Showing 511 - 520 of 521 annotations tagged with the keyword "Hospitalization"
Uncle Jimmie is slowly dying of cancer, "the rat that gnawed away behind his ears." Jimmie believes that cancer is part of nature and must, at some level, be accepted. At first he permits surgery--they removed his ear and cheek and upper lip--but he eventually concludes, "Stop cutting . . . let / me go to earth and snow and silver trees." However, Aunt Flo will not let him go; she reads St. Paul and prays for his recovery.
Next the surgeons remove Uncle Jimmie’s tongue (without his consent?), but his eyes "kept pleading: Stop the cutting, let me go . . . ." So then they removed his eyes. Finally, "a specialist / trimmed away one quarter of his brain ... " Jimmie is left with no memory, lying in bed among his tubes, while Auntie Flo "comes every day / to read to bandages the Word Made Flesh, / and pray, and pay the bills . . . . "
Summary:Virginia (Olivia de Havilland) marries Robert (Mark Stevens), but she soon becomes profoundly disturbed and her caring husband sends her to a psychiatric hospital. Using Freudian techniques combined with physical modalities of electroshock and isolation, her psychiatrist (Leo Genn) leads her to overcome her amnesia and to understand that her illness is the result of unresolved yet misplaced feelings of guilt over a boyfriend and her father. Just before Virginia is happily restored to Robert, the asylum patients are gathered together at a hospital party where they sing of their yearning for home.
Bud (Marlon Brando), a lieutenant in battle during World War II, is shot in the spine by enemy fire. A former college football star, he is now paraplegic. When the film opens, Bud has been in a veteran's rehabilitation unit for a year, flat on his back, bitter and depressed, with no will to help himself or to allow his former fiancee, Ellen (Teresa Wright) to resume their relationship. Ellen persists, enlisting the help of Dr. Brock (Everett Sloane), the rehab unit physician, who arranges for her to visit Bud.
Brock, a no-nonsense-tell-it-like-it-is doctor, hopes that the visit will finally motivate Bud to participate more actively in his own rehabilitation. He moves Bud into a ward with others like himself, where Norm (Jack Webb) and the other paraplegic veterans ("The Men") have developed a sardonic camaraderie; they don't allow Bud to wallow in self-pity.
Ellen convinces Bud that she still loves him and with her support and that of his fellow paraplegic vets, he progresses and does well. With some trepidation, and against the advice of Ellen's parents, Bud agrees to marry Ellen. The wedding and coming-home don't go smoothly--Bud loses his balance while trying to stand through the ceremony, and Ellen, stricken by the realization of what she has committed to, regrets the marriage. Bud runs off, returning to the hospital. In the end, Bud is forced to leave the sheltering cocoon of the hospital and decides to give his marriage another try; Ellen has reconfirmed her love for him and welcomes him back.
Summary:This poem is in the surgeon's voice. He surveys his country's terrain, "a garden I have to do with--tubers and fruits / Oozing their jammy substances . . . . " He delves into the patient's organs, "I worm and hack in a purple wilderness." He admires the sunset-colored blood and the "blue piping" that conducts it through the body's intricate maze. When he removes a part of the body, it is sent to the lab ("a pathological salami") and "entombed in an icebox." The surgeon walks through the ward, casting his eyes on the sleeping patients: "I am the sun," he says, " . . . Grey faces, shuttered by drugs, follow me like flowers."
Summary:The speaker in this poem provides a vivid portrayal of the recovery room experience from the perspective of an articulate patient. Where he had been warned about the room's brightness, he was unprepared for the keening woman in the adjacent bed and the "false and stark balm delivered to her crumpled ear" by the nurse. He and other "freshly filleted" and "drug-docile" visitors to this room wait in the anesthetized setting of otherness or in-between for release. The patient feels like a "diver serving time against the bends" or like one of eight piano keys parallely parked. While waiting for the return of sensation in his lower body, he imagines that he is like a "truculent champagne" loosening off "petulant bubbles," a few at a time.
Summary:Chana Bloch's series of eight cancer poems, collectively entitled “In the Land of the Body,” focuses on the experience of ovarian cancer, from diagnosis to surgery and beyond. The poems provide a loose narrative of illness and treatment, but each of them represents a slightly different approach to the inner life of illness. They are episodic; several evoke scenes--in the doctor's office before the X-ray machine, at home, watching her children color, in the hospital before surgery, and finally out of doors among the pines, released as “cured,” reveling in the qualified hope that they got it all.
Summary:An elderly woman is dying in the hospital. She still speaks to the poet's persona, "even near the end when she only screamed / at her children that they wanted her dead." Though she seems to want to continue living, when she lapses into a coma, her children make "the doctor stop all heroic measures." Thus, they kill her just like she said they would.
Summary:A man lies dying in his hospital bed, "amazed how hard it is to die" and how long it takes. A nurse looks in, he tries to sleep, he smells "the cheap / perfume Death wears." He wants to die, but "Something's stuck." He almost asked a counsellor to "Give me a shove." He is afraid that when the sun rises again, he will still be there, alive, in "that shrinking bed . . . another day."
Summary:Snodgrass writes about an old veteran who took seven months to die. The voice in the poem is that of a hospital attendant who provided some of the tedious, technical care that kept Old Fritz alive all that time. Though Old Fritz's "animal" may have "grown / sick of the world," his "mind ground on its separate / way, merciless and blind." He endured, he kept on living. Old Fritz raged against death, although he also "whimpered" and cried "like a whipped child . . . . "
This dead body is to be treated with respect, not to be left alone or to be donated to the anatomy lab, or for organ transplantation. For the narrator, there is little difference between this body of her dead father and the unconscious body she remembers from so much of her childhood. She cannot make the distinction emotionally between the dead and the living father, " . . . this was the one I had known anyway, / this man made of rich substance."