease that Jonas had.
The body of Jonas's daughter is exhumed, and there is anatomic evidence of the same bizarre changes that occurred in her father. Dr. Grant visits a cabin in the woods where Jonas had lived. He is looking for clues to the puzzling new illness. What he finds, however, is not an answer. Instead, it is a renewed appreciation for his life as well as the world around him.
This is a collection of 23 stories, five of which take the form of "letters" in which an older physician (not surprisingly, a surgeon) gives advice to an imaginary young surgeon. However, every one of the stories "fits" as a tale that might be told in such a letter--assuming the author was a wise and gifted writer, in addition to being a surgeon.
The book begins with the gift of a physical diagnosis textbook on the occasion of the young doctor's graduation ("Textbook") and ends with a reflection on "your first autopsy" ("Remains"). Among the other stories are Imelda (see annotation), Brute (see annotation), Toenails (see annotation), Mercy (see annotation), "A Pint of Blood," "Witness," "The Virgin and the Petri Dish," and "Impostor."
The new interns, Roy Basch (Tim Matheson), Chuck (Howard Rollins, Jr.) and Wayne Potts (Michael Sacks), begin their year of internal medicine training in a busy city hospital under construction. After initial introductions led by the vague staff man and vapid chief resident, they become the specific charges of the cynical resident doctor "Fats" (Charles Haid). Fats teaches them attitude and language: how to "buff" (improve) and "turf" (transfer) "gomers" (Get Out of My Emergency Room)--the words used to describe management of incurable, hateful patients who "never die," regardless of the abuse the clumsy housestaff might inflict. But Fats has heart.
Soon, they fall under the command of the militaristic and lonely woman resident, Jo Miller (Lisa Pelikan), who cannot bring herself to withhold treatment, even at a patient's request. She blames underlings for the failings of medicine and nature, as well as herself.
Wayne throws himself from the hospital roof because of a misplaced sense of guilt over a patient's demise. Roy falls in love with the nurse, Molly (Kathryn Dowling), but nearly loses her as he begins to emulate Jo's cold, calculating style. He is "rescued" in the nick of time by his friends, Fats, and the death of a physician patient (Ossie Davis) whom he admires. With recovered equanimity and renewed anger over the suicide of his fellow intern, Roy refuses to go on with his residency.