Showing 411 - 420 of 621 annotations tagged with the keyword "Body Self-Image"
Henry Moss is a medical geneticist specializing in Hickman syndrome, a fictitious disease resembling progeria. Children with Hickman syndrome experience premature aging and invariably die before the age of twenty. The physician meets Thomas Benhamouda, a teenager who genetically has Hickman syndrome but astonishingly has no physical manifestations of the disease. Dr. Moss identifies a protein that "corrects" Hickman syndrome in the blood of Thomas and proceeds to synthesize it.
Dr. Moss violates medical ethics by administering the experimental enzyme to his favorite Hickman patient, William Durbin, a dying 14-year-old boy. It is a last-ditch effort to save William's life even though the substance has not been tested for safety or efficacy in human beings. Dr. Moss also injects himself with the enzyme. He realizes the tremendous potential the drug has not only in curing Hickman syndrome but also in extending longevity in normal individuals. He is well aware of the great financial rewards he might reap from his discovery.
After a series of injections, William's deteriorating health stabilizes and even improves but he dies in his home. Dr. Moss has failed to save the doomed boy but in the process of breaking the rules and risking his career has learned how to understand and appreciate his own life as well as reconnect with his family.
This long poem in 20 sections seeks to explore, dissect, and create a language for the experience of hemophilia. "Blood pools in a joint / The limb locks . . . " The poet first dissects words like "trans / fusion" and "hema / toma," and showers the reader with images (like splatters of blood?).
In section 5 he states his purpose in the familiar jargon of educational objectives and later, in section 10, he utilizes spacing and line breaks to convert standard admonitions into poetry; for example, "These child- / ren should / not / be / punished, and / their / play with / other / children / should / be super- / vised . . . " Isolated phrases and sentences appear--some from the hospital and some from the "outside" world.
In some phrases the worlds of outside and inside mix, as in "Arterial sunrise, capillary dusk." Section 13 consists of laboratory reports. The poem breathes in and out, between syllables and long lines, between prosaic statements and poetic images. Finally, the poet finds words for the endless rhythm of hemophilia, "Gratitude and / fear--Your relentless / rhythm--I move to / it still . . . "
This is psychiatrist Ron Charach's seventh collection of poems. It begins with the narrator going through security in order to board an airplane--a metaphor for contemporary society: we structure more and more "security" into our lives, but the uncertainty seems to increase, rather than decrease. The theme of the book is safe passage: our attempts to achieve it, our failures, and our companions along the way. In the last poem ("The Night After"), Charach tells us, "all the talk in the world cannot dampen my fear / of a world bereft of holiness." The quest is unsuccessful, yet somehow saved by a few fleeting moments of contact with something else; perhaps, it is the sacred.
In 1822, a young Canadian paddler named Guillaume Roleau is near death after suffering a gunshot wound to the stomach. His recovery is dramatic and scientifically important. The injury has resulted in a traumatic fistula--a porthole between the outside world and Guillaume's abdominal cavity and organs. The treating physician, Dr. William Barber, immediately recognizes the incredible opportunity for medical research and conducts a lengthy series of experiments on the process of human digestion.
Guillaume--patient, research subject, and guest in the doctor's cabin--is rowdy and frequently uncooperative. He continues to participate in the grisly experiments at least partially out of affection for the physician's wife, Julia, who helps nurse him back to health as well as providing emotional sustenance.
Julia ultimately makes a large, uncredited contribution to Dr. Barber's research. At her husband's request, she has sexual relations with Guillaume so that the unreliable man will remain with the doctor until the experiments are all completed. The efforts of this tragic trio result in a landmark textbook on gastrointestinal physiology authored by Dr. Barber and Julia's illegitimate son, Jacob, sired by Guillaume Roleau.
Summary:Seated centrally on bed and canvas, legs tightly pressed together, hands clasped between them, covering herself, a naked, adolescent girl stares directly at the viewer. Her expression is serious, tense, anxious. (Or is it coy and seductive?) Shy and defenseless, her thin lovely, virginal body contrasts with its dark amorphous shadow cast on the wall behind her.
Holy Fire's setting is America at the end of the 21st century. A gerontocracy is firmly in place and in many older persons are reaping the benefits of life-extending technology. Mia Ziemann, the protagonist of this "cybersuspense" novel, is a 94 year-old medical economist who has a life-altering visit with a dying ex-lover. Could she become the person she had wanted to become so many decades ago--someone much more adventuresome?
In order to do so, she needs to undergo an experimental treatment--NTDCD (Neo-telemeric Dissipative Cellular Detoxification)--that does not just halt the aging process, but reverses it. NTDCD involves numerous ordeals including clogging her digestive tract with a sterilizing putty, filling her lungs with a sterilizing oxygenating fluid, replacing her cerebrospinal fluid (producing profound unconsciousness), being fetally submerged in a gelatinous tank of support fluids where the bacteria in her body are removed, and then receiving DNA treatments. If she survives the treatment the question remains whether or not she'll be able to survive as a young person in a world that favors the old.
The narrator of this fictional autobiography is Cal Stephanides, an American of Greek descent with a hereditary 5-alpha-reductase deficiency that gives her the prepubertal anatomy (and thus the social upbringing) of a girl, but at puberty begins her transformation into ambiguity, then maleness, and then, gradually, masculinity.
The novel is a kind of biography, not just of Cal, but also of the mutant gene that causes her/his condition. It is transmitted from a small village in Smyrna, through his grandparents, who were also brother and sister and who married on the ship to America, apparently leaving behind family as well as national identity. Their Greekness and the gene come with them, and the consequences of their incest haunts Cal's grandmother, Desdemona, until the very end of the novel.
The family settles in Detroit, and a third biographical strand is the story of the Greek immigrant community in 20th century America, from Ford's assembly lines to bootlegging during the prohibition, through Detroit race riots and then to affluent suburbia.
Cal's family settles in the suburb of Middlesex, and the focus narrows to the individual. Calliope is raised as a girl, but in adolescence, Callie learns about hermaphroditism, narrowly escapes sex-assignment surgery, becomes a performer in a seventies sex show in San Francisco, and finally returns home to Middlesex, Grosse Point, Michigan, as a male. The story is framed by Cal's much later adult life as a man in Berlin, and his successful romance with a woman he meets there.
Liv is pregnant. She is an artist, and married to Erland. She names the fetus, a boy, Ersatz (a replacement, a copy, a person not yet real?). This book-long poem, divided into short segments making up nine (month-like) chapters, reconstructs her pregnancy in words, often literally, using words-within-words (for instance in a section called "Proximity of Posed to Exposed"), echoing people-within-(pregnant)-people, ideas emerging from words, and life (and death) emerging from bodies.
The poem does not offer a simple coherent narrative, although it does follow the biological narrative form of gestation. Instead it circles around the experience of containing another person, and the dissonance Liv seems to find between biological and verbal or cultural creating. Liv's ambivalence about this tension is captured throughout the work, perhaps most notably in her exploration of a painting of the dead Virginia Woolf, the drowned body of a childless woman writer, now become "beached debris." The final part of the poem captures powerfully the experience of childbirth, and the afterword is in a new voice, that of Liv's son.
This chapbook by Kentucky poet Leatha Kendrick features a sequence of poems dealing with her experience of breast cancer and mastectomy. The "science" in the title moves from a little girl’s fascination with nature, and her insight that "all she learned was nothing / is only what you thought you saw" (p. 2); through her mature view of "these spiky shadows" on ultrasound (p. 10); to chemotherapy, where she feels "like the muck this stuff is supposed to make of the fast- / dividing cells" (p.18).
But the science of cancer fails to amputate the poet’s narrative. Early on, "My first love called them Skeeter and Bite. / Equal then, if small. Skeeter got / most of his attention." (p. 14) Later, during her treatment, "Excuse me while I grow bald and fat." (p. 21) Eventually she learns, "The map back is a flat / red road, underpinned with bone, / she must learn to dance upon." (p. 28).
Tom Fogarty is a sixteen-year-old boy who is introduced to both love and death in 1934. The object of his affection is Lily, the 14-year-old niece of a neighbor who lives across the street from Tom. Lily has tuberculosis and is waiting for a bed at the sanitarium where her parents are already being treated for the same disease. The relationship between the two adolescents is risky, passionate, forbidden, and ultimately transforming. Their romance is abruptly interrupted by Lily's death.
Tom's overwhelming grief over the loss of Lily coincides with torrential rain that cleans and nearly submerges the town of Troy, New York. Tom is further wounded when he fractures his clavicle during the flooding. His physician-father, a general practitioner, repairs Tom's injured collarbone but only time can mend the boy's broken heart.