Showing 591 - 600 of 676 annotations tagged with the keyword "Illness and the Family"
This psychobiographical reading of Katherine Mansfield's stories links the fiction to particular traumas in Mansfield's life and speculates about the various motives at work in her use of personal pain as material for fiction. Each of seven chapters is focused upon a key event in Mansfield's life, including, for instance, the death of her younger sister, maternal rejection, venereal disease, and abortion.
Burgan draws widely upon psychological theory, including allusions to Freud, Breuer, Erikson, Horney and others. She also comments on Mansfield's own extensive writing about her own fiction including material from letters and journals that vex the question of how, whether, and to what extent to read the stories in light of the biographical backdrop.
Megan was one of the best players on her school basketball team until she accepted a ride home on the back of a motorcycle that slid on gravelly surface, overturned, and left her with a spinal cord injury. Now, a few months later, in a wheelchair, with no sensation in her feet or legs, she is packed up with all her equipment to spend the summer with the family on the island where they've always vacationed.
At first she can hardly bear being confined to watching from windows or negotiating makeshift ramps where she once ran so freely in woods and rowed so happily on the lake. When a boy appears from the neighboring cabin and tries to make friends she resists at first, but is finally drawn into a friendship that gives her the courage to "pick up the pieces" of her broken life and try new ways of being active, including, at the end of the summer, a wheelchair race on the mainland.
She also finds herself befriending the boy's grandmother, an aging actress turning alcoholic because she can't come to terms with aging and the loss of romantic leads in film. As Megan learns to come to terms with her own limitations, she is able indirectly to help the older woman come to terms with her own sense of loss.
This biography of Anton Chekhov features a clear, uncluttered text and benefits, at least indirectly, from the fact that the Chekhov archives (his letters, his family's letters and diaries) are now available to the public. The author, however, does not read Russian; he uses only secondary sources.
Callow's source for the new scholarship--presumably the "hidden ground" indicated in the title--is Donald Rayfield's biography, Anton Chekhov. A Life, published in 1997 (see annotation). The book presents the story of Chekhov's life in a straightforward fashion, but places special emphasis on the writer's relationships with women, and the role of actual people and events as sources for Chekhov's characters and stories.
The novel begins with the death and funeral of a mother, told from the viewpoint of a son. The reader meets other family members, including the father, a sister and a brother. This portion of the work drifts back and forth in time, putting together a history of the family and relationships among its members.
Abruptly, the viewpoint drifts to that of the mother, who tells her secret story--glimpses of her past, memories that come as a surprise in the face of the impressions gained from the opening narrative. Finally, the story returns to the last days of the mother's life, and the power of her love for her son, who once again assumes the role of narrator, as well as the loss of the inhibitions between the two.
This is a personal narrative by one of America's most accomplished authors. For the past thirty years Reynolds Price has written novels, stories, poems, essays. In this memoir Price describes his battle with a spinal tumor detected in 1984 which left him with some neurological impairment. He struggled with his own rehabilitation and eventually recovered with the aid of biofeedback and hypnosis.
The most compelling part of the book is near the end. The author muses about the meaning of his illness, "advice I'd risk conveying to a friend confronted with grave illness or other physical or psychic trauma" (p.182). He puts the travails of life into a philosophical perspective that is almost Zen-like.
In the fictional present of Evening, Ann Lord is diagnosed with terminal cancer and spends most of her time in her own bed in her house in Cambridge, Mass, drifting in and out of a medicated sleep, cared for by her adult children and various private nurses. In her reveries Ann returns to a weekend some forty years earlier, and re-experiences meeting a young doctor named Harris Arden and finding and losing the only true passion of her life. As Evening moves episodically between present and past, only the reader can see both Ann's dying, nearly motionless body and the hidden, vital world of her memories.
Ironically, while Ann's remembered youth forms a suspenseful plot, full of romance and tragedy, her full adult life seems to have been signally lacking in any of the passion, focus, and vitality that characterized her young womanhood. The best times of her life were literally over when that weekend in the past came to an abrupt and tragic close; and now, as her own life ends, it is this past "best time" that she returns to. Ann's children, friends, and caregivers only see her as a relatively young woman, dying a tragically early and painful death; they never grasp the content or intensity of her inner life, or know the name of the man who meant most to her.
Perri Klass, who had already written of her medical school education (A Not Entirely Benign Procedure: Four Years as a Medical Student, see this database), took notes, made dashed journal entries, and saved sign-out sheets and other written memorabilia during her internship and residency in pediatrics at The Children’s Hospital in Boston, Massachusetts. Because she is a writer, she looked at her experiences in medical training with an eye towards what stories were happening. This book then is a compendium of stories and essays (some previously published) about Klass’s pediatrics training.
Klass reflects on the difficulties of being a writer and physician: "I have been a double parasite, not only learning off patients, but also writing about them, turning the agonies of sick children into articles, using them to point little morals either about my own development as a doctor or about the dilemmas of modern medicine." (p. 297) But she also notes the benefits of writing during training: "between life at the hospital and with my family, it seemed that all my time was spoken for, and spoken for again. I needed some corner of my life which was all my own, and that corner was writing . . . I could describe the astonishing contacts with life and death which make up everyday routine in the hospital." (p. xvii)
Part of the book concerns issues of women in medicine; Klass debunks the mystique of the "superwoman"--the professional, wife and mother rolled up into one incredible ball of efficiency and perfection--with a month of laundry spilling over the floor. Klass, as a successful writer, struggles with this label and includes an essay on her experiences with a "crazy person" who anonymously and publicly accuses her of plagiarism in the midst of the stress and responsibilities of residency.
However, most of the book is about being a new doctor--the terror, the patients, the procedures, the other doctors and staff. She writes of first nights in the Neonatal Intensive Care Unit, delivery room crises, adolescents with chronic illnesses, and her struggles as a sleep and time deprived mother.
She addresses difficult issues: moral dilemmas, suffering, loss, the rape and abuse of children, children with AIDS. Throughout the book is a concern for the patient’s experience, as well as the doctor-in-training’s experience. After her first night on call caring for very premature infants she notes: "Maybe my first patient and I have more in common than I realized: we are both too immature to be out in the world, but with a lot of help, we may just make it." (p. 15)
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.
Dr. Pensack writes in the first chapter of his memoir: "Through a lifetime I have been in the process of dying, consistently surprised when reminded that life is appallingly brief, and briefer still for me. The prospect of an early death has amounted to little more than embarrassment and loneliness, even though the routine of living can be, and usually is, just one goddamn thing after another. A new heart was somehow supposed to be my bloody-red carpet of victory." (p. 7)
At age 4, Pensack's mother died of IHSS, Idiopathic Hypertrophic Subaortic Stenosis--now known as HCM, Hypertrophic Cardiomyopathy, a genetically inherited, progressive disease of heart muscle that results in early death. At age 15, Pensack receives the terrible news of his own fate--the disease afflicts both Pensack and his older brother--and thus launches a life of near death experiences, numerous hospitalizations, early experiences at the National Institutes of Health with early investigators of the disease, pursuit of his own medical training and eventual specialty training in psychiatry, marriage and children, and ultimately, the waiting and eventual transplantation of a younger man's heart into his chest at the University of Colorado Health Sciences Center when Pensack was 43.
Raising Lazarus tells of Pensack's journey through much of this, including his descent into madness, his fury and anger with medical colleagues, his poignant relationship with the heart surgeon who eventually performs the transplant, and the importance of his family in his refusal to die. While much of the book tells of the events leading to the transplant and post-operative period of Pensack's life, the reader learns of Pensack's early losses, including the death of his mother, and how these experiences shape the values of a gutsy and determined survivor, a man who continually returns to the struggle.
Gary, now in seventh grade, has lived with his mother since early childhood when his dad left. His uncle, Rob, has always lived nearby and loved and attended to him like a dad. Gary counts on Rob for basketball coaching, good advice about girls, and understanding about things he can't talk with his mom about. Gary notices one day that Rob looks pale and sick. The sickness doesn't seem to go away. Finally he learns that Rob has AIDS.
For a time he manages to convince himself it was a mistake at the lab and couldn't be true. Ultimately he has to come to terms with it when his uncle is taken to the hospital. With Rob's illness he finds a new kind of maturity in himself, and with Rob's encouragement he initiates a friendship with a girl he's been too shy to approach. After Rob dies, he is surprised at the kind of support he gets from friends, and finds ways to recognize and claim something of Rob in himself.