Showing 41 - 50 of 99 annotations tagged with the keyword "Euthanasia"
A doctor has become fascinated by mesmerism. He is curious to see what would happen to an individual put under hypnosis while dying. Would it stave off death? Would dying make hypnosis impossible? A friend agrees to be the subject of this experiment.
Seven months later, the doctor is called to the dying man’s bedside. As the patient’s breath and heartbeat slow, the doctor successfully hypnotizes him. The dying man feels no pain and responds to questions without rising from his trance. He asks the doctor not to wake him, but to let him die without pain. The next day, the patient’s eyes roll upward, his cheeks lose their color, and his mouth falls open. The man is apparently dead.
As they prepare him for burial, however, the tongue begins to vibrate and a minute later, answers the question the doctor put to the patient just before his death. "Yes; - no; - I have been sleeping - and now - now - I am dead," says the corpse. The amazed doctors leave the patient in exactly the same state for seven months. Finally, they resolve to wake him. As he begins to wake, the doctor asks what the patient’s wishes are. The dead man cries out that he is dead and must be awakened. The doctor wakes him and the corpse immediately falls apart into "a nearly liquid mass of loathsome - of detestable putridity."
Levertov structures this poem in many ways like a Biblical psalm: repetition, irregular rhythms, direct address. The poem is also reminiscent of a Catholic litany in which saints are invoked in repetitive phrases. It moves forward by piling particularity upon particularity. The movement of the first part of the poem corresponds to the process of aging, preparing to die, letting go of the world, a natural flow or rhythm. However, this natural process is aborted: "She did not die."
The second part of the poem invokes the unnatural state in which she "lies half-speechless, incontinent, / aching in body, wandering in mind . . ." and describes the tubes and sores. "She is not whole." While the psalmist praises "O Lord of mysteries" for the beauty of sudden death, she cries "how baffling, how clueless / is laggard death . . . ." Death "that steals / insignificant patches of flesh" is a mystery.
Faustus was born into lowly circumstances. He studies hard and masters all the knowledges known to man, but he is still dissatisfied. Faustus determines to study magic, the one knowledge that can break the limits of all others. He engages two master magicians to teach him. While he awaits their arrival, a good and an evil angel appear. The good angel urges him not to go through with his plans, but Faustus is determined. He learns quickly and for his first act calls up Mephistophilis, Satan’s messenger. Faustus is very pleased, thinking he has control over the forces of evil, but Mephistophilis says he only showed up because Faustus had rejected God. Faustus offers to give his soul to Lucifer if Mephistophilis will wait on him for twenty-four years. Lucifer agrees.
Faustus is not troubled by this pact because he does not believe in eternal life. With Mephistophilis’ help, Faustus makes a great career for himself. He amazes the Pope by becoming invisible and stealing things from his hands. He calls forth the spirit of Alexander the Great for the Emperor. As his twenty-four years draw to a close, he begins to fear Satan and nearly repents. Instead, he asks Mephistophilis to bring him Helen of Troy to be his lover in his final moments. Just before his end, he reveals to his fellow scholars how he gained his powers. He is then carried off by a group of devils.
In this first person narrative, Dr. Edward Haggard addresses his story to James, the son of his former lover Fanny Vaughn. Haggard, once a surgical registrar at a major hospital in London, has isolated himself in a coastal town, where he serves as a general practitioner. The "present" of Dr. Haggard’s story is the early stages of World War II, when James Vaughn, a Royal Air Force pilot, lies dying in Edward Haggard’s arms.
The story’s "past" has multiple dimensions. The outermost, framing story recounts the relationship between James and Edward that began several months before the war and a year or so following Fanny Vaughn’s death from kidney disease. James sought out the reclusive Dr. Haggard to discover the "truth" about Haggard’s relationship with his mother.
The inner story consists of Haggard’s description of his reckless and passionate love affair with Fanny, an ultimately hopeless liaison between a young registrar and the wife of the hospital’s senior pathologist. Their few brief months of happiness ended when Dr. Vaughn learned of the affair, and Fanny made the realistic choice to remain with her husband and adolescent son. In a confrontation between the two men, Vaughn knocked Haggard to the floor, causing a leg injury that resulted in chronic pain and permanent disability.
Haggard resigned from the hospital and withdrew to a solitary life, in which "Spike" (the name he gives to his deformed and painful leg) is his only companion. He must constantly "feed" Spike with intravenous morphine to quell the emotional, as well as physical, pain. The situation only worsens when Haggard learns of Fanny’s death from kidney failure.
The obsession worsens further still after James Vaughn shows up at his door. As Haggard treats the young pilot for a minor wound (he has become the local RAF surgeon), he notices that James has a feminized body habitus--gynecomastia, lack of body hair, broad hips, narrow shoulders, and pre-pubertal penis. He interprets this as "a pituitary disorder" and attempts to convince James that he needs treatment. James is repulsed by these advances, which eventually escalate.
This remarkable book takes the reader into a Dutch nursing home where many of the 300 patients are terminally ill. The main protagonist is Anton, a competent, tough, and compassionate physician who tries to discover some meaning in the suffering of his patients, while at the same time disavowing any such meaning. Anton’s colleagues include Jaarsma, a somewhat detached and bureaucratic older physician, and Van Gooyer, a young physician who still believes that science has all the answers.
The first-person narrative consists of short, punchy segments (almost like an endless series of discrete physician-patient interactions) detailing the stories of Anton’s patients and his reactions to them. Many of these persons request assisted suicide or euthanasia. Anton reveals what he feels about these requests, how he goes about judging their validity, and the manner in which he actually carries out assisted deaths. A strong spiritual theme permeates the book; while Anton denies the relevance of God and religion, he seems constantly to be searching for a spirituality that "makes sense" of contemporary life.
A man dying of pancreatic cancer has reached the point where the pain is no longer controlled by morphine. In the hospital he begs for death. The surgeon tells his wife, "To give him any more would kill him." "Then do it," she says.
He returns with three syringes of morphine and finally injects them, but the man will not die. How easy it would be to suffocate him! But the surgeon rejects this thought and leaves the room, having failed to provide euthanasia.
Summary:The poet C. K. Williams enters the room where his father has just died and exclaims to the corpse, "What a war we had!" (p. 1) Soon thereafter, his mother comes into the room and quietly lies down beside her dead husband, their bodies close but not touching. Thus begins Williams's memoir about his parents' deaths and his grieving. In the process of working through his grief, the poet finally comes to "see" his parents and to understand the nature of his feelings toward them and their feelings toward each other.
A holocaust memoir, this is the painfully honest and unsentimental account of one physician's experience in the Warsaw Ghetto. The author, who was a Jewish medical student of 22 when Germany invaded Poland, remained from 1940 through most of 1943, serving as caretaker of sick or orphaned children in a ghetto hospital. During this time, she tells the reader, she made some decisions she has never been able to fully reconcile-- such as to perform multiple acts of euthanasia involving adults as well as children when the waves of slaughter and deportation increased in brutality and frequency.
Eventually, the writer joined the active resistance and was a part of the movement which ended with the complete razing of the Warsaw Ghetto in 1944. After the liberation of Poland, Blady Szwajger resumed her interrupted career in pediatric chest diseases. Only after 45 years did she choose to write of her experiences and, in her introduction, she articulates her reasons for remaining silent and for her ultimate decision to speak out.
Thirty-one-year-old waitress and aspiring (but inexperienced) boxer Maggie Fitzgerald (Hilary Swank) tries to get aging trainer-coach Frankie Dunn (Clint Eastwood) to take her on, but where Maggie is unstoppably optimistic, Frankie is worn out, even burned out, and he repeatedly refuses. The two are brought together by Frankie's assistant, ex-fighter Eddie "Scrap-Iron" Dupris (Morgan Freeman). Freeman, whom the other characters call Scrap, narrates the film.
Maggie and Frankie have their ups and down, but Maggie rapidly becomes a formidable boxer, a great favorite with fans. Eventually she finds herself in the ring as challenger for the world welterweight title. The unscrupulous defender delivers an illegal punch to Maggie, resulting in a fall that leaves her paralyzed below the neck.
At this point the story turns from boxing to Maggie's injury, which is incurable and worsening because she is bedridden. After Maggie loses a leg to bed sores, she tells Frankie that she doesn't want to go on, and she asks him to put her out of her misery. Short as her career has been, she has known success and happiness beyond the dreams of her dirt-poor upbringing, and she wants to leave life while she can still remember those good things.
Frankie, a serious Catholic, has religious qualms. His priest tells him not to get involved. From his own point of view, Frankie has come to feel attached to Maggie, and at first he steadfastly refuses Maggie's request. Maggie, unable to act in any other way, bites her tongue violently in an attempt to bleed herself to death. After witnessing her agony, Frankie tells the priest that keeping Maggie close to him--in other words, not killing her--has come to feel like a sin. He then acts to rid himself of that sin. He covertly removes her air supply and then injects her with adrenalin. Frankie does not return to his gym, vanishing without a word.
The physician-narrator recounts two unsettling house calls made three decades earlier when he began his medical practice in a remote part of Virginia. The doctor is asked to see Alan Jordan at the request of his wife, Judith. They live with their son and three elderly female relatives in a deteriorating house on a secluded estate known as Jordan's End. The Jordan clan is notorious for marrying their own relatives, but Alan wedded someone outside the family.
Judith is beautiful, and in the doctor's eyes, ethereal. Alan's infirmity began 3 years ago with brooding and melancholy but has now progressed to episodes of withdrawal alternating with agitation. A renowned psychiatrist from Baltimore evaluates Alan, deems his condition incurable, and recommends institutionalization.
Mental illness and insanity--the result of heredity and inbreeding--seem to affect all the Jordan men. Alan's grandfather and two uncles are in an asylum. His father died in one. After the narrator examines Alan, he gives Judith a bottle of opiate medication to help ease her husband's restlessness.
The doctor is soon called back to Jordan's End. He finds Alan's dead body in bed covered by a linen sheet and notices that the full bottle of medicine he left only two nights previously is now empty. The doctor cannot decide whether or not Judith has killed her husband nor does he really want to know.