Showing 611 - 620 of 881 annotations tagged with the keyword "Patient Experience"
This memoir is DeBaggio's first-person account of his early experience of Alzheimer's disease and its effect on his life and the life of his family. The book is a collection, in loosely narrative form, of the author's diagnosis of early-onset Alzheimer's; brief excerpts from his journal; excerpts from the medical literature on the disease; and memories from his past that he wants to commit to paper before he can no longer recall them. He documents his struggle simply to write the book, as it becomes more and more difficult to sustain thoughts or find the words to express what he wants to say.
The poems in this collection, written by a dermatologist, are not specifically about medicine or medical issues. Threading through them, however, is a sensibility that sees both the natural world and human relationships in terms of the great cycle of awakenings, rising passions, complex relationships, change, aging, and death. Many, though few run more than a page, have a narrative thrust; they offer windows on ordinary life that tie the particulars of events and encounters to large, seasonal, mythic rhythms and stories.
History is present in many poems, in the character of Persephone, for instance, in lacings of Gaelic language, in allusions to old stones and fires and (in the final long poem) to the historical Macbeth, immortalized inaccurately. Natural objects--bird songs, dolphins, nettles, an old pear tree--feature largely as anchoring images of poems that move gracefully from memories to metaphors, linking life observed with interior life lived alertly by a poet who plumbs small experiences for cosmic connections.
Written by a medical historian who is also a physician, The Breast Cancer Wars narrates how breast cancer diagnostic methods and treatments have developed from the early twentieth century. More significantly, the book describes the debates and controversies that permeated this evolution and the ways in which not only clinicians and researchers, but, increasingly, women patients/activists shaped how we view, diagnose, and treat breast cancer today.
Individual chapters explore the influential (and ultimately contested) radical mastectomy procedure of William Halsted, the development of the "war" against breast cancer as a full-blown campaign developed and conducted within the public media and consciousness of the United States as well as within medical practice and research, the intertwined development of feminism and breast cancer activism, the "fall" of the radical mastectomy, and the continuing controversies surrounding mammography and genetic testing as modes of early detection and risk assessment. Lerner draws on a range of primary sources including texts from the archives of the American Cancer Society, the papers of doctors and patients, and advertisements from popular and professional magazines throughout the century.
This collection of poems chronicles moments of felt experience in the writer's life before and after her diagnosis of ovarian cancer. Starting with a memory of a carefree childhood lived in an era when streets were sanitized with DDT, and a poem entitled "The Body is the Repository of Memory," the poems move freely from close-ups of moments in the hospital or grieving at the waterside to wide-angle views of a life that has been and still is normal, worth living, pulsing, albeit a bit more irregularly, with creative energies.
Cumulatively the poems explore the paradox that illness (and a terminal prognosis) changes everything and also, but for the shadow it casts, changes very little. "Still," she writes in a final line, "my wild heart beats." The poems are interspersed with prose-poems that shift the focus toward the writer's reflections upon the project and circumstances of creating this "memory board"--a term borrowed from the Luba people of Africa, who bead boards that represent memories to pass on as visible legacies of lives they believe worthy of being remembered.
Summary:The poem depicts the vulnerability a woman may feel during this procedure, one that feels anything but routine. Even though the mammogram turns out predictably normal, the patient knows that she is changed. She has seen the fragile faults deep in her body, and she knows that no one, not even her doctor with his reassuring diagnosis, can "give innocence back."
Notes from the Delivery Room is a short poem that presents a series of metaphors commonly used to describe childbirth. It is a crisis, like the woman in a comic book tied to the railroad tracks; hard labor with physician as foreman; a harvest, like pulling potatoes from the earth; a magical event, like pulling a rabbit from a hat.
Throughout the poem, the reader feels the tension between these images, and the reality of bright lights, restraints, pain, and medical staff as they impinge upon an intensely personal experience. Finally the speaker abandons her metaphorical language and becomes simply herself, greeting her barefoot child. She and her child are finally human beings unencumbered by symbolism, not representing anything but themselves.
I am feeling crabby / unlikely to reveal any hidden tidbits . . . Yet, the narrator gamely decides to continue psychotherapy, hoping to "crack open" the shell and discover the "succulent confessions" that lie within. She recalls her neighbor telling her about soft-shelled crabs and the adventurous day she ordered them for the first time at "a favorite hangout of my past." Sure enough, she ate the crabs, and "I was so pleased with myself / trying some exotic new dish" and not being afraid. [35 lines]
The Heavenly Ladder is physician-poet Jack Coulehan's most recent chapbook, bringing together 48 poems, many of which have been published individually in various medical journals and literary magazines. The collection is divided into four sections.
Poems in the first section, "Medicine Stone," are written in the voice of patients or in the voice of the physician who treats them. The second section, "So Many Remedies," consists of five poems inspired by physician-author Chekhov. The poems of "The Illuminated Text" section reflect a wide-ranging interest in people who lived in distant times or in distant places. The final section, "Don't Be Afraid, Gringo," stays, for the most part, closer to home and includes a number of poems addressed to, or about, family members.
To relieve her insomnia, Claire Vornoff seeks help from Dr. Declan Farrell, a well-known holistic physician, who begins to see her professionally at his country home. Farrell's methods focus on massage and bodywork, along with some acupuncture. Claire finds him an attractive paradox--sensitive and "tuned in" to her, yet also blunt and emotionally unsettling.
The client-therapist relationship becomes deeper and more complex. After Claire has a brief sexual escapade with a married man, she admits to herself that she actually loves Declan and confesses her love to him. Indirectly, he reveals that he also has strong feelings for her, but is desperately resisting those feelings and attempting to maintain his professionalism.
Claire finally breaks off their relationship and attempts to go on with her life. Over the next couple of years, Declan closes his practice, moves elsewhere, divorces his wife, and ultimately commits suicide. Claire learns of these events gradually, at second hand, as she, too, moves on, but in much a different direction. Eventually she begins a new life in Toronto.
Although the relationship between Claire and Declan occupies center stage, Claire's quest for improved health leads her to consider, and sometimes consult with, other alternative medicine practitioners as well. (I say "improved health" rather than "relief of insomnia" because, although never stated, it seems clear that Claire seeks a sense of completeness and meaning in life that goes far beyond solving her sleep problem.)
One of these healers, for example, is Mr. Spaulding, who reviews Claire's blood work and concludes, "You're in rough shape, girl." (p. 231) He explains that her "body salts are so high I can't measure them" and that her "body is throwing off one hundred times more dead cells than it should . . . "
The story begins with the doctor-narrator unobtrusively observing an older man lying in a hospital bed. The patient is blind and has amputations of both legs. (We are given no medical details that cannot be observed in the room.) The narrator tends to the man's amputation wounds and answers a few simple questions. The man requests a pair of shoes.
Back in the corridor, a nurse tells the doctor that the patient refuses his food, throwing his china plate against the wall of his room. The narrator hears the man and a nurse argue briefly about food and then, by himself, watches as the patient carefully and powerfully throws another dish against the wall. The next day the doctor discovers that the patient has died.