Showing 401 - 410 of 490 annotations tagged with the keyword "Women's Health"
The first-person narrative of Catherine who is desperate for her seemingly indifferent mother’s love. Raised from infancy by grandparents following her parents’ divorce, Catherine seeks her indifferent but devout mother’s affection by emulating her saintly namesake. She mortifies her flesh in the pursuit of thinness based on an ideal of purity as self-denial and on her mother’s esthetic expectations.
The obsessive behavior extends from anorexia to willful insomnia and severe illness. At college she recovers by discovery of a happier, more direct faith. The essay begins and ends in the narrator’s later life, as she contemplates her own revulsion and pain in caring for her mother who lies dying of breast cancer.
When six fifty-year-old women gather for an annual reunion they've come laughingly to call "Camp Men-o-pause,” at an idyllic midwestern lakeside bed-and-breakfast they face a bewildering and sorrowful difficulty unprecedented in their many years of friendship since college: Micky, in many ways a leader and intellectual bright light among them, has been diagnosed with early Alzheimer's disease. She is present and functioning, but has bouts of confusion and memory loss.
She knows a great deal about her own condition and has shared it with the others. Only with one other, Jan, has she shared her desire to be helped to commit suicide when she becomes seriously incompetent, and, enjoined to secrecy, Jan has to bear the burden alone of deciding whether to make Micky that promise.
The story chronicles the week the women spend together, their various thoughts and conversations about their lives, and the ways in which Micky's disease leads them all to reframe their feelings about friendship, loyalty, aging, and medical options. Much about the week is bittersweet; the story ends inconclusively as Jan is unwilling to promise to help Micky die, but all come to some sobering understandings about what it might mean to "see their friend through” a gradual leavetaking that may erase them all from her memory.
The story covers the months from early diagnosis of a retinal disorder through stages of treatment and loss of vision to a six-month stay at a residential facility to train the newly blind in life skills, including Braille. Sally Hobart was a 24-year-old elementary school teacher when she began suddenly and rapidly to lose her vision.
In the months that followed, she went through several surgeries and other treatments that are sometimes successful in restoring vision, but all efforts failed. She was left with very cloudy partial vision--only enough to distinguish colors, light and dark in the lower half of the vision field.
She tells about the fear, the frustrations of partial information and false hope, the tension between herself and her fiancé (they finally called off the engagement), the support (and also confusion and pain) of friends and family, and the emotional adaptation to a whole new life while learning to become independent as a blind person.
The 18 poems in this chapbook (26 pages) focus on caring relationships, especially between nurse and patient. In "Standing There" the poet admits that "our history isn't an album of healers." There is little to be triumphant about in the world of nursing and medicine: "Our story is how we did not break / and run--no matter how close / the lightning gouged." In "Blue Lace Socks" she evokes a nurse beside the bed of a dying child, "listening for the whisper of her blood pressure."
"Butterfly," a poem about caring for young men with AIDS, is characterized by honesty and sensitivity: "They cough as I enter their room, / and something in me stiffens." Yet, the nurse is able to close the gap between herself and the patients and demonstrate her care: "they are migrating back to the cocoon, / the place where brown masks / protect the unbeautiful." Some of the other poems deal just as sensitively with the explosive topics of childhood sexual abuse ("Taste of Tin") and rape ("This Red Oozing"). Blue Lace Socks", Butterfly, and This Red Oozing have been annotated in this database.
In my dreams, now, in my re-imaginings, I leap away as easily as a deer, and with as little hesitation. My spandex-covered legs scissor the ditch, and my feet ride the ground instinctively. My brown hair sways as I dart off into the forest . . . In real life, I got into the truck. (p.25)
A young woman retells the story of her rape--to herself, to the reader, and to a therapist who possesses "no startling answers--just a quiet ability to receive and transmute pain." The art of transcending pain through communication is at the heart of this story. The narrator survives by talking to her rapist and challenging his human core, by revealing everything to caregivers, by allowing herself to replay and dissect the details of this trauma.
The editor of this volume has pulled together a collection of essays directed toward the history of women as healers. The essays are divided into two groups--the first dealing with women healers in the medieval and renaissance periods of Europe, and the second addressing the emergence of professionalism, beginning with an essay on women physicians in ancient Greece, Rome and the Byzantine Empire and moving quickly to nineteenth-century Russia, Germany, England, Australia and America.
The subject matter of each essay reflects the period covered. Most use definitive examples of individual women healers who were either unusually effective or who reflect the struggles women had with the existing local social or medical hierarchy in gaining the opportunity to train for or practice their chosen profession.
This psychobiographical reading of Katherine Mansfield's stories links the fiction to particular traumas in Mansfield's life and speculates about the various motives at work in her use of personal pain as material for fiction. Each of seven chapters is focused upon a key event in Mansfield's life, including, for instance, the death of her younger sister, maternal rejection, venereal disease, and abortion.
Burgan draws widely upon psychological theory, including allusions to Freud, Breuer, Erikson, Horney and others. She also comments on Mansfield's own extensive writing about her own fiction including material from letters and journals that vex the question of how, whether, and to what extent to read the stories in light of the biographical backdrop.
Most of the thirteen stories in this collection portray interactions among pension guests in a German spa town; a few represent the lives of the town's permanent residents. The minor health problems (mostly digestive ailments, or unspecified "internal complaints") of the guests are not the crux of the plot but rather what gives it its texture. Talk about eating, "internal complaints," sexuality, body image, and pregnancy is the vehicle through which people try to relate.
Most of the stories are about failed communications: between men and women, for example, or between German and English people. Several stories are narrated in the first person by a young Englishwoman whose bodily and marital status (ill? pregnant? married or not?) are pointedly ambiguous.
Two stories represent childbirth from "outsider" perspectives. In "At Lehman's," a virginal serving girl sees her mistress's pregnancy as an "ugly, ugly, ugly" state; later, her sexual explorations with a young man are interrupted by her mistress's screams in labor. In "A Birthday," a man waiting for his wife to give birth focuses on his own suffering rather than hers. "The Child-Who-Was-Tired" follows a child-servant through a day of repeated abuses to body and spirit that culminates in infanticide.
As Joanne Trautmann Banks indicates in the Foreword of this fine anthology, "when we are sick, very sick, it is often the nurse who is closest to our bodies, minds, and souls." This experience of closeness to suffering is well-reflected in the poetry and prose of the 49 nurses whose work is collected here. While these writings vary widely in form and style, they focus almost exclusively on the nursing interaction; they are nurses' stories of patients and nurses' reflections on nursing. Two major themes pervade the book. One is the powerlessness of nurses in the face of illness and suffering. The other is their tough, unsentimental devotion to their patients and the profession.
Of the poetry, particularly fine pieces include: "Raiment" (Carol Brendsel); "Daffodil Days" (Celia Brown); Butterfly (Jeanne Bryner; see this database); "What the Nurse Likes" and The Body Flute (Cortney Davis); "Hospital Parking Garage" (Jeanne LeVasseur); and "Euthanasia" (Belle Waring). Among the excellent prose pieces are "Nighthawks" (Carolyn Barbier), a tale in the voice of a ventilator-dependent woman who has elected to discontinue treatment and die; "While His Life Went on Around Him" (Angela Kennedy); "Wisteria" (Leslie Nyman); "Where Are You Now, Ella Wade?" (Joyce Renwick); and "Bev Brown" (Sybil Smith).
This is a long poem, subtitled "A Poem for Three Voices," and originally written for radio broadcast. It consists of three intertwining interior monologues, contextualized by a dramatic setting: "A Maternity Ward and round about." The three women of the title are patients, and each describes a different experience.
The First Voice is a (presumably) married woman who gives birth and takes her baby home during the course of the poem. The Second, a secretary, has a miscarriage, not her first, and the Third, a college student, gives birth after an unwanted pregnancy, and gives the baby up for adoption.