Showing 821 - 830 of 901 annotations tagged with the keyword "Empathy"
This poem is in the form of a villanelle, a French verse form derived from an Italian folk song of the late 15th-early 17th Centuries. Originally reserved for pastoral subjects, modern poets from W. H. Auden ("Time Will Say Nothing") to Dylan Thomas (Do Not Go Gentle into That Good Night) have employed it for more somber subjects.
The strict definition of a villanelle adheres to the following pattern: five tercets followed by a quatrain with the rhyming scheme of a1ba2 aba1 aba2 aba1 aba2 aba1a2. Williams's "Villanelle," like Thomas's "Do Not Go Gentle into That Good Night," obeys this convention while relating a bereaved, haunted mother's lament over her dead daughter.
Blind dolls' dressmaker Bertha Plummer is the center of a significant subplot to this story of marriage and deception. Bertha and her toymaker father, Caleb, live in squalor in a "little cracked nutshell" house and work for hardhearted Tackleton. Caleb has convinced Bertha that their cottage and their employer are both charming. She falls in love with Tackleton and is traumatized by his engagement to another.
Caleb's confession of his well-meaning deceit compounds her suffering. Bertha's literal blindness parallels the figurative blindness in the main plot, in which Dot Peerybingle's innocent secrets make her husband John suspect she loves another. The story ends in reconciliation and happiness all around; Bertha plays the harp while the others dance.
Trudi Montag is a Zwerg, a dwarf. Born to a mentally disturbed woman who dies when Trudi is a small child, the girl reaches adulthood under the loving care of her father, a pay-librarian in a small German town. (A pay-librarian is one who runs a library as a business and charges the patrons to borrow books.) Trudi is angry, deeply resentful of her "differentness," and she uses her unique status in a variety of ways, both helpful and vengeful toward others.
For example, Trudi tells stories, some of which enchant and comfort frightened children during the war, others of which harm the lives and personal security of the townsfolk whom the story teller doesn't like. World War II comes and goes in Burgdorf; Trudi finds and loses romantic love; her father dies; and she begins, at the end of the tale, to reflect on the ways in which she has contributed to her own suffering and that of others.
Lainey's husband, Jay, has been in a coma for weeks, now extending into months. She takes care of their daughters, visits him daily, finds what solace is possible with her resilient, tough-minded, and compassionate neighbor, Alice, and continues to believe he will wake up when the medical staff have largely given up hope.
As she sits with him, trying to adjust and foster her hopes, bringing familiar smells, textures, and sounds from home in the hope of triggering response, she imagines his state of mind. Interludes that work a little like prose poems suggest something of the liminal state he may inhabit. Lainey meets a fellow visitor at the nursing home whose wife dies after having been comatose for 6 months.
Lainey's life is kept from complete inward focus by Alice's efforts to keep her going out, and by Alice's own problems which include a straying husband who finally reveals that he's been struggling with homosexuality and has fallen in love with another man. Jay finally awakens and life returns to something like normal, but with an abiding awareness of the mystery of consciousness and memory, and a heightened sense of the preciousness of consciousness, choice, and the ordinariness of daily life.
This is a collection of stories and sketches by a practicing neurologist. Most of the material is clinical and autobiographical. In "Mrs. Bachman" a new patient enters the doctor's office, carrying a thick stack of medical records. It all started in 1946 and no doctor has ever found the explanation of her condition. Meanwhile, the doctor is wearing contact lenses for the first time. His eyes begin to tear. Mrs. Bachman thinks that he is crying over her misfortune. She consoles him, "I want you to know that you are the kindest, most sympathetic man I have ever met."
In "Intensive Care" an elderly woman is agitated after a seizure. The staff try unsuccessfully to calm her. Finally, her husband approaches and kisses her. She settles peacefully and they hold hands.
The doctor in "Continuing Medical Education" finally discovers metastatic breast cancer as the cause of a psychotherapist's neck pain, long after he and other physicians had told her again and again that the "driving mechanism" of her chronic pain was "unresolved anger and frustration." In a longer essay, "The Narrow Bridge," the author reflects on the meaning of healing, "Healing helps us find a place in this world for ourselves and for each other."
This study explores the history of physician-patient relationships, especially as it relates to the ascendancy of science in medicine. The book begins by describing traditional physician-patient relationships in the 18th century. The focus, however, is on the "modern" doctor (beginning in the 1880's) and the "postmodern" doctor (beginning in the 1950's).
The author describes the transition from modern to postmodern doctor and a corresponding transition from modern to postmodern patient. A "sympathetic alliance" between physician and patient was essentially a development of the modern period (1880's - 1950's).
Summary:A woman who works at a rehabilitation center for the blind reflects on the deaths of the people around her, clients as well as patients. She recounts the reaction of the staff to the death of a well-loved employee of the center whose name the narrator doesn't recognize. As she assists the blind clients at the funeral home, she suddenly realizes she did know the dead woman, but never had known her name. The narrator reflects on how a sight-impaired friend of hers, Vange, approaches life with supreme attentiveness, and never misses any details. The colleague's funeral reminds the narrator that living means being more like Vange.
This is the third volume of poetry by Ron Charach, who is a psychiatrist in Toronto, Canada. Charach's poems evoke a wide array of experiences and topics, ranging from surreal dream poems to images of family vacations, from an adolescent biker ("White Laces") to medical imaging techniques ("MRI" and "The Use of Contrast to Study the Spine"). Charach's tone is generally light, frequently insightful, and often surprising.
While "healing" poems are scattered throughout the book, one section ("The Calling") focuses on images of Charach's medical specialty, psychiatry. In "Psychiatrists on the Subway" the poet imagines an off-duty psychiatrist who "sets his ears / on the night table / and prays for a night of long silence / from a God who prefers / to listen." In "Newton" he invites the reader to glimpse the professional life--but with a grain of salt--as he muses about a colleague who "gave so much Electro-Convulsive therapy / he wore wooden cufflinks and rubber-soled Wallabies."
"The Naked Physician" presents an image of a kind and gentle doctor whose failure to be a good husband and father "will be recorded in the final light." Other outstanding poems in this collection include "She Will No Longer Take Her Food," "Equipoise," "Someone Else's Fire," "Labour and Delivery," and "Past Wildflowers."
The narrator recalls a boyhood encounter with Rab, a majestic dog. Rab causes the lad to make friends with his master, James Noble, a simple horse-cart driver. Six years later, James brings his beautiful old wife, Ailie, to the hospital where the narrator is now a medical student. She has breast cancer and the surgeon tells her that it must be operated the following day. James and the dog are allowed to remain nearby.
Ailie endures the operation in brave silence, commanding silent respect from a lively group of students. James nurses her tenderly, but she develops a fever and dies a few days later. Shortly after her burial, he too falls ill and dies. Rab refuses to eat, becomes hostile, and is killed by the new driver.
Summary:Canadian artist, Robert Pope (d.1992), devoted the last years of his short life to documenting his decade-long experience as a patient with Hodgkin's Disease. Shortly after his diagnosis he was influenced by the 1945 autobiographical novel of Elizabeth Smart, By Grand Central Station I Sat Down and Wept. Pope's early work explored the interconnectedness and pain of individuals bound by an imperfect love, in Smart's case for a married man. After his disease went into remission, he began to paint the patient's perspective on illness, hospitals, visitors, family, and health-care providers in a series of images that suggest the lighting of de la Tour, the photographic immediacy of Doisneau, and the menacing surrealism of de Chirico. His book, Illness and Healing: Images of Cancer (1991), became a bestseller.