Showing 331 - 340 of 437 annotations tagged with the keyword "Cancer"
The first full-length collection of poetry by a Canadian medical social worker who cares for cancer patients and their families. The "longing" of the title expresses the human yearning for love, knowledge, completeness, and healing.
Many of these poems deal with the process of revealing the inner workings of the world (and the inner truth of persons) through photography; see "Darkroom: 1," in which, "I watched you emerge / take on form / and intensity." X-ray photography, of course, takes this one step further, allowing us to see the insides of bodies.
The long last section of the book includes 24 poems that deal explicitly with illness and health care. Among the best of these are "Worker Classification: Material Handler," "Hand to Mouth," "Wishbone," and a sequence of short poems called "Post-Mortem Report."
Living on the Margins is a literary anthology of breast cancer with a distinguished list of 18 contributors, all writers--poets, critics, academics, editors, essayists. Their writing, wide-ranging in genre, style, and tone, includes personal narratives, poetry, academic essays, and an interview.
Contributors include Maxine Kumin, Safiya Henderson-Holmes, Eve Kosofsky Sedgwick, Lucille Clifton, Alicia Suskin Ostriker, and Marilyn Hacker. The editor, Hilda Raz, argues that because there hasn't been much literature on breast cancer (there's been a "margin of missing literature," she claims) this collection was brought into being.
The Exact Location of the Soul is a collection of 26 essays along with an introduction titled "The Making of a Doctor/Writer." Most of these essays are reprinted from Selzer's earlier books (especially Mortal Lessons and Letters to a Young Doctor). Six pieces are new and include a commentary on the problem of AIDS in Haiti ("A Mask on the Face of Death"), musings on organ donation ("Brain Death: A Hesitation"), a conversation between a mother and son ("Of Nazareth and New Haven"), and the suicide of a college student ("Phantom Vision").
A physician seeks solace at the South Pole. Her planned one year stay there is cut short when she discovers a lump in her breast. The attempts to care for her at the South Pole (with telecommunicated help from the U.S.) prove insufficient and a plan to rescue her is successful.
There's more than the drama of illness in a remote location in this book, however. Intertwined with this story of illness is the story of the author's troubled marriage (to her physician-husband), the eventual estrangement from her children, the support of her family of origin, and most fascinatingly the daily rhythms of living (and doctoring) at the South Pole. Scattered throughout the memoir are occasional critiques of "corporate" medicine and poems that inspired the author throughout her ordeal.
At the age of 42, Barbara Rosenblum learns, after several misdiagnoses, that she has advanced breast cancer. This book, co-written by Rosenblum, a sociologist, and her lesbian partner, Sandra Butler, a feminist writer and activist, is a record of their lives together from the diagnosis until Rosenblum's death three years later. Early on, Rosenblum decides that her dying will be exemplary and self-conscious, and she and Butler use their writing as a way to create an illuminating examination of their lives over those three years.
The book's title is accurate; the writing takes the form of alternating meditations by two women, on the effects of cancer on their relationship, their work, their families, and their social, political, and spiritual beliefs. Especially significant are the differences between their voices, and the differences between the experience of the person who is dying and that of the person who is going to have to survive and grieve. The writers bravely explore the conflicts between them as well as their profound bonds.
After a mastectomy and eighteen months of chemotherapy, Rosenblum has a very brief respite, followed by liver and lung metastases, and prolonged further chemotherapy. A few months after ending treatment, she dies at home.
Summary:The doctor-speaker wonders about a recently diagnosed male leukemia patient: what will Mr. Claridge, who used to think of himself as a ladies' man, dream of now, after the diagnosis? In the final image the doctor-speaker imagines the sleep of his secretary, to whom Mr. Claridge had given a bottle of Nuit d'Amour perfume," her arms crossed like a nun's" and surrounded by the flowery scent of the perfume.
In his first chapbook of poems, Richard Berlin, a psychiatrist, writes about his current work with patients ("What a Psychiatrist Remembers," "Rough Air," "Berlin Wall," "Jumpology"), about his experiences on medical wards and as a student ("Anatomy Lab," "Sleight of Hand," "Alzheimer's Unit," "Obstetrics Ward, County Hospital"), about love and family and how medicine sometimes infiltrates even these sanctuaries ("How JFK Killed My Father," "Tools," "Our Medical Marriage") and, most effectively, about the complexities inherent in the role of physician and healer ("What to Call Me," "After Watching Chicago Hope," "Code Blue," "What I Love"). In other poems, he observes the human condition through the veil of medicine ("Hospital Food," "PTSD").
The lure of these poems is Berlin's facility with metaphor; he has a talent for spinning a particular image or observation into revelation. He is also willing to allow puzzlement, doubt, and fear into his poems, effectively conveying both the virtuosity of the teacher and the wonder of the student. Reading this collection, I felt as if the poet was a presence both within the poems and outside of them, like the psychiatrist who must enter the mind of the patient and, at the same time, step back and become a safe guide. It is this double vision that sets his poetry apart.
The poet conjures up the image of the doctor who delivered him and his siblings ("All of us came in Doctor Kerlin's bag"), the doctor who arrived at the house in his fur-lined coat and ascended to his mother's bedroom, and later came down and arranged the instruments in his bag (a "plump ark"), which by that point was otherwise empty. In the boy's fantasy, Doctor Kerlin's small eyes were "peepholes into a locked room," in which were strung "the little pendant infant parts / . . . neatly from a line up near the ceiling-- / a toe, a foot and shin, an arm, a cock."
On a visit to the ruined temple of Asclepius, the god of healing, the poet finds himself remembering Doctor Kerlin, and also the incident when, as an altar boy, he fainted during a procession at the healing shrine of Lourdes in 1956. Now many years later, he pulls up some tufts of grass from around the temple and sends them to friends suffering from cancer. He remembers entering the bedroom after Doctor Kerlin left, his mother on the bed asking, "And what do you think / Of the new wee baby the doctor brought for us all / When I was asleep?" [94 lines]
Warren here supposedly presents the papers of a late friend, detailing the interesting cases he had encountered as a physician. In fact, the "cases" are sensational short stories, presented as a novel due to the framing chapter introducing the narrator's "Early Struggles" to make a living as a physician. Other stories investigate typically Gothic themes like ghosts, duels, graverobbing, elopements, and broken hearts, with other scandalous problems like gambling, dissipation, murder, domestic abuse, and suicide. Medical topics include mental illness, epilepsy, hysterical paralysis ("catalepsy"), cancer, toothache, consumption, syphilis, heart disease, alcoholism, disease of the spine, gout, amaurosis (blindness), puerperal hemorrhage, measles, and stroke ("apoplexy").
Summary:Patsy (Genevieve Lemon), a middle-aged wife and mother of three grown daughters and a son (Russell Dykstra), is dying of cancer. Her children return home to spend time with and care for their mother in her final days. Each family member and Patsy's sometimes charming, sometimes abusive husband, Vic (Linal Haft), must face conflicts past and present as well as reconcile themselves to their mother's dying.