Showing 521 - 530 of 679 annotations tagged with the keyword "Illness and the Family"
Summary:Carol White (Julianne Moore), an upper-middle-class Los Angeles housewife, is stricken with a mysterious illness that her doctor cannot diagnose or explain. He believes her illness to be psychosomatic, but Carol, through contact with a support group, realizes she has "environmental illness," an immune disorder that causes her to physically overreact to common chemicals, fumes, and environmental pollutants. The film follows her journey to a clinic in New Mexico in search of relief from her increasingly debilitating symptoms.
Summary:Berger writes shortly after the death of his mother. He remembers how as a child he had a morbid fear that his parents would die in the middle of the night. But his mother has lived for a long time. Now Berger reflects on his mother's secrets. She was forever stoic and had an air of mystery that Berger thinks caused him to become a writer--he had to try to fathom the mystery. On her death bed, he learns her secret-- she has had a happy life.
P., a music teacher, whose associates have questioned his perception, is referred by his ophthalmologist to the neurologist Oliver Sacks. During the first office visit, Sacks notices that P. faces him with his ears, not his eyes. His gaze seems unnatural, darting and fixating on the doctor's features one at a time. At the end of the interview, at which his wife is present, P. appears to grasp his wife's head and try to lift it off and put it on his own head. "He had . . . mistaken his wife for a hat!" She gave no sign that anything odd had happened.
During the second interview, at P.'s home, P. is unable to recognize the rose in Sacks' lapel, describing it as "a convoluted red form with a linear green attachment." He is encouraged to speculate on what it might be, and guesses it could be a flower. When he smells it, he comes to life and knows it. The wife explains that P. functions by making little songs about what he is doing--dressing, washing or eating. If the song is interrupted he simply stops, till he finds in his sensorium a clue on how to proceed.
This cantatory method of compensating allows P. to function undetected in his professional and personal life. He remains unaware that he has a problem. Sacks chooses not to disturb his ignorant bliss with a diagnosis. Though his disease (never diagnosed but hypothesized as a tumor or degeneration of the visual cortex) advances, P. lives and works in apparent normalcy to the end of his days.
Sir Luke Fildes's eldest son Phillip died Christmas morning, 1877. He was attended by Dr. Murray, who directed all of his attention and care to the patient during the child's fatal illness. This unswerving dedication impressed Fildes.
Ten years later, when Sir Henry Tate commissioned Fildes for a painting to exhibit in what was to become the Tate Gallery, Fildes was given freedom to choose the subject matter. Fildes immediately decided to depict this scene of a family physician holding a bedside vigil by a seriously ill child. However, the painting was not begun for four years, and then only at the urging of Tate.
The shade of a lamp is tilted so as to bestow light on the two central figures: the physician, and especially, the recumbent child. The physician faces away from the bottled medicine and cup on the table and directs his gaze fully on the child. He is dressed neatly and sits calmly, patiently, resting his bearded chin on his hand.
The small child is central in the picture, in a white nightshirt on a large white pillow and covered with pale blankets. The makeshift bed consists of two unmatched dining room-type chairs. The child's hair is tousled and the left arm flung out, with hand supinated and beyond the edge of the pillow. Nonetheless, the child rests quite peacefully, as the pose appears quite natural.
To the right and rear of the painting are the parents. They are placed in such deep shadows that it is frequently difficult to make out these figures in reproductions. The mother sits at a table and hides her face in her clasped hands. The father stands beside her, with a comforting hand on her shoulder, as he gazes at the physician.
The painting is set in the interior of a small cottage. Rafters are low, furniture simple. Colors are muted; earth tones predominate. Although the majority of the light comes from the lamp, a bit of light also enters from the recessed window near the mother.
Charlie Babbitt (Tom Cruise), a young businessman aggressively pursuing his fortune in collector automobiles, hears that the wealthy father from whom he has been estranged for years, has died. He attends the funeral planning to remain only long enough to hear the will and receive the fortune he believes is coming to him. He is shocked to learn that most of the fortune has been left in trust to someone whose name is not disclosed. Investigations lead him to a home for the mentally handicapped where he discovers he has a brother, Raymond (Dustin Hoffman), an autistic savant, who has been housed there since Charlie's early childhood.
Charlie kidnaps him, planning to keep him "hostage" until the institution delivers the half of Raymond's inheritance he believes rightly to be his. On the road, two things happen: 1) he is baffled, angered, and confused by the paradoxical behavior of this genius with no emotional vocabulary and no social skills and 2) he uncovers early memories of Raymond as the "Rain man" who comforted him when he was very small. He takes Raymond to Las Vegas to exploit his card-counting skills, wins enough at blackjack to get kicked out of the casino, and ends up calling Raymond's guardian out to California, hoping to be entrusted with his guardianship.
He is finally convinced, however, that Raymond is indeed incapable of progressing in relationship much beyond where he is, and that he, Charlie, is not sufficiently equipped to care for him. He sends him back to the institution, committed to maintaining relationship not for the money, but for its own sake. Mystified as he is by the brother whose humanity he can't quite fathom, something like love has been awakened in him in the course of his painful journey in caregiving.
This is a cluster of seven short poems focusing on the response of husband to the diagnosis, treatment, and prognosis for the future of his beloved wife who has breast cancer. For example, "The Cloud" speaks of the passage of the uncertain weeks and years: "And into this idyllic time breast cancer crept. . . Wonder if it’s coming back. It’s life writ small / You don’t know what’s around that curve. . . ."
"For Rosemarie" is a plea for strength, while "Mommy’s Getting Chemo" contemplates the stance of the couple’s very young son. "Lymphedema Hand" is a loving tribute to the power and competence of the altered body of the woman. In all, the collection is forthright, painfully frank, while sustained by the gentle love that propels it.
Crossing Over presents "extended, richly detailed, multiperspectival case narratives" of 20 dying patients served by the Hospice of Lancaster County in Pennsylvania and the Palliative Care Service of Royal Victoria Hospital in Montreal. These complex narratives (each written by a single author) reveal the patient’s story from many points of view, including those of family members and professional caregivers.
The authors explain how this project differs from recent books of clinical narratives by Timothy Quill (A Midwife Through the Dying Process, 1996), Ira Byock (Dying Well: The Prospect of Growth at the End of Life, 1997), and Michael Kearney (Mortally Wounded. Stories of Soul Pain, Death and Healing, 1996 [see entry in this database]). Barnard et al. point out that Quill, Byock, and Kearney are "passionate advocates for their own styles of care . . . Yet these very characteristics--advocacy and close personal involvement--limit their books in important respects." (p. 5) Basically, these authors select cases that illustrate the efficacy of their models and present the patients’ stories from their own point of view.
Crossing Over draws on a standard qualitative methodology that includes tape-recorded interviews of patients, families, and health care professionals; chart reviews; and participant observation. After the introduction, the narratives occupy 374 pages of text (almost 19 pages per patient). Part II of the book, entitled "Working with the Narratives," includes a short chapter on research methods and 29 pages of "Authors’ Comments and Questions for Discussion." The latter is designed to be used as a teaching guide.
In July 1998 the poet Maxine Kumin was thrown from her carriage when her horse bolted during a competition. The type of cervical (C1-C2) fracture that she sustained is fatal before reaching the hospital in 95% of cases, and if survived, usually results in quadriplegia. This book is a memoir written in the form of a journal that begins on the day of the accident. In fact, it was nearly a month after the accident that the poet's daughter brought writing materials to the rehab hospital, and Maxine began to dictate the journal, and the two of them filled in the temporal gaps.
The journal covers her experience in the acute care hospital, the rehab facility, and the following months of convalescence at home. It ends on April 23, 1999, when Maxine climbs a hill (unassisted) near her Vermont home, looks out over the early spring vista, and concludes, "I am letting myself believe I will heal."
The journal describes the poet's physical, emotional, and spiritual experiences as she struggles, first to survive, and then to live with the "halo vest" that for months she had to wear to stabilize her fractured neck bones, and finally to regain her function and equilibrium. Much of the story is about her family--husband, son, and daughters--who mobilize from various points around the world to support her. Comments about her doctors and the medical care she received constitute only a small, at times almost incidental, part of this narrative.
This varied collection of short stories and poems is unified not so much by theme as by their appropriateness to the intended listening audience--the bedridden or homebound elderly. In a brief but moving preface editor Carolyn Banks recalls her work in an adult day care center where she was expected to entertain those who were recovering from strokes or suffering from Alzheimer's disease.
Reading aloud provided sometimes startling moments of contact with patients who were incapable of sustained conversation. Banks realized that while there are many story collections for children and general adult audiences, no one had done a collection for a group with these specific needs.
The collection includes 52 stories--one a week for a year--that cover a range of life situations. Not all focus on age or illness, though some do. In several a grandparent plays a crucial role in a grandchild's life. Some are set in the 1930's, 40's and 50's--periods likely to trigger memories for those now in their 70's and 80's.
Several stories focus on situations of widowhood and other losses, and some on death: Banks insists that death "is not a taboo topic." Many of the stories are comic, since, she comments, laughter is "an important response to court." All are short enough to read in a half hour or less, and "not insultingly simple."
This monumental portrait of the 17th century knight, Sir Richard Saltonstall, and his family was commissioned for the Saltonstall family home. The wealth of the family is indicated by intricate tapestries, a woven rug, jewels, and the rich fabrics of clothing and curtains. Absent from the picture is any religious iconography.
Saltonstall stands left of center and draws back the rich red curtain on the deathbed of his first wife. With his ungloved right hand he holds the hand of his eldest child, a son. This son is still young enough to wear a dress, but his coloring and the dress style indicate a boy. He in turn holds the arm of his younger sister, so that a diagonal line is formed from the father's hat, down his arm and through the two children.
The pale dead mother lies all in white, her eyes open, and her upturned hand reaching towards her children. On the right side of the picture sits Saltonstall's second wife, and she holds her baby on her lap. She also is dressed in white and is separated from her husband by the first wife. In addition, the diagonal line between Saltonstall's left hand and his baby is interrupted by his dead wife. However, he does gaze in the direction of his second wife, although no one in the portrait looks directly at another person.