Showing 821 - 830 of 840 annotations tagged with the keyword "Caregivers"
Summary:In typical, twisted Cummings syntax without punctuation or capitalization, the author relates an encounter with an unconscious drunk on the street. Other staunch citizens hurry by. The drunk is "swaddled with a frozen brook of pinkest vomit," one hand "clenched weakly dirt," and his trouser fly is open. The author takes up the challenge of a good Samaritan, brushing off the "stiffened puke." But he closes with the opposite of self-righteousness: "i put him all into my arms and staggered banged with terror through a million billion trillion stars."
Summary:A long story (35 pages) within a book of stories about the author's family, "The House of the Future" movingly describes from the perspective of a precocious 12 year old the death from cancer of his older brother, age 17. The story, subtitled "a reminiscence," conveys in a remarkable way the hopes and fears, the habits and idiosyncrasies of this ordinary and outlandish family. The belief in the clarity of architecture which sustained the younger brother through the year of his older brother's dying, collapses in the end, leaving him to enter a new house, a new ambiguous space, for making sense of his loss.
In this little poem the narrator gives the reader permission to observe an appeal to a higher order for help in deciding how best to care for a ventilator-dependent patient. The narrator seems to be addressing Emma's creator to hear his concerns.
Emma now "lives as a swollen eggplant on its stem" although she was formerly strong and healthy. The poet develops the theme of organicity as the narrator makes his final case for guidance: "I must tend the leaf as best I can / and, anticipating other seasons, / turn the soil."
Jerry, a basketball player, is going with Sheila, who hates Bonnie, who volunteers at the hospital. After bouts of intense, unfamiliar pain, Sheila learns that she has cancer of the ovaries and intestines. Sheila lives with an alcoholic grandmother; Jerry, with a single working mother and sister. The story treats Jerry's desire for sex, his friends' avoidance, and the dilemmas he faces as taking care of Sheila cuts into school and team commitments.
He wonders whom to tell, what to say to Sheila, and how to stick with a girl through defacing illness. He finds he's not in love with her. He's unsure how to handle his own family obligations as he realizes that he's the only "family" Sheila can count on. But he stays with her until the end.
His fidelity has little to do with romantic love, but rather with a larger kind of love he's learning. Sheila's death is partly a relief. Jerry needs to regroup and go on with his life after this cataclysmic hiatus. The going on, it seems, will involve Bonnie, the hospital volunteer whom neither Jerry nor Sheila appreciated until her unseasonable maturity helped them in time of need.
Annie, daughter of an Episcopalian priest, inherits a wolfhound from a woman in the parish. While on a walk, she and her huge dog discover a homeless woman in an old abandoned shed. The woman is mentally unstable, having escaped from a mental institution. Originally suspicious and threatening, she finally calms to Annie's spunky attentions and tells her the problem: her condition can be controlled with a drug they administered in the mental hospital, but conditions in the hospital were so dehumanizing she's unwilling to go back even for medical relief.
Annie makes a project of helping the old woman, though her father objects, preferring the institutional solution. Annie finds an ally in her father's assistant, a more socially active priest. With his help Annie makes the parish and her father aware of problems in institutions that care for the mentally ill. Her father finally admits to the congregation that the parish ought to be more invested in local social services.
Thirteen-year-old Meg tells the story of the summer of her fifteen-year-old sister’s death. One night Molly awakens covered with blood, Meg calls their parents, and Molly goes to the hospital where she remains for weeks, undergoing tests. It takes Meg a long time to let herself realize how bad it is, even after the magnitude of the illness is visible on Molly’s ravaged body.
Much of the medical detail in the hospital scenes makes clear how advanced the disease is, but Meg masks her growing fear with disgust, projecting her fear onto doctors she decides must be using Molly for experiments and exaggerating the seriousness of her condition. Unable to open herself to an empathy that would require both an unusual act of imagination and courage to face grief, Meg focuses on the bizarre visible effects of Molly’s illness and on her own altered daily life. Her oddly "selfish" perspective, understood as a self-protective strategy, makes complete sense.
In the midst of the slow progress of Molly’s leukemia, Meg develops friendships with an old man and a young couple expecting a baby. Both contacts help normalize her world, provide her with "reality checks" and give her a quality of attention her parents can’t manage at the time. After the baby is born, Meg gains a new perspective on the precarious miracle of life and finds the courage to go to the hospital to see Molly, now in the final stages of the disease. Meg and her parents are emotionally reunited in their loss, and in the final chapter Meg reflects on the paradox of healing that doesn’t cover over loss, but allows life to be good again in different terms.
Brad, son and grandson of Boston doctors, resists acknowledging what is happening as his beloved grandfather succumbs to Alzheimer's disease. The family's resignation to the loss simply fuels his denial. His father, a senior physician, has to confront both his own father's dementia and his son's denial.
The rest of the family conspire from various points of view to make Brad accept what is happening to his grandfather and how the family system has to change in response. The old man, they point out, gets mean as well as disoriented. The father urges Brad not to divert his energies from "normal" adolescent occupations to trying to rescue his grandfather from an inevitable fate. Brad's response is to insist that his grandfather might get better, and to resent ever more deeply a family he sees as abandoning the old man.
In a final scene the old man is almost hit in an accident. Brad races to call his father, returning in time for his exhausted and confused grandfather to collapse against him on the sidewalk. Brad's father refuses to resuscitate him, recalling the old man's prohibition against extraordinary measures. In that moment of decision Brad comes to understand his father's predicament, his professional responsibilities, and the complexity of his relationship to the man he has known as grandfather. Letting his grandfather go, he also lets go of an adolescent resistance to his father's point of view, and crosses a threshold into adulthood that is both sobering and liberating.
This 1979 Academy Award winning documentary takes us into the lives of the Wohl family. Featured in this film are Philip ("Philly") Wohl, retarded since birth and now in his early 50's, and the family members who care for him: his sister, Frances, and parents, Max and Pearl. The film-maker is Philip's cousin, Ira Wohl, who provides the narrative structure for the film and was moved to document the struggle of aging parents to care for their aging and homebound son.
Ira Wohl's goal was to convince Philly's family that Philly needed to become a part of the community by moving to a group home before his parents became incapable of caring for him. In fact, during the three years of filming Max dies. And eight months after the filming and Philly's successful move to a group home, Pearl dies.
Harriet White is an active, energetic 82 year old resident of the Lutheran Home. We follow her through a winter day: a birthday party for a staff member, the funeral of another resident, a visit from her son, and her daily visit to see her husband who had a severe stroke and lies, uncommunicative, in the hospital ward. Mrs. White's son asks her, as he has before, to come and live with him and his family. He also reveals that he has sold the family farm. She is devastated that he had not discussed it with her, but she puts up a good front, saying it was the only sensible thing to do.
Later, she decides to walk several miles to visit the old farm. She does so, and in the evening a search party from the Lutheran Home find her there. As they drive her back, she realizes that her status has changed: she is no longer a stalwart helper, but has turned into a difficult old woman who is liable to wonder away.
A young farmer's mother is dying. The farmer, Honore, is concerned about his mother but he is even more concerned about getting his wheat in before the rains come. He is prepared to leave her to die alone, but at the insistence of the doctor agrees to hire Mother Rapet to tend his mother. Mother Rapet is an old washerwoman who supplements her income by watching the dying and preparing them for burial. La Rapet offers to work for Honore for a daily wage. Honore refuses, for he knows how obstinate his mother is and fears she will take a long time to die making La Rapet's services expensive. He insists on a set rate and La Rapet eventually agrees.
After three days, the mother still has not died and La Rapet realizes that she is losing money. Taking matters into her own hands, she tells the dying woman that at the moment before death everyone sees the devil. She then wraps herself in a blanket, puts a pot on her head, and throws a pail across the room making a huge noise. The dying woman thinks she is the devil and struggles to leap out of bed; instead, she collapses on the floor, dead.