Showing 41 - 50 of 565 annotations tagged with the keyword "Physician Experience"
Summary:In this collection (80 pages), Marc Straus speaks of the inadequacy of communication and knowledge in medicine; the pauses, the distance, the hesitations. You think you know what you are doing, "But no, they always ask the question / I never knew." ("The Log of Pi") "The question / might be so simple, so clear / that you’re unprepared to answer." ("Questions and Answers") Though words are in one way inadequate, the medical word carries great power: " . . . I knew that moment / I would say one word for her and nothing / would ever be the same again." (One Word, annotated in this database.)The poet comes to understand that he represents both sides of medicine, both the detached and distant Dr. Gold, and the warm and trustworthy Dr. Green. (See annotation of Dr. Gold & Dr. Green) Unfortunately, this knowledge only comes about after the patient has died ("Dr. Gold & Dr. Green, II"). We learn from experience, sometimes too late.
Summary:The speaker reflects that "life is sometimes reduced / to a single word . . . . " He remembers one incident at a bus stop, another interviewing a man "for a job in my lab." Then there was the time a woman "walked / into my office for one thing . . . . " He discovered a "fullness" in her neck and knew that the word he would say to her, the one word, would change her life: "nothing / would ever be the same again."
Summary:This fine collection of work by Audrey Shafer is subtitled "Poems by a Doctor/Mother." The book begins with a section containing poems of personal history and experience ("that I call home"), descends into the nether world of anesthesia ("not quite sleep"), and in the final section returns to the light with a new perspective on the texture and occurrences of ordinary life ("okay for re-entry").Among the more medically oriented poems, see especially "Spring," "Anesthesia," "Three Mothers," Monday Morning (see annotation in this database), "Gurney Tears," "Center Stage," and "Reading Leaves." "Don’t Start, Friend" takes up the topic of substance abuse among anesthesiologists (or physicians, in general).
Summary:The poet, an anesthesiologlist and mother, describes her early morning departure from home as she prepares to begin her professional day, leaving behind her little son and the physical and emotional warmth of their relationship. After arriving at work, she readies the operating suite for her first patient, taking pleasure in "the rote motions," noting that "all is bright pristine ordered."Having made the transition from home to work she tries to remember her son’s "just-awakened warmth." The poem ends with the arrival of her patient, who is naked and ready to be put to sleep (anesthetized), inverting the opening image of her sleepy, naked child and their leave-taking.
Summary:The author, an experienced surgeon, believes that we will be less frightened by the prospect of death if we understand it as a normal biologic process. He points out that 80 percent of deaths in this country now occur in hospitals and are therefore "sanitized," hidden from view, and from public comprehension. He describes the death process for six major killers: heart disease, stroke, AIDS, cancer, accidents/suicide, and Alzheimer's disease.But the power of the book is in its intensely personal depiction of these events and in the lessons which Nuland draws from his experiences. The message is twofold: very few will "die with dignity" so that (1) it behooves us to lead a productive LIFE of dignity, (2) physicians, patients, and families should behave appropriately to allow nature to take its course instead of treating death as the enemy to be staved off at any cost. Only then will it be possible for us to die in the "best" possible way--in relative comfort, in the company of those we love/who love us.
Summary:The author poetically describes the neurological deficits left by his patient’s third stroke. Her misshapen words are "small stones and loose particles of meaning "as he attempts to understand her. Her husband, however, states that "her gulps don’t make no sense," emphasizing his perception of the hopelessness of the situation.
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.
Summary:Many of these poems are confessional accounts of gay love and sexuality. Another group clearly draw on the author’s clinical experiences as a physician. A few poems (e.g. "For You All Beauty", "Her Final Show") mix those broad categories in talking about the care of AIDS patients.The 11 short poems under the sequence title "Ten Patients, and Another" are the most clinical. They mimic clinical presentations during rounds in several ways: individual poems under patient initials--Mrs. G, John Doe; opening lines with the patient’s age, race, and gender; even presenting complaints with hospital shorthand. For example, in "Kelly" Campo begins: "The patient is a twelve-year-old white female. / She’s gravida zero, no STD’s. / She’s never even had a pelvic. One / month nausea and vomiting. No change / in bowel habits. No fever, chills, malaise." But in this poem and others of the sequence, the clinical gradually turns to the personal: "Her pelvic was remarkable for scars / At six o’clock, no hymen visible, / Some uterine enlargement. Pregnancy / Tests positive times two. She says it was / Her dad. He’s sitting in the waiting room."The cumulative effect of the series is a kind of horror at hospital cases and how they get there: a three-year-old who’s ingested cocaine, a homeless man with eyelids frozen shut, one man beaten, another man shot, an abused wife, a suicide, a drug overdose. To feel empathy for these cases, and to turn them into poetry, Campo has practiced the art of medicine as a form of love.Campo also writes as a patient who has experienced a serious arm fracture and subsequent threat of cancer in the 16-poem sequence "Song Before Dying." This changes his perspective on care-giving, as he writes in "IX. The Very Self." " . . . more dying waits / Downstairs for me. I almost hear their groans. / Same hunger, bones. Same face we all consumed. / As I examine them, I find the tomb / Toward which they lead. I know it is my own."
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.
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)