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The Physician in Literature is an anthology edited and introduced by Norman Cousins that aims to illustrate the multiple ways in which doctors are portrayed in world literature. Literary selections are organized into 12 categories including Research and Serendipity, The Role of the Physician, Gods and Demons, Quacks and Clowns, Clinical Descriptions in Literature, Doctors and Students, The Practice, Women and Healing, Madness, Dying, The Patient, and An Enduring Tradition.
Some of the notable authors represented in this collection include Leo Tolstoy, Herman Melville, Albert Camus, William Shakespeare, Charles Dickens, George Bernard Shaw, Anton P. Chekhov, Orwell, Fyodor Mikhailovich Dostoevski, Ernest Hemingway, Thomas Mann, Gustave Flaubert, and Sir Arthur Conan Doyle. A healthy dose of William Carlos Williams makes for some of the most enjoyable reading ("The Use of Force" and excerpts from his Autobiography).
The story begins in London as Lilia, the young widow of Charles Herriton departs for an extended tour of Italy, taking with her a companion (Caroline Abbott), who is supposed to keep her our of trouble. Lilia leaves her 8-year-old daughter Irma home with the Herritons. The Herritons are a snobbish upper middle class family ruled by an iron-willed matriarch, who has never approved of her daughter-in-law's unassuming and spontaneous nature.
The trouble begins when word arrives from the small town of Monteriano that Lilia has gotten engaged to an Italian man. Mrs. Herriton sends her son Philip to buy off the "wretched Italian" and bring Lilia home. But he arrives too late. The 32-year-old Lilia has already married Gino Carella, who is the unemployed son of a dentist and a decade younger than she is. Gino is charming and seems guileless, although he has no intention of adopting an English attitude toward marriage. Indeed, he has married Lilia for her money and expects her to become a proper Italian wife.
Later, Lilia dies in childbirth, but the baby survives. At first the Herritons intend to sever contact and not acknowledge the child. However, nudged by Miss Abbott, the unsuccessful chaperone, they decide to "save" the child from becoming an Italian. Once again, Philip goes to Italy to buy off Gino and bring the boy to England. Once again, he fails.
But this time, his aggressive sister Harriet intervenes; when all else fails, she steals the baby. Unfortunately, a mishap occurs, and the baby dies. Meanwhile, Philip has fallen in love with Miss Abbott who, in turn, has fallen for the recently remarried Gino. In the end it looks like Phillip and Miss Abbott will become "just good friends."
Summary:Carol White (Julianne Moore), an upper-middle-class Los Angeles housewife, is stricken with a mysterious illness that her doctor cannot diagnose or explain. He believes her illness to be psychosomatic, but Carol, through contact with a support group, realizes she has "environmental illness," an immune disorder that causes her to physically overreact to common chemicals, fumes, and environmental pollutants. The film follows her journey to a clinic in New Mexico in search of relief from her increasingly debilitating symptoms.
Annie, about to finish high school, is still struggling with the long-term grief and confusion that has changed her family life since her sister, Mog, was killed by a car thief just before her own high school graduation two years ago. Annie wants to talk about Mog, but her mother remains in insistent denial and turns away from any mention of her; her father is protective of her mother and keeps his own long silences; and her brother, eager to get on with life, is willing, but unable to sustain much of the kind of conversation that might help.
Mog’s boyfriend, who was with Mog on the night of the shooting and sustained an injury but survived, offers one source of help in Annie’s process of emerging from grief, but the help becomes confused with romantic attentions that eventually, with the help of a therapist, Mog realizes she needs gently to renounce. Her belated decision to see a therapist comes at the suggestion of a friend’s mother who sees how stuck the family is in their evasions of the grief process. She initiates the visits on her own steam, with the approval of her rather passive but supportive father, and with a rather tense policy of noninterference from her mother.
Eventually, as Annie starts college, she finds herself able to move along toward remembering Mog and speaking about her freely while also reclaiming her own life and ambitions without guilt for leaving her sister "behind." Her father assures her that her mother will "be alright." In the meantime, Annie realizes not everyone has to heal the same way, and she has, with help, found a way that works for her.
Collegiate Assessor Kovalyov wakes up one morning and discovers that his nose is missing. At the same time in another part of St. Petersburg, Kovalyov's barber finds the nose in his breakfast roll. However, the barber, desiring to disassociate himself from the strange incident, proceeds to toss the nose into the Neva River. A little later, Kovalyov happens to see his nose riding in an elegant carriage and wearing the uniform of a State Councillor (a higher rank than Collegiate Assessor). He demands that the nose give itself up, but is rudely rebuffed.
At first neither the police nor the newspaper offer any help, but later a police officer, who happened to observe the barber throwing an object into the river, returns the lost nose to Kovalyov. However, a new problem arises. How will he re-attach the nose to his face? For this he consults a doctor, who recommends letting nature take its course, "it's best to stay as you are, otherwise you'll only make it worse." Poor nose-less Kovalyov! He becomes the laughing stock of St. Petersburg, until one morning he wakes up and finds his nose re-attached firmly to his face.
This book presents the "War of Attempted Secession" through the eyes of America's great poet. It consists of letters, dispatches, articles, and prose selections from Specimen Days (1882), Whitman's quasi-autobiography. In addition, all of Whitman's Civil War poems are included, some interspersed through the text and others collected in an Appendix.
The editor has arranged this material into 14 thematic chapters, beginning with "an introductory section in which Whitman discusses the general character of the Civil War" and including chapters containing material on his visits to the front, life in Washington during the War, letters to his mother, his admiration for Lincoln, and other topics.
Of particular interest is "The Great Army of the Wounded," a chapter composed of dispatches to the New York Times and Brooklyn Eagle, in which Whitman describes the military hospitals surrounding Washington and his own work as a volunteer nurse, scribe, and friendly visitor. In "Dear Love of Comrades," he presents a number of "specimen" cases of sick or wounded soldiers. "O My Soldiers, My Veterans" consists of letters written to soldiers, or for soldiers to their families. Another chapter, "Ethiopia Saluting the Colors," presents Whitman's positive assessment of black regiments serving in the Union Army.
Many of the war poems appear in topically appropriate chapters; among the most effective of these are "A Twilight Song," "Over the Carnage Rose Prophetic a Voice," "Pensive on Her Dead Gazing," "Dirge for Two Veterans," "Ethiopia Saluting the Colors," "O Captain! My Captain," and The Wound Dresser (see annotation in this database).
Paula Henning (Franka Potente) is a brilliant medical student from Munich, who comes second in the Robert Koch competition winning a place at the prestigious Heidelberg medical school. Medicine is a family tradition, but Paula has little respect for her father's boring suburban practice. Instead, she takes inspiration from her dying grandfather, an academic doctor, who celebrates her decision.
En route to Heidelberg she meets the stunningly beautiful and highly sexed Gretchen (who stood first in the competition) and David, a 22 year-old lad with cardiomyopathy and multiple piercings. Gretchen is interested in partying; Paula is serious, studies all the time, and ignores fellow student Caspar (Sebastian Blumberg) who strives for her attention. When David appears on the dissecting table with no obvious cause of death and "rubbery blood," Paula begins investigating. She determines his death is due to Promidal--a drug developed by The Anti-Hippocratic Society (or "AAA!").
This clandestine group engages in unethical anatomical research on living subjects to "better" the human race. Her classmates scorn her conspiracy theory, but she is drawn deeper into the mystery when Gretchen disappears only to reappear as a perfectly dissected, plasticized cadaver. Paula nearly succumbs to the same fate with her lover, Caspar (who turns out to be an incognito history student writing his thesis on the AAA! ). The ending is happy, although Paula must reckon with the discovery that her venerated grandfather was a member of the "AAA!".
This is a massive study of Paris and of Notre Dame set in the fifteenth century, but written from the viewpoint of the nineteenth century. Hugo gives us not only the magnificence and the horrid secrets of the great cathedral, but the boisterous city over which it stood. Quasimodo, the legendary hunchbacked bellringer of the great church, is the title character.
But the reader is also treated to a small group of individuals, including a high-ranking priest, a beautiful dancing street entertainer, a soldier of fortune, an itinerant poet, and a grieving mother whose lives are intricately woven together in the often painful plot line. The author, obviously deeply entrenched in the history of his city, gives his readers a dense, sometimes chaotic, trip through medieval Paris in all of its allure and its sordidness as his carefully crafted characters come together and gradually destroy one another and/or themselves.
This novel purports to be the story of Ned Kelly, the most famous of all Australian outlaws, as told in his own words. We learn that after Ned’s capture in the shoot-out at Glenrowan on June 28th, 1880, "thirteen parcels of stained and dog-eared papers, every one of them in Ned Kelly’s distinctive hand" (p. 4), were discovered among his things. These parcels turned out to be a memoir, addressed to the infant daughter whom he was never to see because his wife fled to San Francisco.
Ned was the son of poor Irish immigrants who farmed a "selection" (i.e. homestead) in the northern part of the colony of Victoria. After his father died, in order to help support her children, Ned’s mother took up with a series of dubious men, including an outlaw named Harry Power, who became the boy’s manipulative mentor. The memoir presents Ned as a goodhearted, loyal, and basically honest young man who came to blows with the law partly as a result of his bad companions, and partly through the intrinsic malice of the police.
Along with his brothers and two friends, he reluctantly becomes a bank robber, commits a few incidental murders, and ends up as a popular hero whose final capture has become part of Australian legend. The memoir shows us that the 26-year-old Ned could have escaped to America with his wife, but chose to remain in Victoria because he hoped somehow to free his mother, who was serving a jail sentence in Melbourne. The memoir also describes the origin of the famous iron armor that Ned was wearing when he was captured.
Levin, a social documentary photographer, immersed herself with the Class of 2001 in the anatomy course at Weill Medical College of Cornell University. Her photographs of cadavers, students and instructors are prefaced by a foreword by physician-writer Abraham Verghese. He describes the rite of passage of anatomical dissection: "The living studying the dead. The dead instructing the living." (p. 9)
Interspersed with the full-color images are journal entries by 11 medical students and several artistic anatomic illustrations by 3 of the students. The journal entries and photographs are organized temporally, from the introduction to the dissection lab to the final exam and student-organized memorial service. The end of the book includes the interests and brief biographies of the 11 students and a final dedication by Levin of the book to those who donated their bodies: "I have never before witnessed a gift that is honored, respected, and consumed so completely."
The photographs are not for the squeamish. For example, the double amputee pelvis prosection on page 102, or the multiple images of flayed skin, bits and pieces, or limbs tied to supports provide an insider's view of an anatomy course. Many of the images show the living in motion: translucent images of students in time-lapse swirl near the static cadavers. Other images conjure the once-upon-a-time personhood of the dead: pink fingernail polish on a female cadaver or a heart palmed by a student. The intensity of the student experience is well documented, as is the relaxed atmosphere that inevitably develops as students become accustomed to the experience of dissection.
The student journal entries are sensitive and thoughtful. Students comment on the intersections of daily living, home life, and their own bodies and bodily functions with what they are learning in the classroom. Particular discomfort regarding certain dissections, such as the pelvic region, are acknowledged. Even though students note growing immunity to the dissection experience, such comments reflect insight into professionalism and defense systems. Gallows humor and uneasiness with such humor is explored by Rebecca (p 62) after she sings "New York, New York" to the roomful of cadavers. Forensic clues about the cause of death for a particular cadaver renew the sense for students that this was once a living, feeling person.
The intense, long hours required for understanding and memorizing the material are clearly evident, but ultimately, these students realize they are given a truly special opportunity: "I began to love learning the material just for the sake of learning. Anatomy no longer felt like a burden, but rather a gift." (David, p. 119) Relationships explored include those of student with cadaver (particularly respect/disrespect, ownership and protection), life with death, and those who have had the experience of dissection with those who never will.