Showing 361 - 370 of 510 annotations tagged with the keyword "Hospitalization"
This is a rich and diverse anthology of poetry and of prose extracts, both fictional and non-fictional, about becoming a parent. It is organized into three chronological sections: "First Stirrings," about becoming and being pregnant (or of having a pregnant partner: the father’s perspective is refreshingly well-represented throughout), "The Welcoming," about labor and birth, and bringing home the newborn, and "Now That I am Forever With Child," about being the parent of an infant.
Each section contains a cross-section of views, from, for instance, Elizabeth Spires’s languid letter to the fetus inside her to Rosemary Bray’s candid account of her ambivalence about being pregnant; from Julianna Baggott’s thoughts on the Madonna and child, and A. S. (Antonia Susan) Byatt ’s rather frightening description of giving birth in a British hospital in the 1960s, to Hunt Hawkins’s sad poem about holding his dying newborn daughter; and from Jesse Green’s memoir as a gay parent adopting a son to Kate Daniels’s prayer for her children.
The anthology ends with the powerful poem by Audre Lorde that gives its title to the book’s last section. Lorde encapsulates the astonishing change of focus and identity at the heart of becoming a parent.
Summary:A patient expresses his anger and frustration with the physicians who are treating him. A recovering alcoholic, he feels particularly sensitive to what he perceives as the doctors' self-righteousness, and imagines how he would get even with them.
Lance Armstrong, (currently) four time Tour de France cycling champion, is a survivor of metastatic testicular cancer. This book is largely the story of how his life changed from the moment of his diagnosis (October 2, 1996) onwards. He had been a world class cyclist prior to cancer, but his experience with cancer gave him profound insight not only into his life as a cyclist and competitor, but into life itself.
It is this latter insight which he recognizes as ultimately the most important aspect of his cancer experience. Armstrong notes: "Odd as it sounds, I would rather have the title of cancer survivor than winner of the Tour, because of what it has done for me as a human being, a man, a husband, a son, and a father." (p. 259)
Written in a conversational, straightforward tone, the book chronicles Armstrong's childhood in Texas as the son of a strong, loving, supportive, financially struggling, young mother; his beatings at the hands of a step-father; and his early excellence at endurance athletics. Armstrong became a brash powerhouse cyclist and began to enjoy the material rewards of winning while ignoring the onset of symptoms. At the time of diagnosis, the cancer had spread to his abdomen, lungs and brain.
He documents his search for optimal care, sperm banking, lack of health insurance, surgeries, chemotherapy, self-education and interactions with doctors and nurses. Through it all he acknowledges the tremendous support of his mother and friends, as well as sponsors who stuck with him with no assurance that he would survive, let alone race.
Before he was even through the first year, he decided to start a charitable organization, The Lance Armstrong Foundation, dedicated to cancer research and support of cancer survivors. Through this effort he met his future wife, Kristin Richard (Kik), and her love and support helped him through the dark days of emotional soul-searching post-treatment. The book also details her struggles with successful in vitro fertilization (They currently have a son and twin daughters).
Chapter Nine, The Tour, is an in depth look at the 1999 Tour de France which Armstrong won with the help of his US Postal Service teammates, expert coaching, and his will. This race is brutal, dangerous, and as Armstrong notes, both "a contest of purposeless suffering" and "the most gallant athletic endeavor in the world." (p. 215) He details the maneuvering in the peloton, the strategies, the stages and personalities.
The book concludes with reflections on the birth of his son, the anniversary of his cancer diagnosis, the love of his wife, and his need to ride.
The story begins with the doctor-narrator unobtrusively observing an older man lying in a hospital bed. The patient is blind and has amputations of both legs. (We are given no medical details that cannot be observed in the room.) The narrator tends to the man's amputation wounds and answers a few simple questions. The man requests a pair of shoes.
Back in the corridor, a nurse tells the doctor that the patient refuses his food, throwing his china plate against the wall of his room. The narrator hears the man and a nurse argue briefly about food and then, by himself, watches as the patient carefully and powerfully throws another dish against the wall. The next day the doctor discovers that the patient has died.
It is evening; the shades are drawn; the sanitarium is quiet. Inside, the inmates knit and play chess. "The period of the wildest weeping, the fiercest delusion, is over. Inside, everyone has quieted down; even "the manic-depressive girl / is leveling off." There has been a certain amount of improvement. The poet salutes the fortunate ones; for example, the older wife "who has been cured of feeling unwanted" and will soon be home, feeling "as normal and selfish and heartless as anyone else." There is so much to be happy about. Soon the drunks will be cured, and all the cats will be happy. And so, as we leave this scene, "Miss R looks at the mantelpiece, which must mean something." [35 lines]
The poem begins, "I'm mighty glad to see you, Mrs. Curtis." The speaker is a woman who is dying of leukemia and Mrs. Curtis is the lady who comes around periodically with the book-cart, offering patients something to read. While the other patients are celebrating the holiday with family or friends, the speaker, who has no visitors, feels conspicuous and lonely. Thus, she is grateful for Mrs. Curtis' regular visit, especially since the book-cart lady appears willing to sit down and listen.
The patient's father is afraid to visit, since he knows "that I will predecease him / which is hard enough." Chemotherapy hasn't helped. The leukemia makes her so fatigued that she doesn't even feel like reading. So instead, she sits by the window and looks at the trees. Since the leaves have fallen, the trees look like "magnificent enlargements / Of the vascular system of the human brain."
The patient has given names to these "discarnate minds." For example, "there, near the path, / Is the great brain of Beethoven, and Kepler / Haunts the wide spaces of that mountain ash." These trees remind her of "The Transparent Man," a toy one of her friends had when they were girls. "It was made of plastic, with different colored organs, / And the circulatory system all mapped out / In rivers of red and blue." At the time she and her friend giggled, but now she remembers the intricacy with amazement, and stares at the riddle of the trees.
The dying patient decides not to take one of the books, but thanks Mrs. Curtis again for coming. [120 lines]
In this collection of 11 short stories, pediatrician-author Perri Klass primarily explores the world of women and their multiple and complex roles as mother, mother-to-be, friend, spouse, lover and professional. Parenthood--its glories, heartaches, tensions and mysteries--plays a prominent role in many of the stories. There is also a close look at woman-woman friendship--at what women say to their best friends and the nuances of the emotional responses to what is said or left unsaid.
Several stories feature single mothers: "For Women Everywhere" (a woman is helped through labor by her best friend), "Rainbow Mama" (a woman cares for her son during his diagnosis and initial treatment of leukemia), and "City Sidewalks" (a woman finds a baby on the sidewalk on Christmas Eve as she rushes to pick up her child from day care).
"In Necessary Risks," an anesthesiologist deals with work and her high energy preschool daughter while husband and easy-to-raise son head out to a dude ranch. In "The Trouble with Sophie," another high energy, dominant daughter wreaks havoc in kindergarten as well as with her concerned parents. In addition to the anesthesiologist, two other physician-mothers are featured in "Freedom Fighter" and "Love and Modern Medicine."
Parenting a newborn whilst handling other tasks is a theme featured in "Intimacy" (a high school biology teacher celebrates her first night of uninterrupted sleep as she both enjoys and envies her single friend's sex life) and in "Dedication" (a writer takes his stepson to a chess tournament while his biologist wife and newborn enjoy breastfeeding at home). Woman friendships are prominent in "For Women Everywhere," "Freedom Fighter," and "The Province of the Bearded Fathers." Grief and sudden infant death syndrome are themes of "Love and Modern Medicine."
Summary:A short poem in which the speaker enters the X-ray room, braces herself against the cold, lies "suspended in icy silence." She looks at herself from a distance, feeling free, "Even though I'm not, now / Or ever . . . . " She feels the "metal teeth of death bite" but they reject her "One more time" and she returns to the everyday reality of being a sick person lying in a cold X-ray room.
Summary:This splendid poem describes the writer's image of his own death in a very matter-of-fact and conversational style. If he's lucky, he tells us, he'll die in the hospital, surrounded by machines and loved ones. His friends will be there to give him support; he'll be able to tell them how much he loves them. If he's unlucky, however, "as I deserve," he'll just drop dead and not have a chance to say farewell properly. But, whatever happens, he just wants to say "I was happy when I was here . . . . "
The story takes place in the winter at Einfried, a sanatorium directed by Dr. Leander, a physician "whom science has cooled and hardened and filled with silent, forbearing pessimism." A young married woman (Frau Kloterjahn) arrives as a patient. Her husband denies the seriousness of her illness by calling it merely "a problem of the trachea." In reality, Frau Kloterjahn, who had recently given birth to a healthy son, is dying of consumption.
A not-so-sick novelist (Detlev Spinell) also lives in the sanatorium, and he quickly develops a romantic obsession with the new patient. One day most of the residents go for a sleigh ride, but Spinell and Frau Kloterjahn remain indoors. He cajoles her to play the piano for him, which has been forbidden. Picking up a score from "Tristan und Isolde," Frau Kloterjahn plays beautifully until exhausted. When her death becomes imminent, Herr Kloterjahn returns to her bedside. At this point Spinell writes Kloterjahn an excoriating letter, saying (in essence) that the man is an insensitive slob who doesn't understand his own wife.