Showing 41 - 50 of 1121 annotations tagged with the keyword "Human Worth"

Anatomy Lesson

Coulehan, Jack

Last Updated: Oct-06-2015
Annotated by:
Aull, Felice
Chen, Irene

Primary Category: Literature / Poetry — Secondary Category: Literature / Poetry

Genre: Poetry

Summary:

This poem describes how, during the anatomy lesson, the medical student feels curiosity about the wonders of the human body. He is torn between his desire for knowledge and the horror he feels in cutting up a dead body: "the violence of abomination." This marks a transitional point in the student’s medical career path.

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Technology and Medicine

Campo, Rafael

Last Updated: Oct-06-2015
Annotated by:
Coulehan, Jack

Primary Category: Literature / Poetry

Genre: Poetry

Summary:

A short (13 line) poem in which the poet-as-doctor describes his "transformation" from flesh-and-blood person into a machine in which "My hands are hypodermic needles, touch / Turned into blood . . . ." This doctoring-machine desires "a kind of intimacy / That won't bear pondering." For example, his mouth turns into "a dry computer chip" that cannot touch or feel or even say consoling words.

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Annotated by:
Coulehan, Jack

Primary Category: Literature / Poetry

Genre: Poetry

Summary:

The subtitle of this collection is "A Voyage to the New World." In the first section, Campo begins his voyage to a new world of self-understanding by experimenting with the language of family, intimacy, healing, and magic. In "I Don’t Know What I Can’t Say, or, Genet on Keats," the poet writes: "There are two sides to life. The side where life / Remains unconsummated, reticent" and the other, which is "the act itself laid bare--a hand / Inside the lion’s mouth . . . . " Campo chooses the latter.In the next section, his voyage takes him through several connected series of 16-line sonnets; each of these series plumbs the depths of a different intimate relationship: Song for My Grandfather, for My Father, for My Lover, and for Our Son. Some of Campo’s finest poems are in this section, including (just a handful from the many) "Grandfather’s Will," "Anatomy Lesson," "Planning a Family," "My Father’s View of Poetry," "Translation," and "Political Poem."In the final section, Campo brings the insight of a seasoned voyager to his day-to-day life experience as a gay Latino physician: "To teach me my own life, to share my grief." ("Planning a Family," p. 49)

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The Distant Moon

Campo, Rafael

Last Updated: Oct-06-2015
Annotated by:
Coulehan, Jack

Primary Category: Literature / Poetry

Genre: Poetry

Summary:

A four-part poem that begins with glimpses of a man suffering the ravages of AIDS: "He stayed / Four months. He lost his sight to CMV." The man connects with his doctor through the stories he tells, but also through blood: "I'm drowning in his blood . . . . "The doctor at first tries to maintain distance from his patient ("I can't identify with him.") and even feels "residual guilts" when the patient says it's okay that "doctors could be queer." In the end, though, the healer has formed a bond with his patient. After the man dies, the doctor further identifies with him: "His breath, / I dreamed, had filled my lungs--his lips, my lips / Had touched."

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The Origin of Music

Abse, Dannie

Last Updated: Oct-06-2015
Annotated by:
Coulehan, Jack

Primary Category: Literature / Poetry

Genre: Poetry

Summary:

The speaker has taken "two small femurs of a baby" from the Pathology Laboratory. He keeps them in his pockets. Whenever someone tells him a tale of grief ("woeful, intimate news"), the speaker takes the femurs from his pockets "and play[s] them like castanets."

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Towards Curing AIDS

Campo, Rafael

Last Updated: Oct-05-2015
Annotated by:
Coulehan, Jack

Primary Category: Literature / Poetry

Genre: Poetry

Summary:

A patient is dying of AIDS. The physician-speaker repositions a drain in the patient's wound, taking care "to slap on latex gloves" before he does so. Another physician, "a hypocrite / Across the room complains that it's her right / To walk away . . . ." She acknowledges no obligation as a physician to care for this patient. Does she think it is too risky? What kind of risk? Might contact with this dying man somehow upset her ordered world and expose her vulnerability? Of course, nothing she could do "Could save him now." Even the physician-speaker must leave the patient "pleading" and continue with his other work: "There's too much to do."

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Carnal Knowledge

Abse, Dannie

Last Updated: Oct-05-2015
Annotated by:
Coulehan, Jack

Primary Category: Literature / Poetry

Genre: Poetry

Summary:

In the first part of this four part poem, the medical student climbs “stone-murky steps” to the Dissecting Room, as London is being bombed during World War II. In the second part, the student asks his cadaver, “Who are you?” Probing deeply, cutting the meat, the student concludes that the cadaver was never really a person, the right hand “never held, surely, another hand in greeting / or tenderness . . . . ” In the next part it becomes clear that because of the student’s flip attitude, he hadn’t been invited by the hospital priest to the memorial service for cadavers.Finally, the speaker (now for many years a physician) reflects again on his old question about the cadaver’s identity. He realizes that the cadaver’s name is the name on every gravestone, that his figure is the figure on every human portrait, “always in disguise.” At the end, the physician goes on with his daily activities, climbing the stairs to his bedroom and winding his clock.

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A Dublin Student Doctor

Taylor, Patrick

Last Updated: Aug-14-2015
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

In 1965, Dr Fingal Flaherty O’Reilly is traveling in his car with nurse Kitty when they come across a road accident and stop to help. The incident leads to reminiscing about his final years of medical training in Dublin hospitals in the 1930s.

Fingal has just returned from a stint in the navy. His student cohort includes a steady chum, a respected, brilliant woman, and a narcissistic pest–-all rather familiar tropes, comfortably portrayed. A picture of a hospital-based education emerges through teachers both kindly and rigid, a crusty head nurse who turns out to be a good soul, and a lovely student nurse, Kitty. Fingal’s professorial father disapproves of his son’s choice of a medical career and on his infrequent visits home, their relationship is tense.

Attractive to medical student readers are the clinical stories, the diagnostic dilemmas, and the stress of examinations. Social factors, such as poverty, unemployment, and discrimination, are intimately connected to the health of Fingal’s patients both as causes and results. His concern for his patients and those aspects of their lives earn him the respect of the head nurse and her student
.   

This story set in two time periods is partly a prequel to some of Taylor’s other tales, such as An Irish Country Doctor.

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Doctor Death

Kaaberbøl, Lene

Last Updated: Aug-07-2015
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

In 1894 France, Madeleine Karno hopes to follow in her father’s footsteps as a pathologist. She is passionate about medicine and especially about science and how it can help the dead 'speak.' When a young girl is found lifeless outside her own home, the autopsy can find no evidence of murder; however, the discovery of tiny mites in her nostrils leads Madeleine and her father on a lengthy investigation involving the girl’s family, a priest, abused children, and a convent school that has a three-hundred year tradition of keeping wolves.

By the end, the story is littered with corpses, each needing careful pathological inspection. Madeleine is chillingly threatened, but she lives and justice prevails.  

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On the Move: A Life

Sacks, Oliver

Last Updated: Jun-22-2015

Primary Category: Literature / Nonfiction

Genre: Autobiography

Summary:

On the Move:  A Life describes the extraordinary life of Oliver Sacks from his childhood during World War II to shortly before its 2015 publication.  Using his journals (“nearly a thousand,” he writes), correspondence, and memories—as well as his 14 or so books—Sacks has given himself free rein to describe and analyze his long, productive, and unusual life.

A dozen chapter headings nominally corral his wide variety of interests, adventures, and travels, including his medical career, his homosexuality, and diverse writing projects.

Sacks came from an English medical family, including some observant Jews, but not him. As a youth he loved (prophetically) writing and chemistry. He rode motorcycles then and for many years to come. He did poorly on his Oxford practical anatomy exam but immediately (and drunk on hard cider) sat for a competitive essay on anatomy and won a large prize.  Later, he was warned away from bench science and focused successfully on patient care, patient narratives, and personal essays of many sorts, including A Leg To Stand On, the account of his injured leg and recovery.

Sacks left England for Canada, then the US.  He quotes from some of the journals about his travels. In LA, he worked out at Muscle Beach (setting a California squat record) and did drugs, including amphetamines. A shy man, he thought of himself as Doppelganger: Dr. Sacks by day, a black-garbed biker by night. 

Fascinated by vision and photography, Sacks includes 58 photos from the ’50s to 2006; some black and white, some in color.  These are printed together on slick paper and well illustrate his text.   

Neurology training concluded, Sacks served various institutions in New York but read widely, ever eager to find theories of brain chemistry, anatomy, perception, behavior, and more. As readers of his books know, he enjoyed using his own interests in drugs, music, and travel, as well as personal medical experiences such as his injured leg and his lack of facial recognition. He describes his meetings with patients with unusual dilemmas: the postencephalics of Awakenings, as well as people with Tourette’s syndrome, deafness, colorblindness, autism, or migraines. He became fascinated—obsessed, one might say—with these and wrote so voluminously that cuts had to be made from his huge manuscripts to yield books.

Sacks describes interaction with editors, film crews, playwrights and others wishing to collaborate. His audiences grew as he became an intermediary to the non-medical public. We read about Peter Brook, W. H. Auden, Jonathan Miller, Bob Silvers (New York Review of Books), the cartoonist Al Capp (a cousin), Abba Eban (another cousin), Stephen Jay Gould, Temple Grandin, Francis Crick, and others. One striking passage describes taking Robert DeNiro and Robin Williams to see locked-in patients in preparation for the film version of Awakenings.

In his 70s, his robust health faded. He had a melanoma in his right eye, with more than three years of treatment before it became blind. Being Sacks, he observed interesting phenomena as his vision changed, “a fertile ground of enquiry” (p. 376). His left knee was replaced. He had sciatica.   

He fell in love again after 35 years of celibacy; he dedicates his book to his partner Billy Hayes.

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