Showing 641 - 650 of 828 annotations tagged with the keyword "Doctor-Patient Relationship"
Seeking redemption in the bloody business of surgery, Selzer's narrator tells several medical stories that humbled his surgeon's pride and refers approvingly to an atheist priest in a story by Unamuno who carried on for the sake of his congregation because "their need is greater than his sacrifice." Selzer finally tells us that it is in writing, if anywhere, that the elusive soul can be represented.
The Exact Location of the Soul is a collection of 26 essays along with an introduction titled "The Making of a Doctor/Writer." Most of these essays are reprinted from Selzer's earlier books (especially Mortal Lessons and Letters to a Young Doctor). Six pieces are new and include a commentary on the problem of AIDS in Haiti ("A Mask on the Face of Death"), musings on organ donation ("Brain Death: A Hesitation"), a conversation between a mother and son ("Of Nazareth and New Haven"), and the suicide of a college student ("Phantom Vision").
A physician seeks solace at the South Pole. Her planned one year stay there is cut short when she discovers a lump in her breast. The attempts to care for her at the South Pole (with telecommunicated help from the U.S.) prove insufficient and a plan to rescue her is successful.
There's more than the drama of illness in a remote location in this book, however. Intertwined with this story of illness is the story of the author's troubled marriage (to her physician-husband), the eventual estrangement from her children, the support of her family of origin, and most fascinatingly the daily rhythms of living (and doctoring) at the South Pole. Scattered throughout the memoir are occasional critiques of "corporate" medicine and poems that inspired the author throughout her ordeal.
Summary:This poem of ten short lines focuses on the immediacy and surprise of an arm breaking "like a tree branch / the green bones sprung like the tines of a fork."
Summary:The narrator is visiting a sick loved one in University Hospital, Boston and reflects on the many patients who have stayed in this hospital, most especially the young men from the battlefields of the American Civil War.
Summary:This is a two-verse, ten-line poem about the narrator's father, who is obviously being kept alive against his own will (he "stormed against equivocation, / Heaving against tubes and wires"). He wants no part of these life-sustaining gadgets; in fact, "they" have to "bind him down." Finally, the doctors ask him why he's acting this way and, unable to speak, the old man asks for a pencil and paper and angrily scribbles in his "clearest, / Most commanding hand, 'I am dead.'"
A retired professor has returned to his estate to live with his beautiful young wife, Yelena. The estate originally belonged to his first wife, now deceased; her mother and brother still live there and manage the farm. For many years the brother (Uncle Vanya) has sent the farm’s proceeds to the professor, while receiving only a small salary himself. Sonya, the professor’s daughter, who is about the same age as his new wife, also lives on the estate. The professor is pompous, vain, and irritable. He calls the doctor (Astrov) to treat his gout, only to send him away without seeing him. Astrov is an experienced physician who performs his job conscientiously, but has lost all idealism and spends much of his time drinking.
The presence of Yelena introduces a bit of sexual tension into the household. Astrov and Uncle Vanya both fall in love with Yelena; she spurns them both. Meanwhile, Sonya is in love with Astrov, who fails even to notice her. Finally, when the professor announces he wants to sell the estate, Vanya, whose admiration for the man died with his sister, tries to kill him. But the professor survives and he and Yelena leave the estate.
In his first chapbook of poems, Richard Berlin, a psychiatrist, writes about his current work with patients ("What a Psychiatrist Remembers," "Rough Air," "Berlin Wall," "Jumpology"), about his experiences on medical wards and as a student ("Anatomy Lab," "Sleight of Hand," "Alzheimer's Unit," "Obstetrics Ward, County Hospital"), about love and family and how medicine sometimes infiltrates even these sanctuaries ("How JFK Killed My Father," "Tools," "Our Medical Marriage") and, most effectively, about the complexities inherent in the role of physician and healer ("What to Call Me," "After Watching Chicago Hope," "Code Blue," "What I Love"). In other poems, he observes the human condition through the veil of medicine ("Hospital Food," "PTSD").
The lure of these poems is Berlin's facility with metaphor; he has a talent for spinning a particular image or observation into revelation. He is also willing to allow puzzlement, doubt, and fear into his poems, effectively conveying both the virtuosity of the teacher and the wonder of the student. Reading this collection, I felt as if the poet was a presence both within the poems and outside of them, like the psychiatrist who must enter the mind of the patient and, at the same time, step back and become a safe guide. It is this double vision that sets his poetry apart.
Summary:This essay provides a rich and detailed critique of the medical view of women in 19th-century America. As the keywords suggest, the authors cover many topics. To mention a few: the coming of male dominance in medicine; the patronizing and disabling characterization of women as "weak, dependent, diseased," and naturally patients; S. (Silas) Weir Mitchell and his treatment of Charlotte Perkins Gilman; the social role of female invalidism in upper middle class culture; the "scientific" view of woman as evolutionarily devolved; and what the authors call "the expert-woman relationship."
In the second volume of her trilogy of memoirs (which begins with American Girl and ends with Speaking with Strangers), Mary Cantwell, a former fashion magazine editor and writer, describes her marriage, the birth of her two daughters, her career advancements, and her divorce, with Manhattan in the 1950s as the backdrop.