Showing 551 - 560 of 636 annotations tagged with the keyword "Survival"
In 1898 in rural New South Wales, a brother and two sisters are found bludgeoned to death under very peculiar circumstances. The crime creates a sensation throughout Australia, but the mystery is never solved. Nearly 60 years later, one of the last surviving members of the family (12 brothers and sisters) tells the story and, in the process of doing so, reveals the truth of what really happened to his siblings on that tragic day.
The writer describes her experience as a cancer patient, thrust into "the Land of the Sick" by the diagnosis and treatment of lung cancer four years earlier. Although she is not ill, the fear of mortality embedded in a diagnosis of cancer is a dragon that haunts her existence.
To cope with the dragon she relies on talismen: her doctors, personal will, and her garden peas, an emblem of everyday life and its constant renewal. The talismen create the semblance of control over her situation. She observes that "doctors and patients are accomplices in staging a kind of drama" and that the patient and her continued well-being become talismen for the doctor too.
Jacob Hansen is sheriff, undertaker, and pastor in the little Wisconsin town of friendship. A Civil War veteran like many of the men in his town, he has seen many faces of death and knows how to balance compassion, prayer, and practicality in the presence of grief. When he recognizes a diphtheria epidemic as one after another the people of Friendship fall ill and die, he has to shoulder responsibility for protecting public health.
This means imposing and enforcing quarantine, extending even to the encampment of religious revivalists at the edge of town who mostly keep their distance and their own ways. Jacob's equanimity falters when his wife and baby daughter succumb; he keeps them alive in his mind and unburied for days, unable to acknowledge his own loss, though he helps others through theirs.
Finally he forces a passing railroad engineer to transport the survivors across the quarantine border into a neighboring town for safety, but the train is sabotaged, wrecked, and the fugitives killed. Jacob survives almost alone to return to what is now a ghost town and cope with the grim fate of survival.
Amidst the desolate pampas of Argentina, two nameless fugitives serendipitously meet and fall deeply in love. The woman, an orphan, is running from her tragic past and sheltered life. The man, a gaucho, is fleeing from the seven vengeful brothers of a man he killed during a fight.
Although both are emotionally wounded and isolated, they become joined by the simple act of cleaning and dressing the deep laceration of the gaucho’s arm. When they discover the ecstasy and contentment of love, their passion is abruptly and violently challenged by the gaucho’s injured arm which becomes infected with tetanus.
The woman faithfully cares for her suffering lover who silently endures the fever, severe muscle spasms, and wasting of tetanus before succumbing to the painful death of lockjaw. Ironically his face is paralyzed with a twisted smile due to the persistent muscle contractions.
The brothers of the man whom the gaucho had killed arrive too late to exact their revenge so they set fire to the couple’s farmhouse and burn it to the ground. The woman places a handful of her lover’s burning ashes in her mouth thus preserving his remains and uniting his spirit with hers forever.
Registered Nurse, Muriel Murch decided, at mid-life, to return to college to obtain her BSN (Bachelor of Science in Nursing). She relates this odyssey through a series of generous and quirky letters written to her mother, her children, her husband, and, most strikingly, her deceased Uncle Harold, whose memory serves as Murch's spiritual touchstone.
The book works on two levels. Her struggles as an older woman and already-experienced nurse in a BSN program are delightfully detailed in letters to friends, but to Uncle Harold she reveals the turbulence of her quest: how at mid-life she must rethink her role as wife and mother and view patient care from a new perspective.
Leandra lives alone in the backwoods of North Carolina where she makes a small but sufficient living repairing antique dolls for a dealer who sells them to collectors. The broken and ragged dolls occupy an old "mourner's bench" in her one-room cabin. For ten years she has lived in relative contentment, though she carries the pain of a trip to Boston when her sister bore a defective child who died.
The sister committed suicide soon thereafter. During that visit, as Leandra's sister withdrew into late-pregnancy depression and hostility, Leandra and Wim took comfort in one another's presence and finally fell in love. But after the suicide, Leandra returns to North Carolina with no intention of ever seeing Wim again.
Now, ten years later, he shows up on her doorstep, wanting to spend the final months of his life with her; he has inoperable brain cancer. He knows what course it is likely to take. He wants only to see her, but she insists that if he is to reenter her life, she wants to see him through all of it, even the worst parts.
They weather and cherish the days with gentle humor, frankness, careful sharing of memory, and the deepest love either has ever experienced. Leandra's neighbor, a friend from childhood, helps Wim build an extension onto Leandra's little cabin, one of several ways he finds to "provide for her" as he wishes he could have earlier.
Carl Elliott and John Lantos have brought together a collection of 12 essays that explore the complex work and person of Walker Percy. Personal reflections and stories capture the importance of Walker Percy in the lives and work of several of the essayists, while others offer commentaries on various aspects of Percy's life and work. All of the contributors reveal their affection and appreciation of Walker Percy as physician, novelist, and philosopher.
In addition to the editors, the contributors include Robert Coles, who was Percy's friend; Ross McElwee, the documentary filmmaker; Jay Tolson, Percy's biographer; author and historian Bertram Wyatt-Brown; scholars Martha Montello and Laurie Zoloth; and physicians Brock Eide, Richard Martinez, and David Schiedermayer.
The collection covers many topics and themes. Percy's biography is reviewed: the early losses of his father and grandfather by suicide, the early death of his mother, his medical education and subsequent struggle with tuberculosis, his turn from medicine to philosophy and literature, his marriage and conversion to Catholicism, and his long and productive life as a philosophic novelist.
The essays explore Percy as both physician and patient, and how, as diagnostic novelist, he gives us characters and stories that caution about the technologic-scientific worldview that dominates not only medicine but western life. The many wayfarers are discussed, including Binx Bolling from The Moviegoer, Will Barrett from The Last Gentleman, and Dr. Tom Moore from Love in the Ruins and The Thanatos Syndrome. [These novels have been annotated in this database.]
Percy's spiritual and religious views are reviewed, along with his moral concerns about a post-modern world before anyone had coined the term. The problems of isolation, alienation, and struggle for meaning are apparent in all of his works, and many of the essayists explore the connection between his novels and these existential concerns. The importance of Kierkegaard in his work, his theory of language, and his early essays are discussed.
The contributors give examples of how Walker Percy's life and work are incorporated in medical education and the practice of medicine, both in personal and theoretical terms. Percy's work reminds practitioners of the necessity for human connection in the midst of scientific and technologic paradigms that distance practitioner from patient. Likewise, medicine and medical education shaped Percy the novelist, where keen observation and sustained searching for answers are to be found in all of his fiction.
A feminist critique of Percy's development of women characters, reflections on physician characters in Percy's work, his personal struggle with a family history of depression, and his attitudes about psychiatry and psychoanalysis complete the collection.
This work touches upon a wide range of issues, more or less closely related to the trauma surrounding, the management of, and the aftermath of sustaining a serious burn. Divided into three sections, the work first defines burns not only on a biological basis, but as distinguished psychologically and historically from other forms of physical trauma.
In Part II the authors explore ancient myths and then images from modern culture that they contend define social perceptions about the meaning of being a burn victim. The final section poses problems that remain in the technique of burn management in its most holistic sense. An extensive bibliography/filmography completes the book.
Pipistrel is a tale about difference and lack of understanding. It recounts a teen-aged autistic boy's flight from the destroyed safety of his home to a nearby mountain cave. It also is the story of a mother's love and devotion to this human, yet bat-like creature, whom she bore and whom she can no longer protect.
The mother, Ada, discovers after many months where her son has hidden. She protects his secret hiding place from the townsfolk, but only for a while. After convincing her neighbors that he's no longer in the cave she returns to its depths to find he's fallen from the ceiling and has died. The story's final image is of the mother next to her son's body looking at the drawings he had made on the walls of the cave.
This story draws attention to subtle ramifications of organ transplantation for the survivor(s) of the donor as well as for the organ recipient. Also at issue is coming to terms with the sudden death of a loved one. Hannah, a woman in her thirties, finds that three years after the violent death of her husband, she is still caught, "unable to grieve or get on with her life . . . . "
The physician in charge had persuaded her both to allow life-support to be terminated for her brain-dead husband, and to agree to organ donation. "That way your husband will live on." Seven different people are the living recipients of his organs. To Hannah, it seems that her husband is both dead and not dead, an intolerable situation.
She becomes obsessed with trying to meet the person who received her husband's heart. This will be the means by which she can re-connect to the living and achieve closure--she will hear and feel her husband's heart in the chest of the recipient, her ear "a mollusc that would attach itself . . . and cling through whatever crash of the sea." At the end of the story, Hannah has succeeded in her quest and the man who is the heart's recipient, at first suspiciously hostile, has become Hannah's co-conspirator and protector.