Showing 671 - 680 of 843 annotations tagged with the keyword "Patient Experience"
Fred McCann is an energetic man in his thirties, something of a playboy, when the Second World War breaks out. He becomes a soldier, and in an Italian village one day he goes to a pump for a drink of water. The pump is booby-trapped and explodes. He is blinded and loses all four limbs. The story traces the development of a relationship between Fred and Alice, his nurse in the military hospital.
As he learns to submit to being entirely helpless, reliant on Alice for all his needs, he gradually begins to adapt to his new condition. Then Alice changes everything by having sex with him. At first their new and obsessive relationship makes him happy, restoring some of his old sense of himself as a man. When Alice is moved to another duty and replaced by a sadistic male nurse, Fred is so devastated and makes such a scene that he gets Alice back.
To celebrate her return, Alice sneaks some whiskey into his room and they get drunk. She then says something that appalls him: she calls him her "thing" and confides that she has always hated men, who look at her and touch her and have power. Fred is nauseated, seeing himself reduced to nothing more than a "a phallus on its small pedestal of flesh." He realizes now that he is no longer a man, and later that night he manages to drag himself out into the garden, where there is a small pool in which he drowns himself.
Summary:Dividing the background expanse of red from yellow, and surrounded by a halo, three apples--green, red, and purple, four yellow papyrus blossoms, and a snake held between the fingers of the artist's hand, a disembodied head appears caricature-like in this self-portrait.
In 371 E. C. (Efican Calendar) a woman named Felicity Smith gives birth to Tristan, a child with such severe congenital defects that the doctors advise her to let him die. Felicity is an actress and the head of a theater troupe in Chemin Rouge, the capital of a small fictional country called Efica. Instead of getting rid of her son, Felicity takes him to live in the tower of her theater.
The boy actually has three fathers (Bill, Wally, and Vincent), each of whom in his own way accepts responsibility for the horribly deformed child. The boy grows up with the ambition to become an actor, even though he is only three and a half feet tall, his speech is almost unintelligible, and he inspires revulsion in almost everyone that he meets for the first time. Nonetheless, he thrives in the close-knit theatrical community.
When Tristan is eleven, agents from Voorstand murder his mother, who has entered politics and become a "persona non grata" in Voorstand. Tristan also fears for his life, but nonetheless avenges his mother's death by writing subversive pamphlets. Many years later, at the ripe old age of 23, Tristan and Wally (one of his fathers) travel illegally to Voorstand where they encounter many adventures before the novel comes to a satisfactory conclusion.
This novel is the fictionalized account of author Thomas Moran's real-life experience as a patient with disseminated chicken pox. During his five months in hospital, much of that time on a ventilator, Moran experienced "coma visions" and near death which he retells here through his alter ego, James Blatchely, a man who struggles to remain emotionally alive in spite of the virus's physical assault. Blatchely does this by observing, befriending, and then fantasizing a life for his two Irish nurses--Brigit who, he discovers, uses drugs to endure the pain she witnesses daily in Intensive Care, and Nuala, with whom he falls in love.
Through the depiction of Blatchely's erratic, inching descent toward death, readers gain visceral insight into a patient's encounter with critical illness--but the real heroes of this book are the nurses. We observe them through Blatchely's eyes, and they are the force that enables him to survive, if not in body, at least in mind. This beautifully written novel creates a world in which both patients and caregivers are fully human, bound together by their shared experience of the patient's illness and by the life the imagination enjoys when the body cannot.
The poem's title refers to John Hunter Hospital, where Les Murray lay near death for three weeks as a result of a liver condition. He "turned yellow as the moon / and slid inside a CAT-scan wheel," then found himself emerging from a "time warp" of unconsciousness 20 days later. Murray reports that he is "the only poet whose liver / damage hadn't been self-inflicted."
He goes on to explain what had happened to make his liver rehearse "the private office of the grave." When he was over the crisis, he signed a "Dutch contract," presumably an advance directive of some sort. Surprisingly, surviving his bout of acute liver failure seemed to cure his other problem, "the Black Dog, depression." The poem ends with a paean of gratitude for "the project of seeing conscious life / rescued from death." [80 lines]
The writer describes her experience as a cancer patient, thrust into "the Land of the Sick" by the diagnosis and treatment of lung cancer four years earlier. Although she is not ill, the fear of mortality embedded in a diagnosis of cancer is a dragon that haunts her existence.
To cope with the dragon she relies on talismen: her doctors, personal will, and her garden peas, an emblem of everyday life and its constant renewal. The talismen create the semblance of control over her situation. She observes that "doctors and patients are accomplices in staging a kind of drama" and that the patient and her continued well-being become talismen for the doctor too.
This collection about the experience of suffering and recovery from physical and emotional illness is unique in that each essay is composed by an established writer who uses his or her literary skills in the rendering of the narrative. The nature of the illnesses lived varies from chronic depression to a broken leg, from progressive and potentially fatal disease to the intermittent disability of connective tissue disorder.
Some of the stories are poetic in their use of metaphor and symbol, others are circumspect about the reality of the effect of illness, as well as healing, on the creative process. Together, they make an interesting cross-section of narrative responses to disruption of life plans.
This pocket-sized book contains stories from the home front--poems about patients the nurse-author tends in their apartments and in her clinic. Often, the patients speak, teaching us not only what it's like to be elderly and lonely, but also how to view mainstream healthcare from a different perspective.
Most important, we learn about the courage with which these patients cope with illness and poverty, and how nurses honor their patients' choices through non-judgmental caring. Outstanding poems include "The Language of Hearts," "Passages," "Lower Midline Surgical Scar," "The Screamer in Room 4," and "Home Remedies for the Blues."
The first-person narrative of Catherine who is desperate for her seemingly indifferent mother’s love. Raised from infancy by grandparents following her parents’ divorce, Catherine seeks her indifferent but devout mother’s affection by emulating her saintly namesake. She mortifies her flesh in the pursuit of thinness based on an ideal of purity as self-denial and on her mother’s esthetic expectations.
The obsessive behavior extends from anorexia to willful insomnia and severe illness. At college she recovers by discovery of a happier, more direct faith. The essay begins and ends in the narrator’s later life, as she contemplates her own revulsion and pain in caring for her mother who lies dying of breast cancer.
The story covers the months from early diagnosis of a retinal disorder through stages of treatment and loss of vision to a six-month stay at a residential facility to train the newly blind in life skills, including Braille. Sally Hobart was a 24-year-old elementary school teacher when she began suddenly and rapidly to lose her vision.
In the months that followed, she went through several surgeries and other treatments that are sometimes successful in restoring vision, but all efforts failed. She was left with very cloudy partial vision--only enough to distinguish colors, light and dark in the lower half of the vision field.
She tells about the fear, the frustrations of partial information and false hope, the tension between herself and her fiancé (they finally called off the engagement), the support (and also confusion and pain) of friends and family, and the emotional adaptation to a whole new life while learning to become independent as a blind person.