Showing 801 - 810 of 844 annotations tagged with the keyword "Patient Experience"
Mother is set in the 1930's and deals with a woman's difficult life, low self-esteem, and sense of having inherited tragedy and misfortune from her mother. Even though she finally marries, and unexpectedly conceives long after her husband and she had given up trying, her outcome is destined to be unhappy. She goes into premature labor, and gives birth to a stillborn child.
When she finally wakes up, she is weak, and cannot remember anything about the delivery. Her paternalistic physician, her husband, and the hospital staff withhold from her the news that her child has died. One night, in her frustration and need, and believing that her child is in the nursery "in the basement," she searches the basement corridors for her child. Outside the morgue she begins to hemorrhage and despite the efforts of her physician, she dies.
A hapless country doctor describes with breathless urgency a night-time summons to attend a young patient. Events soon take on a surreal aspect as "unearthly horses" transport him instantaneously to the bedside. The doctor, preoccupied with personal distractions and grievances against those he is employed to care for, fails to find what is revealed to be a vile, fatal wound (symbolizing the Crucifixion?). He is humiliated by the villagers, who are "always expecting the impossible from the doctor," and doomed to an endless return trip, losing everything.
Reade was known for writing "novels with a cause." Here, as in several other of his novels, his cause is the deplorable condition of mental hospitals in the early to mid-nineteenth century. Until late in the century, many considered the mentally ill untreatable. Hospitals were more like prisons than places for treatment. Admission policies were also fairly lax. Reade records a common fear that healthy people would be incarcerated.
In Hard Cash, a father incarcerates his son in order to cover up a crime. The doctors who admit him have a kickback scheme worked out with the hospital--they get money for each patient admitted. Once in the hospital, the hero tries to prove his sanity but finds it impossible to battle against doctors who refuse to look past the diagnosis that caused his admission to his actual mental condition. He also must negotiate with the head of the hospital, a woman who is madly in love with him and refuses to allow him out of her sight.
He cannot prove his sanity and only escapes when there is a fire in the asylum. There is one "good" doctor in the story who refuses to bleed patients, deny them food, or admit the sane to mental hospitals. The other doctors think him a quack, but he saves several lives.
In this poem, the narrator describes her father who is in a nursing home suffering from dementia. The poem opens with a description of the narrator's dying cat, with whom her father is compared. The most distinctive thing about the father's anger and confusion is his loss of power. In a home he is denied access to his money, his house, even his ability to boss others around. He calls his daughter and insists that she is not his daughter at all, but his wife.
He feels as if it's the wrong year, "and the world bristles with women who make short hard statements like men and don't apologize enough, who don't cry when he yells or makes a fist." He has lost his masculinity. He accuses his daughter of stealing his money, the money he hoarded from her as she grew up and that is now useless to him. No one on the ward remembers or cares that he once walked the picket line, worked, or had a desirable wife. He is as angry as "a four-hundred-horsepower car," but he has lost his license to drive.
Two radically different people find themselves together on a hospital roof garden, where they first come to terms with each other, then with their pasts, their illnesses, and death. Parmigian has a fruit and vegetable stand, a terminal cancer, and a bitter wit. Richard Landau is an investment adviser in fine art, fastidious, but haunted by his childhood escape from the Holocaust.
Only in for tests, Landau becomes forced to confront Parmigian's fatalistic view of the world. As Parmigian taunts and jokes, he draws Landau into his laughter and wild imaginings, as key weapons in the fight to stay alive.
This book offers an insightful, well-reasoned interpretation of the nature of medicine. Hunter, an English professor who teaches and coordinates humanities programs at a medical school, observed first-hand how an academic medical center functions--she joined various teams during their multiple rounds and conferences for two years. In sum, she "behaved rather like an ethnographer among a white-coated tribe." The resultant book details the profound importance of narrative in medicine.
Narrative is integral to the medical encounter, to communications by and about the patient, and to the structure and transmission of medical knowledge. For example, the patient's story is told to and interpreted by the physician, who then tells another story of the patient, in case format to other physicians, and records that story in a formulaic chart entry. Hunter observes that most of the rituals and traditions of medicine and medical training are narrative in structure, and explains why narratives such as cautionary tales, anecdotes, case reports and clinical-pathological conferences are central, not peripheral, to medicine. The thesis is further developed to maintain that, if the narrative structure of medicine is fully recognized by physicians, they will attend to their patients better and acknowledge the details and importance of their patients' individual life stories.
Summary:Selzer developed Legionnaire's disease and was comatose for 23 days in 1991. In this short book, he describes his illness and prolonged convalescence. The time of his stay in the ICU is lost to him, so he invents the story of what (might have) happened when he was comatose and delirious. In fact, he invents his own death and resurrection.
Summary:This is a collection of short stories by a young physician, Stewart Massad, who completed a residency in obstetrics and gynecology and a fellowship in gynecologic cancer. The stories are all written in the first person, all physicians. The subjects include the physical/emotional demands of residency ("Fatigue"), especially as they strain a marriage; the motivations of a doctor who runs an abortion clinic ("Healers"); and a young doctor facing his own fatal illness and his experience as a patient ("Casualties"). While the stories do portray the difficulties (and often angst) of training, they do so without the despair/cynicism often found in other accounts of the same experience.
Summary:An intern is on duty in a cancer ward. He especially deals with leukemia. He tells one of his patients that he understands how she feels as she cries, facing death. She turns on him, telling him that he can't possibly understand. A short time later, the intern grows weak and ill. He is diagnosed as having leukemia. He spends months in the hospital, feeling helpless as his old classmates treat him. He makes them promise to let him die peacefully when his time comes. He dies when an intern accidentally pierces his spleen while trying to tap his lung.
This is a light-hearted short story about an attractive, middle-aged female hypnotist who has a minor respiratory infection and visits the doctor. At first she hypnotizes the nurses so that they will put her in the examining room without a wait, and convinces them that her vital signs are different from what they had originally measured.
After this initial, good-natured experiment, the narrator waits a full 45 minutes for the doctor. He is abrupt and impersonal. Out of frustration, she hypnotizes him, and learns that he is afraid to be warm with patients, and is afraid to take time with them, because he needs to maintain control. She has him undress, put on a gown, and then leaves him to shiver in the exam room. She tells him that he will never forget what this humiliating experience feels like.