Showing 431 - 440 of 507 annotations tagged with the keyword "Women's Health"
Margaret is a sculptor whose detached and unaffectionate physician-husband has just exited their marriage. Depressed, she is in dire need of work to survive and to cover the costs of urgently needed dental work. She gladly accepts a museum commission to recreate a life-sized likeness of Lucy, the Australopithecus afarensis hominid.
The plan is to reconstruct the body using casts of the fossil bones and to depict a single moment in Lucy's past, as captured by the fossilized Laetoli footprints. Made by a hominid pair, the prehistoric footprints show how the smaller creature--Lucy--hesitated in her unknown journey 3.6 million years ago.
As Margaret reassembles her ancestor and situates her plausibly in that mysterious moment, she rediscovers her own animal body, its senses, needs, and beauty--and she begins to reassemble her life.
In the end, she appears to find love and joy with a musician whom she first encounters on a purely physical basis. Yet she is comfortable with an ambiguous future.
Rachel is married to passive Leon who is utterly dependent on her care and organizational skills. They live in a vast, blanc-mange of a suburb where Rachel constantly looses her way while driving home from work. One night, she seeks direction from Wilkes. A strange recluse, he is obsessed with his teenage memory of the lost "girl on the bus" and leads a support group for agoraphobics.
Through contact with Wilkes, Leon gradually grows more independent and finds himself a job. Rachel becomes obsessed with the search for the meaning of "Harry," a mystery man who recurs in her husband's dreams and begins to take over her thoughts. She consults a psychologist, Alex Silver, who soon has Rachel enrolled in a study with two other women. Silver uses dream-deprivation with the goal of enhancing insight about her marriage, her life, and her friends.
Cameo appearances of three depressive, mid-life siblings, Dick, Jane, and Sally, with their dog, Spot, and cat, Puff, emphasize that life in modern suburbia can be a pathology in itself. In Jane, Wilkes finds his lost girl on the bus. Rachel dumps Leon and finds happiness with the agoraphobic developer of the aptly named "Arcadia Centre," where expense, space, light, greenery, and intimacy are employed unstintingly to create a non-pathogenic space for human collectivity.
Anne Finger, a writer and disabled activist whose childhood polio left her with a disability, tells the story of her pregnancy, her birth experience at home and in the hospital, and the serious health problems her newborn son experienced.
Helen Martin is an expert on medical art. She travels by train through Europe--Vienna, Prague, and Munich--looking for her journalist husband who has vanished for a longer time than usual. Their marriage is childless and flat. On the train, she awakens to temporary but surreal changes in her body--her breasts are enormous, her thighs huge. She meets her alter ego, Rosa, an obese and aging woman doctor, and original owner of the sizable breasts and thighs.
Rosa’s gift of a strange book-like box, containing images from Vesalius, bones, vials, leads her to many other people, including a blind intellectual, a philosophical train conductor, and a soon-to-be-murdered museum curator. These people add objects to the box, while removing others and awakening her dormant senses and identity in the process.
Helen learns that her husband disappeared while researching a story about woodblocks from the great 1543 anatomical atlas by Andreas Vesalius. The woodblocks are believed to have been destroyed in the allied bombing of Munich in World War II, but Helen suspects some have survived. She picks up the work where he left it. The rediscovery of her husband--temporarily at home in Vancouver and irritated not to find her there--comes as an anti-climax. Helen realizes she does not want him any more and boards another train to we know not where.
Alicia (Norma Aleandro) lives a comfortable life with her husband Roberto (H?tor Alterio) and her adopted five-year-old daughter, Gaby (Analia Castro). She teaches history in a boy's prep school and is a stickler for rules, insisting that her students confine classroom discussion and essays to events as they are related in textbooks and official documents ("the official story"). She believes only what she reads but her students have been radicalized by political events and defiantly tell her that "history is written by assassins."
When her old friend, Ana (Chunchuna Villafane), returns after living abroad for several years, Alicia learns that Ana had been held prisoner and tortured for more than a month by members of the former regime, as they attempted to extort from her the whereabouts of her husband, a "subversive." From Ana she learns that many others had been held prisoner, tortured, murdered, and that infants had been taken from their mothers.
When Alicia goes to her classes she encounters street demonstrations demanding the return of the "disappeared." Her well ordered life begins to unravel as she wonders about her adopted child's true origins. She questions her husband, who had arranged for the adoption, but he brushes her off, saying that it is of no concern to her. Not satisfied with this response, she searches hospital records and government archives.
At one of these occasions three women who are searching for "disappeared" relatives overhear and approach her. She becomes increasingly convinced that her daughter must have been taken from a murdered political prisoner. She is grief-stricken at the thought that she might have to give her daughter up but at the same time she empathizes with the unknown relatives who have lost the child; she is in despair.
When Sara (Chela Ruiz), one of the three women, presents to her convincing evidence that Gaby is actually her own granddaughter, Alicia confronts her husband in Sara's presence. Alicia has come to believe that Roberto--an admitted rightist--was duplicitous but he ridicules them both and, after Sara leaves, becomes enraged with his wife, brutally attacking and physically injuring her. She leaves him.
The young English doctor, Mary Percy Jackson (M.D. Birmingham 1928), went to practice in northern Alberta for a year. She had been recruited by a philanthropic movement that targeted women doctors: they could be paid lower wages and would also cook and keep house. But she fell in love with the subarctic community, its native peoples, and a certain widowed farmer with two young sons, and stayed for the next seven decades.
Dr. Jackson became the only physician responsible for the well being of aboriginals and settlers in a wide radius of remote territory where winters last more than six months and the only effective mode of transportation was the horse. Married and in relative prosperity, she did not seek payment for her medical work, although she appreciated gifts in kind.
Despite the isolation, Jackson was vigilant about nutrition, vaccination, and tuberculosis control and she kept up with the latest advances in health promotion. She and her husband were active in improving opportunities for education. The film closes with a simple party for Jackson, at the local school named in her honour.
This award-winning essay is the germ for Grealy's later book, Autobiography of a Face (see this database). In this piece, Grealy describes the influence of her experiences of cancer, its treatments, and the resulting deformity of her face on her development as a person.
She explores how physical appearance influences one's sexual identity and over all self worth. She also explores how one's own interpretation of one's appearance can be self fulfilling. Only after a year of not looking at herself in the mirror, ironically at a time when she appears more "normal" than ever before, does Grealy learn to embrace her inner self and to see herself as more than ugly.
In 1994, Lucille Clifton was diagnosed with and treated for breast cancer. This short (12 line) poem, part of the sequence, "From the Cadaver" in this collection, describes an aspect of that experience. The mastectomy scar is an integral part of the narrator’s body, a physical presence that the poet addresses as if it were a person: "we will learn / to live together." At the same time, the scar marks a cataclysmic event in the poet’s life; it is the "edge of before and after." Finally, the scar speaks. " . . . i will not fall off."
To take care of Aunt Martha, a Mississippi family agrees to a cousin's moving in with her; cousin Howie then maneuvers the family into running a home for the elderly. Martha agrees because Lucas, a physician with whom she's had a long relationship, will come to live there. As more elders come and as they get sick, the methods (restraints, use of drugs, unclean conditions) of Howie and his hired staff become a threat to all.
Martha and Lucas are rendered powerless by their inability to make the family believe their side of the story; even Harper, the family's longtime African-American butler, cannot help. Because he fears that Howie will sedate both of them into oblivion, Lucas decides to burn the house down--after killing several of the "prisoners" first.
Summary:Sunday Morning is a short story about childbirth. In this story the mother is assaulted by the lights, sounds, and ritual of the delivery room. She is strapped to a table and forced to endure indignity, labor pains, and muscle cramps only to have her newborn child taken away from her. At the end of the story the narrator claims possession of her newborn son, excluding her husband from ownership, despite her sense that this child is a stranger to her.