Showing 371 - 380 of 501 annotations tagged with the keyword "Women's Health"
At the age of 37, artist/photographer (and former model), Matuschka, was diagnosed with breast cancer. While her most famous response to the disease was her startling photograph on the cover of The New York Times Magazine revealing the results of mastectomy, her political activism surrounding breast cancer took many forms. (The photograph can be viewed at a Web site, Matuschka Archives )
Not only did she have a disease to confront, she felt she had the responsibility to "take on the establishment." She wrote, "My extensive research and understanding of how cancer works and how breast cancer therapies don’t--in addition to my medical nightmare with my doctor (I was first underdiagnosed, then overtreated)--I felt I had other messages to convey."
Thus, her essay describes her ongoing project: not hiding or concealing the condition, but becoming sexy and strong as a result; and reaching middle America with her images to promote breast cancer awareness, education, treatment, and prevention. Artistically and politically, she was determined to project images of women after surgery as whole people with a scar, not the decapitated torsos of medical illustration and other media that give "too much weight to the ’deformity’ that accompanies breast cancer surgery."
The essay chronicles the difficulties she had in finding sites for publication of her work, including her photo/biography, Beauty Out of Damage, and the continuing harsh criticism that she receives, much of it from "mastectomy women." In turn, she continues her harsh criticism against what she calls "backlash in the breast cancer movement," such as mixing political action with consumerism (e.g. Ralph Lauren’s "Target Breast Cancer" t-shirts that put targets on women), or mixing modeling with breast cancer activism (Cindy Crawford modeling the t-shirt rather than women who have had breast cancer modeling the shirt), among many other examples.
Her closing lines summarize the intent of her activism: "to inspire others to become involved in revolutionizing the medical profession, particularly in regard to women’s cancers. After seeing the film of my mastectomy operation, my only reply was, ’No one should ever have to go through this.’"
In fourteenth century France, a 15 year old virgin, Blanche, levitates in church and nine months later gives birth to a daughter named Bonne. When Bonne is only 12 years old, Blanche is burned alive along with other "sinners" in a church. Bonne becomes a professional breast-feeder or "wet nurse." Her breast milk never stops flowing and seems to have restorative powers.
She finds herself catapulted from outcast to saint despite a series of catastrophes. When her town of Villeneuve is under siege and starving, she breast feeds not just children but many of the townspeople as well, asking only to listen to the individual's life story in exchange for her milk. Bonne's fate becomes deeply entangled with the lives of three friends: Godfridus (a chaste sculptor who goes mad), Hercules Legrand (a dwarf), and Radegonde Putemonnoie (a wealthy pregnant widow who hires Bonne).
In July 1998 the poet Maxine Kumin was thrown from her carriage when her horse bolted during a competition. The type of cervical (C1-C2) fracture that she sustained is fatal before reaching the hospital in 95% of cases, and if survived, usually results in quadriplegia. This book is a memoir written in the form of a journal that begins on the day of the accident. In fact, it was nearly a month after the accident that the poet's daughter brought writing materials to the rehab hospital, and Maxine began to dictate the journal, and the two of them filled in the temporal gaps.
The journal covers her experience in the acute care hospital, the rehab facility, and the following months of convalescence at home. It ends on April 23, 1999, when Maxine climbs a hill (unassisted) near her Vermont home, looks out over the early spring vista, and concludes, "I am letting myself believe I will heal."
The journal describes the poet's physical, emotional, and spiritual experiences as she struggles, first to survive, and then to live with the "halo vest" that for months she had to wear to stabilize her fractured neck bones, and finally to regain her function and equilibrium. Much of the story is about her family--husband, son, and daughters--who mobilize from various points around the world to support her. Comments about her doctors and the medical care she received constitute only a small, at times almost incidental, part of this narrative.
This monumental portrait of the 17th century knight, Sir Richard Saltonstall, and his family was commissioned for the Saltonstall family home. The wealth of the family is indicated by intricate tapestries, a woven rug, jewels, and the rich fabrics of clothing and curtains. Absent from the picture is any religious iconography.
Saltonstall stands left of center and draws back the rich red curtain on the deathbed of his first wife. With his ungloved right hand he holds the hand of his eldest child, a son. This son is still young enough to wear a dress, but his coloring and the dress style indicate a boy. He in turn holds the arm of his younger sister, so that a diagonal line is formed from the father's hat, down his arm and through the two children.
The pale dead mother lies all in white, her eyes open, and her upturned hand reaching towards her children. On the right side of the picture sits Saltonstall's second wife, and she holds her baby on her lap. She also is dressed in white and is separated from her husband by the first wife. In addition, the diagonal line between Saltonstall's left hand and his baby is interrupted by his dead wife. However, he does gaze in the direction of his second wife, although no one in the portrait looks directly at another person.
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.
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.
A young doctor, recently assigned to a country hospital, is fraught with anxiety, especially over his lack of experience with obstetrical problems. One night the midwives call him; a woman is having a difficult labor. The fetus is presenting in a transverse position. The doctor must reach internally and “turn it around by the foot,” as Anna Nikolaevna, the seasoned midwife, reminds him.
The doctor has never performed this procedure. He buys time by going back to his room to consult the textbook (under the pretext of going for cigarettes). Finally, he can't avoid it any longer. He performs the rotation. It works! Both mother and baby are saved.
In the second volume of her trilogy of memoirs (which begins with American Girl and ends with Speaking with Strangers), Mary Cantwell, a former fashion magazine editor and writer, describes her marriage, the birth of her two daughters, her career advancements, and her divorce, with Manhattan in the 1950s as the backdrop.
Summary:The narrator describes a housecall to a woman in labor. It is past midnight in winter time when the road is frozen. The doctor enters the house where the "great woman" is in misery; she is "sick," "perhaps vomiting," about to give birth to her tenth child. He exclaims to the reader "Joy! Joy!" knowing that the situation is as bleak as the wintry landscape, and, in fact, joyless. He will offer compassion and "pick the hair from her eyes."