Showing 51 - 60 of 881 annotations tagged with the keyword "Society"
This short play has three characters: a woman, a man in camouflage, and a second man who turns out to be a doctor. The camouflage man talks on the phone with his unseen wife; he is angry and suspicious of what she has been doing during his absence. The doctor overhears – and thinks about confronting him, but lets it go. The woman speaks with love and joy of her garden, and later of her “elephant” a frightening large creature with bloody eyes—eventually she cannot see her garden.
A chorus of lab techs making symmetrical repetitive motions with microscopes, pipettes, and petri dishes opens the play. They persist in the background of the set, which is the waiting and consulting rooms of a clinic for reproductive technology. The chief, Dr. Staiman, is not only an expert in this field of human biology — he also enjoys an international reputation (and many patents) for his genetic manipulation of orchids in a quest for perfect blooms.
Heather and Rose are both clients of the facility. Heather wants a baby and needs help to be able to conceive. Rose could actually conceive on her own; however, she is investing in expensive and painful genetic selection to avoid having a child with the same trait as her brother. His Tourette’s syndrome, she contends, ruined life for her parents and herself as well as for him.
It emerges that Heather too has Tourette’s syndrome, but she does not believe it ruined life for her family and is unafraid of having an affected child. The women must wrestle with the notion that Rose does not think someone like Heather should exist; and Heather wonders if she should be testing her own embryos.
The two clinic doctors, Blume and Staiman, offer similar services, but as an ethicist, Blume worries about the moral implications of the new technology. Heather challenges Staiman over his willingness to destroy an embryo that might become a person like herself. He seems baffled by her concern, claiming that science makes perfection possible and that the decision should belong to the parent.
Five Days at Memorial is the book length expansion of the New York Times Sunday Magazine article that the author, a Pulitzer Prize-winning physician-journalist, published in 2009. The book, the result of years of research and literally hundreds of interviews, chronicles the five days (August 28 to September 1, 2005) during which the medical staff remaining at Memorial Hospital in New Orleans tried to care for the patients -- over a hundred of them stranded, like the staff, in a hospital without water or electricity --following the flooding wrought by Hurricane Katrina.
After an 8 page prologue, the book is divided into two sections, "Deadly Choices" (228pp, the narrative of those five days) and "Reckoning" (256pp, the legal battles over the injections of midazolam (a sedative) and morphine by some of those staff and prosecuted as homicide -- what others called "euthanasia.") "Deadly Choices" relates almost hourly the five days inside Memorial from the viewpoint of patients, patients' relatives, physicians, nurses, administrators of Memorial, Tenet (the holding company owning and running Memorial) and LifeCare -- the long-term care area within Memorial devoted to the care of terminally ill and debilitated patients -- owned by a separate company. Ethical and legal questions of triage, DNR, record-keeping, accountability, communication (primarily the failure thereof) and leadership are on almost every page. At the heart of this book, however, is the mystery of the unexplained deaths of so many patients during those five days. (On September 11, 2005, a disaster mortuary team recovered 45 bodies from many different places in Memorial, page 234). The crux of the mystery of these deaths is the manner in which nine in particular died in the beleaguered hospital on the fifth and last day when, paradoxically, relief had become real and effective and inclusive, seemingly obviating such injections.
The final pages of "Reckoning" deal with the fallout - historical, ethical, political and medical -- and current events relevant to these five days and the almost two years following. (The final verdict of not guilty -- the actual wording was "Not a true bill" since it was a grand jury declining to indict the one physician, Anna Pou, and the two nurses, Cheri Landry and Lori Budo -- was rendered on July 24, 2007). There are a map of Memorial Hospital and a cast of characters at the front of the book and extensive notes, bibliography and index at the end.
Nurse Moira is caring for three different women in labour: two have female birth partners; one is alone.
Teenage Stacey with her school friend Jeannine adopts a punk, devil-may-care attitude to the whole process, but shrieks in agony with her pains; she plans to keep the baby in defiance of all her family members and advisors. Unknown to Stacey, Jeannine once had a baby and gave it away for adoption; it is a secret that Jeannine wants to believe was for the best.
The solitary Jane had once adopted a baby like Jeannine’s only to lose it again within the requisite month-long waiting period. Heartbroken Jane and her husband paid for a woman to have IVF so that Jane could become pregnant. She is thrilled that she will finally become a mother, but her earlier experiences make her sympathize with mothers who cannot conceive or who have lost babies through adoption or death.
Eva an immigrant from Kosovo had been brought to Canada as a housekeeper by the driven businesswoman Carol, who is "coaching" her. Because Carol is no longer fertile, she deliberately goaded Eva into becoming a surrogate mother, inseminated artificially through her husband’s sperm. Should Eva refuse or break the contract, she will be returned to Kosovo. For fear of the slightest damage to the child that she intends to claim, Carol will not let Eva speak or have any analgesia. Eva is miserable; the audience hears her thoughts, but Carol and the nurse cannot.
Moira copes with the three radically different scenarios, succeeding in giving egalitarian care. Moira and Jane inform Eva of her rights, and she takes her baby and returns to Kosovo.
Summary:Marie Commeford, daughter of Irish Catholic immigrants who grows up in Brooklyn, narrates her life story in episodes rich with reflection on the losses, failed fantasies, illnesses, and disappointments of a life at the edge of poverty, which is also rich with love and poetry and humor and the stuff of which wisdom is made. The story unfolds as memory unfolds, in flashbacks and reconstructions shaped by a present vantage point from which it all assumes a certain mantle of grace. From the opening story in which a neighbor girl slips on the steps to a basement apartment and is killed, to repeated glimpses of a blind veteran who umpires the neighborhood boys' street games, to the bereaved families Marie meets when she works for the local undertaker, to her gradual discovery of her brother's closeted homosexuality, and to her aging mother's death, the story keeps reminding us of how much of life is coming to terms with the "ills that flesh is heir to," and also how resilience grows in the midst of loss. Because much of the story represents the vantage point of a child only partially protected from hard things, it invites us to reflect on how children absorb large and hard truths and learn to cope with them.
Summary:This painting depicts what in some respects mimics an anatomy amphitheater, but the title, "Arena," tells us that what is going on here is more spectacle than instruction. Painted in 1992, early in the AIDS epidemic, when rapid decline and death from the disease was almost unavoidable, this complex artwork catalogs some of what was taking place in society at the time. A shaft of window light illuminates the center where a masked doctor is examining a Caucasian patient while a nurse, similarly masked, stands nearby. A large white plume of smoke or steam is emanating from the patient's head. The examination is being filmed and narrated.
Nora Kynd (born in 1825) was a central character in Barrett’s Ship Fever (in this database). She survived illness and quarantine at Grosse Ile, but lost contact with both her younger brothers, Ned and Denis. She reaches Detroit by 1848 where she learns about herbal remedies from a kindly landlady. She marries late and has a son, Michael, but never stops searching for her brothers. Her husband dies. One day in 1868, Nora sees Ned’s name as the proprietor of a hunting and fishing lodge in the Adirondacks. She packs up everything and moves there with her young son.
Ned takes Nora and Michael into his home. He carries on with the hunting business and taxidermy, but they increasingly cater to people with tuberculosis who come for “The Cure” of good food, fresh air, and lots of rest—as a reflection of the famous nearby sanatorium (unnamed but likely the Trudeau Sanatorium at Saranac Lake). In this capacity, they meet lodgers Clara and her two daughters Gillian and Elizabeth—the almost abandoned family of the naturalist Max from Barrett’s story “Servants of the Map” (also this database).
Young Elizabeth has a cough and an eye for Michael, but he has eyes only for Gillian whom he eventually marries. Together they take over Ned’s Inn. For her cough, Elizabeth becomes a resident of the sanatorium and finds her own husband in fellow invalid, Andrew. Together they open a nearby boarding house for other invalids and Nora joins them in the endeavor as the nurse, serving until her death. But Nora was difficult to replace and Elizabeth is now searching for a new nurse to help with the care of her ailing clients.
Summary:In 1701, the wax sculptor Gaetano Zumbo is invited to the Court of the Grand Duke of Tuscany, Cosimo III de Medici. His talent in is portraying the human form in various states of decay – anatomically correct, each figure set in a box recreating scenarios, as chilling memento mori.
Summary:Benjamin Rubin is completing his surgical residency in a Tel Aviv hospital when the director of the hospital asks him to accompany him and his wife to India to rescue their daughter who is critically ill. This invitation distresses him, as he recognizes in it a way of removing him from competition for a position in surgery at the hospital. He makes the trip, however, and is entranced by Indian culture and mysticism, and, eventually, not by the daughter but by the mother he accompanied. Back in Tel Aviv, he has a brief affair with the mother, moves into an apartment she owns, leaving his mother's home, and, to allay his obsession with an unavailable woman, marries an independent-minded woman who has also traveled in India and absorbed Buddhist spirituality and Eastern philosophy she discovered there. Working as an anesthesiologist, Benjy continues in that setting, conflicted about both work and life, unable to connect deeply with any of those whose love he has received or sought. Eventually his wife leaves with their baby daughter to return to India, where she has found a spiritual home, and Benjy remains in a divided state of mind in a divided country where his own spiritual heritage remains to be plumbed.
Alison Lapper is a friend of the sculptor, and a painter herself, who was born with phocomelia (defined in Stedman’s Medical Dictionary as a defective development of arms, legs or both, so that the hands and feet are attached close to the body, resembling the flippers of a seal). As suggested by the title, the 11 foot, 6 inch sculpture in Carrera Marble shows Lapper naked and pregnant, her severely shortened limbs apparent to all.
Her body, with her heavily pregnant belly, is exposed and elevated in milky marble, subject to the stares of passersby, as well as the elements and pigeons. Its formidable mass, the creamy marble, and the dignified composition support the contention that it celebrates a woman’s pregnancy, her health and her sexuality in the context of a society and a tradition that would rarely assign these values to someone so obviously "disabled".