Showing 671 - 680 of 856 annotations tagged with the keyword "Patient Experience"
After a stressful trip to cold-war Russia in 1964, Saturday Review editor Norman Cousins tells how he developed a debilitating illness which confines him to bed. He is admitted to hospital for tests and treatments, and is diagnosed with ankylosing spondylitis, but his condition deteriorates and he is given a gloomy prognosis. He notices that the depressing routine of hospital life tends to produce side effects that aggravate his condition.
With the blessing of one of his doctors, he checks out of hospital and into a comfortable (yet less expensive) hotel where the food is better and he can watch funny movies while he medicates himself with high doses of Vitamin C. He is convinced that the slow improvement in his condition is owing to his individualized methods of therapy and his having taken charge of his own situation.
This interesting and meaningful book of poems is difficult to describe and to classify. The author has had three kidney transplants and so is knowledgeable about chronic illness and its impact. Though he does write about dialysis and transplantation, he also writes about many other kinds of illness, including the chronic fatigue syndrome, dementia, autism, cancer, and mental illness.
"Three Doctors" describes the gathering of physicians each morning to check on their narrator/patient, regardless of who overhears their conversation. The "Non-verbal Autistic Man" traces the daily, lockstep gait of a human being who speaks only one phrase and who walks the same path over and over. Not all of the poems concern the failure of the body. There are also descriptive poems about the Midwest and about various well known personages. The constant reinvention of the individual, even in the face of difficulty and death, is a common theme of this collection.
The setting for "The Shadow Box" is three cottages on the grounds of a large hospital. Here, three tales unfold, at first serially, and then towards the end of each of the play’s two acts, simultaneously. Each tale features a person who is dying. Each person is surrounded by loved ones. All are trying to face and make sense of death.
The first family we meet is the most conventional. Joe, a working class husband and father, is joined at the cottage by his wife Maggie, who, in denial of Joe’s impending death is afraid to enter the cottage. Their son, Stephen, age 14, has not yet been told of his father’s terminal condition. The second family consists of Brian, who is brutally forthright about his demise; Mark, his doting lover; and Beverly, Brian’s wild ex-wife who comes to visit them. The third family is a feisty, blind, and wheelchair-bound mother, Felicity, and her dutiful daughter, Agnes. An off-stage character, "the interviewer," pops in and out of the scenes, offering insight into the various characters through questioning.
One morning, while pondering the stress of his latest assignment at his uninspiring job, the narrator of Kangaroo Notebook feels an itching on his leg that seems to indicate an unusual hair loss. The next morning he wakes to discover that he is sprouting small radishes on his shins. After battling to be seen in his local medical clinic, he enters a hospital, where a physician prescribes hot-spring therapy in Hell Valley.
Hooked to a penile catheter and an IV bottle, the narrator begins a harrowing journey on his hospital bed through the underworld that seems to lie beneath the city streets. Here, he seeks health not so much as he seeks simple explanations for what is happening to him and the strange people he meets: abusive ferreymen, waiflike child demons, vampire nurses, a chiropractor who runs a karate school and works a sideline as a euthanist.
Ten-year-old Becky Zaslow is diagnosed with acute lymphocytic leukemia (ALL) just before her class talent show. The sudden changes in her world include a hospital roommate whose experience with chemotherapy has left her rude and embittered; a lively nurse who levels with her; and parents who react strongly and differently to her illness. Even though the treatments leave her bald and weakened, she shows up at the talent show just before her bone marrow transplant, to the acclaim of all but one of her classmates.
A key coping strategy for Becky is an increasingly vivid fantasy life in which she finds friends among a herd of zebras and one monkey. Holding her stuffed zebra, she "travels" to Africa to escape the pain and trauma of treatments. Gradually she loses ground; as her body gives way, her mind and spirit move increasingly to the other world where an old zebra offers wisdom and help for the crossing she is about to make. She dies, leaving behind a journal that becomes her younger brother's incentive to learn to read, a task he has been resisting.
Written by surgeon and renowned author Sherwin B. Nuland, this book offers both a detailed look into the workings of the human body and a glimpse into the heart and work of the author. Furthermore, it is also a philosophical treatise on the wonder of human life and the beauty of "animal economy." As a human biology text for the layman, the book explicates the major organ systems of the human body, such as the nervous system (including the sympathetic nervous system), the cardiovascular system, the gastrointestinal tract, the immunologic and hematologic systems (including coagulation, cell lines, lymphatics), and the urogenital system (including reproduction and childbirth).
Nuland intertwines dramatic stories of his surgical patients with the systems review. For instance, the book begins with the near death of a woman by hemorrhage from a ruptured splenic artery aneurysm. Another dramatic story involves the near death of a young diabetic woman from bacterial overgrowth in the gut. The reader also hears the patients' versions of their illness experiences--Nuland gives direct quotes from what they have said or written about their experiences. Through it all, Nuland expresses his awe and wonder at the workings and capabilities of the human body.
This book is the very personal story of one woman's struggle against a debilitating mental illness, which fortunately she was helped to overcome in time to allow her to complete her medical education and become a practicing physician. She says that the material was recalled partly from a diary kept during the time of original events, from memories of others, and from medical records.
The first chapter describes the author as a medical student assigned to a psychiatric service; subsequent chapters go back to the beginning of her personally perceived problems at age six, concluding with her amazing recovery after being treated with dialysis and her eventual acceptance to and success in completing medical school.
Dr. North's descriptions of her own perceptions of the sensations she experienced, the voices which talked to her and her remarkable persistence in school despite this are mesmerizing. Also, her description of treatment by physicians and care in mental institutions is very instructive. Her description of family relationships is intrinsic to the telling of her story. This book describes the anguish of mental illness from the inside.
Death beds have been around for a long time. Ancient Greeks, Japanese monks, Medieval Christians, and tubercular Victorians all had opportunities to use them. Some folks were witty, some were slow, and some called for a priest when the time came. "And you and I, too, may lie on ours, / the vigilant family in a semicircle, / or the night nurse holding our hand / in the dark, or alone." We cannot avoid the death bed, but what we can hope for is "just at the end / a moment of pure awareness . . . . " [56 lines]
The spoiled Long Island heiress, Judith Traherne (Bette Davis) is suffering from severe headaches and visual disturbances, which she tries to ignore in pursuit of wild parties and frenetic horse-back riding. Her friend and secretary, Ann (Geraldine Fitzgerald), and the old family doctor bring her to Dr. Frederick Steele (George Brent). Steele has just sold his neurosurgical practice and is about to catch a train to Vermont where he will devote himself to fulltime research on malignant brain tumors. He delays his departure to operate successfully on Judith's glioma.
He and his patient fall in love. But Steele learns that her disease will recur in a predictable manner: blindness followed by painless death. He and Ann conspire to hide the prognosis from Judith. A wedding is planned and the move to Vermont. But Judith uncovers the secret and flies into a rage at the treachery, breaking off the engagement.
She tries to drown her sorrow of impending doom in drink, a frivolous dalliance with a drunken suitor (Ronald Reagan), and a more serious dalliance with her horse-trainer, Michael (Humphrey Bogart). On the verge of sin with Michael, she realizes that her only hope lies in life itself, marriage and the house in Vermont. Steele conducts his laboratory research in a back shed and the couple carry on as if her death sentence did not exist.
Living a lie provides their few months of happiness, their "Dark Victory," Judith says, over the cruel promise of her death. Just as Steele is invited to New York to present his research, her vision begins to cloud and fade. She tells Ann, but keeps the news from her husband. He leaves the now blind Judith and her friend in the garden planting bulbs that will bloom in spring. She sends Ann away too, and lies down to face her romantic (but painless) end alone.
Gottlieb, nearing thirty years old, discovered her childhood diaries in a closet in her parents' home as she searched for some chemistry notes to aid in her quest to attend medical school. This book is "based on diaries" she wrote when she was diagnosed with and underwent treatment for anorexia nervosa. It is the writing of a precocious, strong-willed preteen who enjoys chess, being unique, writing, and getting straight A's in school, yet who is lonely and desperate to fit in and be popular.
Lori is eleven years old, lives in Beverly Hills, California with her fashion-conscious, loves-to-shop mother, her somewhat distant stockbroker father, her older brother David who now is into music and friends and not-Lori, and her best friend Chrissy, a pet parakeet. Lori's diary entries are filled with astute observations of adults (teachers, parents, relatives, medical personnel, even a television star she meets, Jaclyn Smith) and classmates.
She is wry and witty. An early entry gives an English essay she rewrote to get an "A". These "power paragraphs" are generously and hilariously sprinkled with "proper transitions" such as "to begin with", "moreover", and "on the other hand" that her teacher insists are necessary for readability. This essay provides telling insights about Lori's perceptions of her family, particularly (note transition word) her mother's superficiality.
Lori is surrounded by messages of the glories of thinness for women. Every female she encounters, from peer to adult, is on a diet, counts calories, avoids desserts and gossips about how other women and girls look. The culture is not only anti-obesity, but pro-superthinness. Hence it is logical that Lori, angry about being taken from school to go on a family trip to Washington, D.C., begins her rebellion and search for control by skipping meals and dieting.
She gets the attention she craves from her parents. Her schoolmates ask her for diet advice and admire her weight loss. Self-denial, obsession with calories (that she believes can even be gained by breathing), and secret exercising lead to an alarming weight loss in this already skinny kid.
Her mother takes her to the pediatrician, who prescribes whole milk which Lori refuses. He refers her to a psychiatrist, who eventually hospitalizes her for behavior modification, observation, and a possible feeding tube. At the hospital, Lori meets medical students, nurses and fellow patients, but becomes progressively more depressed, dehydrated and lonely. She attempts to run away and makes a suicide gesture. Finally, she sees herself for what she has become--an emaciated stick figure.