Showing 731 - 740 of 876 annotations tagged with the keyword "Empathy"
This is a scholarly book and the author, who is an exceptionally good writer, has gone to great lengths to search out original source material, much of which has not been examined by previous authors. Instead of retelling Elizabeth Blackwell's story she relates in some detail that of Sarah Adamson Dolley, another important pioneer woman physician who was the third woman medical graduate in America. She also was one of the eight founding members of the earliest society of women physicians in the United States.
The book also details the period in the late eighteen hundreds and early nineteen hundreds which was referred to as "maternalist medicine," when women began to pursue their careers in public health. After being "sidelined" in the first half of this century, the numbers of women physicians began to slowly increase, greatly aided by the new women's movement and the equal opportunity era.
Dr. More does an excellent job of bringing together the history of women physicians with the history of medicine from 1850 until the present. Her descriptions of women physicians' lives and problems are evenly presented and make interesting reading. The evolution of medical education in general is also well described. Her conclusion is not unexpected--that the greatest obstacle facing women practitioners today is the need to accommodate the demands of childbearing and child rearing with their professional lives.
Summary:In the title story of this collection, "Survival Rates," a husband's thyroid cancer appears to be a greater threat to his marriage than it does to his health. The young girl who survives an accident in "Jumping" ends up a casualty anyway. In "Howard Johnson's House," a plastic surgeon repairs a nine year old girl's nose after it is severely damaged by a dog bite. Even before the injury, however, the child's nose was hideous. When the surgeon gives her a cosmetically perfect nose, the girl's mother is not merely disappointed but outraged. Two girls must adapt to life after colon surgery in "Krista Had a Treble Clef Rose."
In the first poem, Starting the I.V. (see this database) the poet tells us that he will approach the secrets of the body without flinching, "I have learned not to hesitate here, / not to let fears of my own" get in the way. The instrument he uses is the poem. Through these poems he reveals some of the hidden truth of the healing relationship. "A transformation," he calls it, "as if through this intimacy / we have become part / of each other." ("Physical Exam")
Watts captures the pain and horror of illness in striking images. For example, the numbness felt by a person suffering from multiple sclerosis "felt like oatmeal / drying on the skin" and the disease itself was "this moth of his nightmare / . . . eating at the wool / of his nerve endings." ("ms") In another poem ("restrictive") a patient's tortured breath "creaks like a tight box / a ship in a storm." Among the most remarkable of these 35 poems are "The Body of My Brother," "July 16th," "Chronic Pain Syndrome," and the exquisite prose-poem, "The Girl in the Painting by Vermeer."
In 1929, a Danish physician identifies a new strain of smallpox that is capable of infecting and killing even those individuals who have previously been vaccinated against the disease. Before this incurable plague reaches them, the citizens of Vaden, a prosperous town renowned for their fanatical love of children, unanimously agree to barricade the city from the rest of the world.
Only once during this time when Vaden has quarantined all of Denmark does the town make an exception. A traveling European circus is allowed into the city because the mayor cannot bring himself to refuse its sick children. Unbeknownst to the villagers, a dwarf clown who is the featured performer of the circus has just died from the virulent strain of smallpox, but not before introducing it to Vaden. A 12 year old member of the circus successfully impersonates the dead clown. One night, the imposter with his wooden flute leads the children out of Vaden through a gate in the wall.
Alois Burda loves money. He is a wealthy owner of a car dealership who has many acquaintances but no true friends. He has been married twice and has three children but is uninterested in his family. Prior to his sixtieth birthday, he experiences weight loss, abdominal pain, and night sweats. Burda is diagnosed with inoperable metastatic cancer of the pancreas.
He seems worried most about what to do with his property and money. Before entering the hospital, he hides his money in some old slippers until he can decide what to do with it. He is comforted by a young nurse, Vera, whose voice reminds him of his mother's. After he dies, Burda's wife discards her husband's belongings into a heap of rubbish, unaware of the fortune hidden in his slippers.
This fine collection of nine stories--the author's first--offers the reader a variety of experiences that are both familiar and foreign. All concern Southeast Asian Indian (often Bengali) protagonists living either in India, or after transplantation, in the United States. All provide rich descriptions of the details of Indian life, and of cultural values and customs. While the domestic routines (for example, Indian food and cooking provide an important backdrop in several stories) may be unfamiliar to American readers, the style and themes of Lahiri's writing are highly accessible, absorbing, and moving.
Most of the stories are written from a perspective that is between cultures. The characters are not traumatized refugees but are negotiating a path in a country (America) that seems to provide opportunities ("A Temporary Matter," "The Third and Final Continent," "Mrs. Sen's," "When Mr. Pirzada Came to Dine"); or they are the Americanized children of such Indian families ("Interpreter of Maladies," "This Blessed House"). Ties to the Asian sub-continent may be strong or weak, primary text or subtext, but they are ever-present. Living between cultures lends an extra layer of complexity to situations and relationships that are difficult in and of themselves.
This posthumously published collection of essays by Dr. Klawans, an eminent neurologist and writer, explores the interactions between patient, family and neurologist and the implications of specific neurologic diseases. Klawans's special interest in neurology is movement disorders, such as Huntington's chorea and Parkinson's disease, but his outside interests range from evolutionary biology to classical music. His essays, therefore, focus on single patients or families, but the author weaves thoughts about his other interests into each "case."
The book is divided into two sections, "The Ascent of Cognitive Function" and "The Brain's Soft Spots: Programmed Cell Death, Prions, and Pain." In a brief preface, Klawans declares that this book is "more than just a set of clinical tales about interesting and at times downright peculiar patients" from his 35 years of practice, but rather it "humbly grapples with the 'whys' of our brain, not the 'hows.'" (pp. 9-10) In the preface, as well as in one essay, Klawans acknowledges the work and impact of fellow neurologist-writer Oliver Sacks ("Oliver is truly the father of us all." p 12).
The title essay concerns a six-year-old girl who was found, locked and completely speech-deprived, in a closet. Because she is still within the window of opportunity for language acquisition, "Lacey" quickly learns to speak, unlike Victor, the Wild Boy of Aveyron, whose story was immortalized in the François Truffaut film, L'enfant Sauvage. Klawans uses these stories as a launch pad to discuss the evolution of language, including a proposal that the cavewoman, not the man, was responsible for development of the human species as she taught her offspring language.
Other chapters focus on patients with epilepsy, Parkinson's disease, localized and hemispheric stroke, "painful-foot-and-toe syndrome, " and Creutzfeldt-Jakob disease. Two particularly memorable chapters concern Huntington's chorea and Refsum's disease. The chapter, "Anticipation," explores the profound ethical concerns of genetic testing for Huntington's chorea as applied to three generations of one particular family. In the chapter, "The Hermit of Thief River Falls," Klawans recollects his first year as a neurology resident, and his care of a reclusive patient with a rare eponymous illness, Refsum's disease--just in time for a visit by Refsum himself, a famous Norwegian neurologist.
The book concludes with a speculative "afterthought" about genetics, evolution, and the importance of extended "juvenilization" --the protracted post-natal development of Homo sapiens. This essay intertwines some of the threads regarding speech development and evolutionary biology, particularly brain development, that were introduced earlier in the text.
A young boy tells us, "My cat Barney died last Friday. I was very sad." Barney's mother suggests he think of ten good things to tell about Barney at his funeral. The story details his feelings and, from his perspective, the way his parents and friend Annie deal with the loss, ritual of burial and questions of afterlife (heaven, Barney's whereabouts now).
After the funeral, and after helping his father in the garden, comes a new and comforting understanding--the tenth good thing is that Barney's body becomes part of the cyclical process of nature. Fertilizing trees, grass and "helping grow flowers," the boy tells his mother as she tucks him into bed, is "a pretty nice job for a cat."
The author of this memoir is a poet and writer who developed systemic lupus erythematosis (SLE) during her first year at the University of Pennsylvania. Initially, her condition was difficult to diagnose, which led to her first negative encounters with physicians and the health care system. Later, Ms. Goldstein developed unusual neurological manifestations of SLE. Once again, she had trouble convincing her doctors that her symptoms were not only real, but also disabling. She was fortunate enough to come across a few good physicians who respected her as a person and earned her trust.
Despite her chronic illness, Ms. Goldstein thrived throughout college and graduate school. She approached each new challenge with such a positive attitude that some of her doctors considered her emotionally unstable. (I guess they thought it would be more "normal" for her to lose hope and turn herself into an invalid.) Her graduate work in literature focused on the new field of literature and medicine.
This stark and sensual poetry collection is divided into three sections. The first, "Graveyard Shift," introduces the narrator's themes: the keen observation of suffering; the questioning of God's role in such suffering; the way caregivers and patients meld in shared moments of trauma; the struggle to integrate the reality of death and grief into a life outside the healthcare arena.
A longer second section, "Lessons," contains a chronology of poems that broaden the poet's themes. Suffering becomes personal through sexual abuse ("The Burning"), death of a baby ("To the Woman in the Next Bed," "Waiting Room," "Last Lullaby for the Dead Child"), and breast cancer ("Keeping Watch"); the mystery of God's role becomes the narrator's religious quest.
The final section, "The Ones Who Come," opens these themes to the universal: children and adults lost to "the holocausts" of war, poverty, and illness ("Lizard Whiskey: A Parting Gift from Viet Nam," "After the Siege," "The Ones Who Come," "The Man Who Stays Sane"), and how history repeats these cycles of birth, suffering, and death.