Showing 61 - 64 of 64 annotations tagged with the keyword "Latina/Latino Experience"
In this remarkable book of essays, Rafael Campo explores his coming-of-age as a gay Cuban-American physician. He presents us with a series of stories illuminating his childhood and college experience, skillfully interweaving them with narratives from his life as a young physician, especially his interactions with patients dying of AIDS. We follow the author from Amherst College, through Harvard Medical School, to his medical residency in San Francisco. At each step Campo is a close observer of human character and motivation--his own and others. At each step he asks, "Who am I? Who am I becoming?"
He discovers his identity as a gay man, an Hispanic man, a poet, and, finally, as a healer--not four identities, but one. He discovers, too, the healing power of connecting with patients, the "poetry of healing," something far different from the orthodox image of the physician-as-detached-or-distanced from his patients. Though Campo rejects the concept that physicians are agents for social change ("naive," he calls it), he brings sensitivity and poetry to bear on his continued search for "some way to give."
Consuelo Camacho Ramos (Connie) was placed in Bellevue Hospital because she abused drugs and alcohol after the police killed her blind, African-American lover. She was accused of child abuse and her daughter was put up for adoption. When the novel opens, Connie has been released and is living in New York with little money and no hope of a job.
She begins to be visited by an individual from the year 2137 who calls "himself" Luciente. He communicates with Connie mentally and she visits his world in the same way, experiencing everything without moving her body. Luciente’s community is not divided along gender lines. Indeed, "he" turns out to be what Connie calls "female," though the name means nothing in this future world.
Reproduction takes place in an artificial environment in which fetuses are delivered at ten months to improve their strength. Every child has three "mothers," but is raised by the entire community. Luciente’s community is fighting a war against forces that want people to live in a hierarchical system in which women all become prostitutes, victims of a larger, manipulating force, a battle Connie also fights in her world.
When Connie breaks the nose of her niece’s pimp, he takes her back to Bellevue. No one believes that she did not provoke the attack. They assume she is mad. In an exemplary moment, the nurses who attend to Connie talk over her head about how dirty these mad people are. Left tied to a bed for many hours, Connie has urinated on herself and has been unable to wipe her nose. The nurses ignore every word she says.
Connie learns to manipulate the system, not swallowing her pills and telling her counselor that indeed she was sick but now feels much better. She draws the line, however, when she is chosen to be a subject in an experiment. The doctors plan to implant electrodes into the patients’ brains to control the patients’ emotions. Connie kills the doctors by slipping poison into their coffee.
Summary:This mystical tale of memory and imagination in the face of personal tragedy is set in Argentina during the political upheavals of the 1970's. It is a story of the disappeareds, police prisoners spirited away for questionable offenses, tortured, and usually killed. The plot revolves around a man who has the gift of imagining the locations and the futures of many of the missing persons, but he cannot locate, by the same means, his own beloved wife. The power of memory and imagination in guiding an oppressed people through the darkest days of their struggle is the central concern of the work.
This story is a reminiscence of the care provided to a dying grandmother when the Latina narrator was a teenager. She recounts the turmoil of her home life and the love and protection her grandmother provided. Grandmother's home, with its flowers growing wild on the front porch and smells of chiles frying in the kitchen, was a refuge of living things, a place where an awkward young woman could come into her own.
In the story's remarkable ending, after Abuelita (grandmother) dies, the granddaughter carefully undresses her, and then enters the cleansing waters of the bathtub with her. There she waits for the moths to come--the moths which Abuelita told her of "that lay within the soul and slowly eat the spirit up." The moths do come, and then she cries, sobs, for herself, her mother, and grandmother--"there, there, I said to Abuelita, rocking us gently, there, there."