Showing 341 - 350 of 494 annotations tagged with the keyword "Women's Health"
Daughter of a wealthy businessman, tall, beautiful Emily Stockwell Turner falls out of love with her stolid professor husband, Holman, halfway through their first semester at a small college for men in northern New England. She is lonely and miserable in this remote place. Encouraged by her confidante and fellow faculty wife, Miranda, she embarks on a secret affair with the college musician, Will Thomas.
Divorced and sexually experienced, Will initiates Emmy into the powerful romance of physical love. But their on-again, off-again relationship is fraught by its own secrecy, Holman's jealous suspicions, Will's infidelities, Emmy's lies, Miranda's disingenuous disinterest, and the not-so-irrational hatred that Freddy, Emmy's four-year old son, bears Will.
Emmy and Will take ever greater risks with their clandestine encounters; eventually they admit to being truly in love and she decides to join him in his move to New York City. But Holman falls ill and nearly loses his contract position at the University when he tries to kill a student demonstrator whom he wrongly suspects of being Emmy's lover. Emmy postpones her departure indefinitely, because Holman "needs" her more.
At the height of campus unrest over Vietnam, Brian Tate, the conventional, politically moderate, foreign policy professor at Corinth (clearly Ithaca), has an office affair with his blonde graduate student, Wendy, but only after the vapid flower-child has pursued him relentlessly for months. Brian’s wife, Erica, learns of his infidelity when she reads Wendy’s ungrammatical but explicit letter.
Miserable at home with their two shockingly difficult adolescent children, Erica is unemployed because Brian disapproves of her working. She confronts him; Wendy apologizes to her; Brian lies; Wendy is forced to have an abortion; Brian moves out; Wendy moves in; Erica grows thin and ages prematurely. She takes up with an old friend who has become a wan new-age ’guru,’ but he is often impotent.
Wendy becomes pregnant again, terrifying Brian into believing he must marry her. But she spares him this punishment by moving to a California commune with Ralph, who, unlike Brian, does not care about biological origin of her child. Hoping to return, Brian visits Erica; she is expecting him with wary resignation.
Christ stopped at Eboli, say the southern Italians, meaning that they are "not Christian," uncivilized, forgotten, and deprived. Physician, writer, and painter, Levi was arrested and 'exiled' from his home in Turin for opposing Fascism during the Abyssinian war (1935). This is the memoir of his life as a political prisoner under house arrest in a malaria-ridden village in Lucania (Basilicata).
The peasants immediately seek his advice for their ailments, but the two local doctors are jealous, as well as incompetent, and they have him stopped. Grinding poverty, illness, superstition, and despair work on each individual in different ways; but the peasants move with the cycle of seasons and religious festivals. The feast of the black Madonna (Chapter 12) and an unforgettable pig castration (Chapter 19) are vividly described. In the 'atmosphere permeated by divinities' (p. 151), the animal, human, and spiritual spheres combine (Chapters 8, 13, 15).
The closing chapters are a political meditation. Deprivation and isolation make the south an irrelevant and different country to the powerful middle class that runs the Fascist party. In return, Fascism finds no supporters here other than corrupt, petty officials. Levi contends that "the State" of any political stripe will never solve the problems of southern Italy until peasants are involved.
Written by a medical historian who is also a physician, The Breast Cancer Wars narrates how breast cancer diagnostic methods and treatments have developed from the early twentieth century. More significantly, the book describes the debates and controversies that permeated this evolution and the ways in which not only clinicians and researchers, but, increasingly, women patients/activists shaped how we view, diagnose, and treat breast cancer today.
Individual chapters explore the influential (and ultimately contested) radical mastectomy procedure of William Halsted, the development of the "war" against breast cancer as a full-blown campaign developed and conducted within the public media and consciousness of the United States as well as within medical practice and research, the intertwined development of feminism and breast cancer activism, the "fall" of the radical mastectomy, and the continuing controversies surrounding mammography and genetic testing as modes of early detection and risk assessment. Lerner draws on a range of primary sources including texts from the archives of the American Cancer Society, the papers of doctors and patients, and advertisements from popular and professional magazines throughout the century.
Summary:This is a portrait of the head and upper body of a woman who sits leaning back against her chair. The view is at an angle so that we see primarily the left side of her face. Her left eye seems to be looking vacantly into space while her right eye appears almost closed. Her mouth is slightly open--she seems to be smiling faintly but she looks weary.
This collection of poems chronicles moments of felt experience in the writer's life before and after her diagnosis of ovarian cancer. Starting with a memory of a carefree childhood lived in an era when streets were sanitized with DDT, and a poem entitled "The Body is the Repository of Memory," the poems move freely from close-ups of moments in the hospital or grieving at the waterside to wide-angle views of a life that has been and still is normal, worth living, pulsing, albeit a bit more irregularly, with creative energies.
Cumulatively the poems explore the paradox that illness (and a terminal prognosis) changes everything and also, but for the shadow it casts, changes very little. "Still," she writes in a final line, "my wild heart beats." The poems are interspersed with prose-poems that shift the focus toward the writer's reflections upon the project and circumstances of creating this "memory board"--a term borrowed from the Luba people of Africa, who bead boards that represent memories to pass on as visible legacies of lives they believe worthy of being remembered.
Unmarried, fifty-four year-old Virginia Miner (Vinnie), a professor at Corinth who specializes in children's literature, is off to London for another research trip. Her work has been trashed by a Professor L. Zimmern of Columbia and she is hoping to produce an important new book about playground rhymes that will restore her reputation and confidence.
A 'pro' at long flights, her serenity is ruffled by her seatmate, a garrulous married man, Chuck Mumpson, of Tulsa who wishes to chat. She puts him off with difficulty. But the smoking and drinking Chuck is persistent. He could use help with a research trip of his own to trace his family history. Vinnie slowly becomes involved with his project, and then with him.
Meanwhile, her young colleague, Fred Turner, has left his wife, Roo, at home for his own sabbatical; they have quarreled. Soon, he consoles himself with the affections of Lady Rosemary Hadley. Quite by accident and with the encouragement of Chuck, Vinnie becomes an emissary for Fred's estranged wife in an improbable midnight walk on Hampstead Heath.
Just as she begins to think Chuck's affections have cooled, because of his silence of several days duration, she is visited by his daughter who describes his sudden death while climbing the stairs of a small town hall. When her publisher patronizes his memory, she realizes with surprise that he loved her and she loved him. She returns to her life in Corinth, solitary and unloved, but altered for having loved and been loved.
Two scholars found and translated a personal narrative of a blind 22 year old, Thérèse-Adèle Husson, written in 1825 to the director of the Quinze-Vingts Hospital, an institution that provided permanent lodging and support for the blind in France. Husson hoped to be placed there. Subtitled "Reflections on the Physical and Moral Condition of the Blind," Husson writes about the gait, demeanor, table manners, touch, hearing, character, perceptions of the sun, moon, flowers, furniture and cloth, marriage considerations, and concludes with an education plan for the blind.
After "Reflections" Husson wrote 10 novels, including Story of a Pious Heiress; the editors have included this novel’s introduction, "Note on the Author’s Youth," which gives further autobiographical details. These two writings of Husson are framed by a thoughtful introduction by editors Weygard and Kudlick about the historical conditions of the blind in early 19th Century France, and an equally interesting and provocative concluding chapter about the manuscript, life, and world of Husson.
Summary:The poem depicts the vulnerability a woman may feel during this procedure, one that feels anything but routine. Even though the mammogram turns out predictably normal, the patient knows that she is changed. She has seen the fragile faults deep in her body, and she knows that no one, not even her doctor with his reassuring diagnosis, can "give innocence back."
Notes from the Delivery Room is a short poem that presents a series of metaphors commonly used to describe childbirth. It is a crisis, like the woman in a comic book tied to the railroad tracks; hard labor with physician as foreman; a harvest, like pulling potatoes from the earth; a magical event, like pulling a rabbit from a hat.
Throughout the poem, the reader feels the tension between these images, and the reality of bright lights, restraints, pain, and medical staff as they impinge upon an intensely personal experience. Finally the speaker abandons her metaphorical language and becomes simply herself, greeting her barefoot child. She and her child are finally human beings unencumbered by symbolism, not representing anything but themselves.