Showing 731 - 740 of 899 annotations tagged with the keyword "Empathy"
Narrative competence is important for effective health care practice. By "narrative competence" I mean mastering a wide array of narrative skills, ranging from active listening and empathic responding in the client-practitioner interaction to reflective writing about one's professional experience. In the author's first book (The Therapeutic Potential of Creative Writing: Writing Myself, see this database), she explores the potential of creative writing as an aspect of therapy, and also presents some introductory writing skills. This book overlaps somewhat in covering the background for reflective practice, but focuses in considerably more detail on skill building.
Near the beginning of the book, Bolton presents a clear summary of "The Principles of Reflective Practice" (chapter 2). Recognizing that therapeutic writing is often accomplished in a group setting, the material on "Group Processes and Facilitation" (chapter 4), "The Creation of a Team" (chapter 5), and "Assessment, Evaluation, Mentoring and Values" (chapter 6) serves to introduce the last 100 pages of the book, which address specific writing skills, beginning with "How to Begin Writing" (chapter 8).
The poem, a domestic epic, employs the convention of in medias res. The central issue, the death of a child, has not been addressed by the parents whose lives are in strange suspension. A staircase, where the action of the poem occurs, symbolizes both the ability of husband and wife to come together and the distance between them.
In their first discussion of this traumatic event, readers learn that the child was buried in the yard by the father during the New England winter, while the mother watched from a window in the staircase landing, stunned by her husband's steadfast attendance to the task. His energy and "carelessness" at a time when she was shaken and immobilized by grief was incomprehensible and infuriating. The husband, meanwhile, has grieved in a different way, reconciling the death of his child to fate and the caprices of nature.
When the poem opens, their separate interpretations and feelings finally are expressed, and each is surprised by what the other says. The husband speaks from the bottom of the stairs, she from a step just above the landing. Significantly, they don't come together on the architectural bridge and, when the poem concludes, readers are not assured that this marriage will regain the closeness it might have had prior to the child's death. The highly dramatic poem underscores the impact of loss and the need for communication or discussion of loss by those involved. When no reconciliation occurs, the loss intensifies to become destructive.
Summary:A doctor is called to the home of a poor, immigrant family. A beautiful little girl is quite ill. As diphtheria has been going around, the doctor attempts to examine her throat. The girl, however, won't open her mouth. She fights him off and all attempts to cajole her into compliance fail. Yet, the doctor is resolved to see that throat. He forces the girl's father to hold her down, while he manages to wrest open her mouth after a long battle. She does, in fact, have diphtheria.
Summary:The poet as a young girl sits in a dentist's office in Worcester, Massachusetts, waiting for her Aunt Consuelo, who is being treated. She looks at the exotic photographs in National Geographic magazines--volcanoes, pith helmets, "babies with pointed heads," and "black, naked women with necks / wound round and round with wire." The girl hears her aunt cry out in pain. Suddenly, she has a revelation, "you are an I, / you are an Elizabeth, / you are one of them," a person. In some mysterious way, they were all bound together, even the women with "those awful hanging breasts."[99 lines]
Summary:The speaker muses about his assumption--which he now believes to be incorrect--that "any person with normal feelings" or who was well-educated would understand "pain when it went on before them / and would do something about it." He tries to explain why, in fact, this does not happen. Perhaps "it escapes their attention" or perhaps . . . . The speaker enumerates his vision of massive slaughter and destruction--of children, animals, " victims under the blankets." [20 lines]
This is the second anthology from Donley and Buckley derived after many years of teaching "What's Normal?"--a literature and medicine course at Hiram College where they explore the cultural and contextual influences upon the concept of normality. With the first anthology, The Tyranny of the Normal, the editors focused on physical abnormalities (see this database for annotation). In this second anthology, the focus is exclusively on mental and behavioral deviations from societal norms. With this edition, Donley and Buckley present their case that, as with physical abnormalities, there is a similar tyranny of the normal that "dominates those who do not fit within the culture's norms for mental ability, mental health and acceptable behavior (xi)".
The anthology is divided into two parts. Part I is a collection of essays that introduce various clinical and bioethical perspectives on the subject of mental illness. These essays bring philosophic and analytic voices to the topic. Stephen Jay Gould's terrific essay on Carrie Buck and the "eugenic" movement in the United States in the early part of the 20th century illustrates one of the major themes that can be found throughout the anthology.
Oliver Wendell Holmes wrote the majority opinion in the 8-1 Supreme Court decision that sealed Buck's fate. Gould begins his essay reminding his readers of the often referenced Holmes quote, "three generations of imbeciles are enough." He then takes us on a fascinating historical adventure that uncovers a deeper and more complicated drama that led to this unfortunate period in American history, and the tragic incarceration and sterilization of Carrie Buck.
This essay, as with other stories, poems, and drama in the anthology, contemplates the relationship between societal values and mental illness, and illustrates how society through medicine can turn to the myth of "objective" diagnostic labels as a way to compartmentalize and control behavior and imaginations that are "abnormal." D. L. Rosenhan's essay from "On Being Sane in Insane Places" further illustrates the failure of the mental illness label. Irvin Yalom's story from Love's Executioner and Other Tales of Psychotherapy provides an example of what is possible when diagnostic labels are avoided, when health care professionals with power turn with humility, curiosity, and kindness toward others, substantiating that these qualities are far more powerful than statistical notions of "normal."
Part II is a collection of fiction, poetry and drama. Intended as a complement to part I, part II engages the reader in the lived experience of the narrators. It is divided into six sections. Section one considers children and adolescent experience of mental illness. Included are Conrad Aiken's "Silent Snow, Secret Snow," an excerpt from Susanna Kaysen's Girl, Interrupted (see annotation in this database), and an excerpt from Peter Shaffer's Equus (see annotation).
Section two includes stories that capture the world of mental disability and retardation. An excerpt from Of Mice and Men and Eudora Welty's short story Lilly Daw and the Three Ladies are included. Charlotte Perkins Gilman's The Yellow Wallpaper (annotated by Felice Aull; also annotated by Jack Coulehan) is in section three where women's experiences with mental disorders is the theme (these are annotated in this database).
Section four and five focus on men and mental illness. War experience is considered in the works of Toni Morrison and Virginia Woolf. Section six concludes the anthology. Alzheimer's disease and dementia are examined in Robert Davis's My Journey into Alzheimer's Disease, and in the story, "A Wonderful Party" by Jean Wood.
This long (11 stanzas of ten lines each) poem takes us through the--at first faulty--cancer diagnosis, treatment, and recovery endured by the speaker's wife, and witnessed by the speaker. The poet personifies the tumor because to do otherwise would mean that he would "have to think of it as what, / in fact, it was: part of my lovely wife." The poison of chemotherapy that renders his wife "averse to it all" is contrasted with "perky visitors" and the flowers that they bring.
The poet imagines that the tumor of which his wife has been cured now resides in "Tumor Hell" where it lies "bleak and nubbled like a poorly / ironed truffle." The doctors who practice in teaching hospitals show the students how to deal with tumors: "batter it . . . strafe it . . . sprinkle it with rock salt and move on."
Now that his wife is better, the poet and his friends consider how he has fared. At first he was unable to concentrate, made lists, "wept, paced, / berated myself, drove to the hospital" and was "rancid with anger." Yes, it was awful, but he rejects pity--even self-pity. Only his wife has the right to give a name to the experience: "let her think of its name and never / say it, as if it were the name of God."
The scene is a sickroom in which the narrator stands at his dying sister's bed. He wishes that she could be "snatched up / to die by surprise" without ever knowing about death. The sister speaks, "I am in three parts." One is red for pain, one is yellow for exhaustion, and the other is white: "I don't know yet what white is."
The narrator stews for a while in his fears of dying, but his sister speaks again, saying that she is not afraid, but, "I just wish it didn't take so long." "Let's go home," she suddenly says, and he recalls images of their youth, and these images shuttle back and forth into the sickroom until at the end of the poem, "they ratchet the box holding / her body into the earth . . . " [79 lines]
In this book Robert Coles elucidates the nature of moral leadership by presenting a series of narratives about moral leaders. These are individuals who have made significant contributions to the author's moral development, mostly through personal interaction, but in some cases through their writings or their influence on other people.
The subjects include public personages like Robert Kennedy, Dorothy Day (of the Catholic Worker), Danilo Dolci (a Sicilian community organizer), Dietrich Bonhoeffer, and Erik Erikson; writers who have influenced Coles, such as Joseph Conrad and Ralph Waldo Emerson; and "ordinary" persons whom he encountered over the years in his studies of the moral lives of children.
The "ordinary" person category is most extraordinary. Coles draws heavily on personal interviews that reconstruct the courageous narratives of people like Andrew Thomas, a young Mississippian who worked on the voter registration project during the summer of 1964; Donita Gaines, one of the first black teenagers to "integrate" an all-white high school in Atlanta in 1961; and Albert Jones, a parent who volunteered to drive the school bus that carried black children in 1967 from Roxbury to a previously all-white school in South Boston.
However, the clearest and most powerful narrative that emerges from this book is that of the author himself, as he develops from young, socially conscious child psychiatrist to a middle-aged man seeking to understand what it means to be a moral leader in today's world.
This collection contains all 52 of Williams’s published stories, together with a new introduction by physician-writer, Sherwin B. Nuland. The stories were first collected in one volume in 1961 under the title The Farmer’s Daughers (New Directions); that book, in turn, included three earlier collections, plus "The Farmer’s Daughters"(1956), Williams’s last published story.
Thirteen stories featuring physician protagonists were previously collected by Robert Coles and issued by New Directions as The Doctor Stories (1984). (That volume also includes several poems and an "Afterword" by Williams’s son.) Among the stories with medical themes are Old Doc Rivers, The Girl with a Pimply Face annotated by Jack Coulehan (also annotated by John A. Woodcock), The Use of Force annotated by Felice Aull (also annotated by Pamela Moore and Jack Coulehan), Jean Beicke(annotated by Felice Aull and also by Pamela Moore and Jack Coulehan--see Jean Beicke), A Night in June, and A Face of Stone. The tales of a nonmedical nature include such masterpieces as "The Knife of the Times," "A Visit to the Fair," "Life Along the Passaic River," "The Dawn of Another Day," "The Burden of Loveliness," and "Frankie the Newspaper Man."