Showing 671 - 680 of 681 annotations tagged with the keyword "Illness and the Family"
A young farmer's mother is dying. The farmer, Honore, is concerned about his mother but he is even more concerned about getting his wheat in before the rains come. He is prepared to leave her to die alone, but at the insistence of the doctor agrees to hire Mother Rapet to tend his mother. Mother Rapet is an old washerwoman who supplements her income by watching the dying and preparing them for burial. La Rapet offers to work for Honore for a daily wage. Honore refuses, for he knows how obstinate his mother is and fears she will take a long time to die making La Rapet's services expensive. He insists on a set rate and La Rapet eventually agrees.
After three days, the mother still has not died and La Rapet realizes that she is losing money. Taking matters into her own hands, she tells the dying woman that at the moment before death everyone sees the devil. She then wraps herself in a blanket, puts a pot on her head, and throws a pail across the room making a huge noise. The dying woman thinks she is the devil and struggles to leap out of bed; instead, she collapses on the floor, dead.
Originally a three-part series in the New Yorker, this is an account of McPhee's six months of observing rural family doctors in Maine. It is both an engaging portrait of a kind of family practice increasingly rare in America, and implicitly an argument that those involved in professional medicine consider the tradeoffs in choosing between urban, high-tech, specialization and rural family practice where they know whole families in the context of community over time.
The narrative, based on interviews with physicians, some patients, and observations of clinical encounters, follows the daily routines and decision-making of several rural practitioners who consciously chose against the more lucrative, prestigious option of urban private practice, specialization, or academic medicine.
Summary:Virginia (Olivia de Havilland) marries Robert (Mark Stevens), but she soon becomes profoundly disturbed and her caring husband sends her to a psychiatric hospital. Using Freudian techniques combined with physical modalities of electroshock and isolation, her psychiatrist (Leo Genn) leads her to overcome her amnesia and to understand that her illness is the result of unresolved yet misplaced feelings of guilt over a boyfriend and her father. Just before Virginia is happily restored to Robert, the asylum patients are gathered together at a hospital party where they sing of their yearning for home.
Summary:Chana Bloch's series of eight cancer poems, collectively entitled “In the Land of the Body,” focuses on the experience of ovarian cancer, from diagnosis to surgery and beyond. The poems provide a loose narrative of illness and treatment, but each of them represents a slightly different approach to the inner life of illness. They are episodic; several evoke scenes--in the doctor's office before the X-ray machine, at home, watching her children color, in the hospital before surgery, and finally out of doors among the pines, released as “cured,” reveling in the qualified hope that they got it all.
Summary:A young boy's mother has just died, and out of grief and love, the father has her "resurrected." The family is told to think of the returned mother as having had a mild stroke, but, in fact, she wanders about the house like an inexpressive automaton. Her return from the dead leads to the destruction of the family: the eventual suicides of the boy's older brother and father. The boy, now a young man, becomes a Resurrectionist himself. He narrates the story with a direct, simple tone, which belies the eerie conclusion: he returns to the home of his youth, where his "family" awaits him.
Summary:Shelley is writing about the death of his young son, William. He imagines that William's body held a bright spirit who consumed the body of his host. William's body does not lie beneath the headstone. The grave is merely a shrine for the grief of the parents. The child's spirit runs free. Shelley hopes to sense its presence in the colors and scents of the flowers and grasses surrounding the grave.
Summary:There are two short poems by this name. Both are about Mary Shelley's reaction to the death of her son, William (see also To William Shelley in this database). Mary Shelley's depression is so intense that her husband feels as if she too has died. Her body is still there, but her real self has "gone down the dreary road / That leads to Sorrow's most obscure abode." Shelley knows he cannot follow her into depression for her own sake; he must be strong to pull her back.
Summary:The narrator descends from the hospital room where his father lies dying. As he leaves the hospital and crosses the street, he scans the tiers of hospital windows. He imagines "dozens of pale hands . . . waving," but he knows that his father is behind one pane, which is "the bright, erased blankness of nothing." He suddenly has a revelation that he and his father truly recognize one another, that neither is afraid for the other. He carries this vision away in "amazement."
The narrator observes how her dying father is changing as he dies. She experiences the process as if she were giving cosmic birth to him,
and as if she could protect him in the safety of her womb.
This dead body is to be treated with respect, not to be left alone or to be donated to the anatomy lab, or for organ transplantation. For the narrator, there is little difference between this body of her dead father and the unconscious body she remembers from so much of her childhood. She cannot make the distinction emotionally between the dead and the living father, " . . . this was the one I had known anyway, / this man made of rich substance."