Showing 91 - 100 of 802 annotations tagged with the keyword "Communication"

Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Nonfiction

Genre: Autobiography

Summary:

The author was the first blind physician to be licensed in Canada. Her autobiography is also an autopathography.

From her anger over developing severe diabetes as a teenager, through her relentless pursuit of a scientific degree and medical school, through a brief failed marriage – followed by the tragedy of completely losing her sight while still in training, to a rewarding and responsible career as a palliative care physician and educator.

Sustained by her religious faith and by loyal family members and friends, Poulson explains choices, compromises and supports that allowed her to continue studying and working in Montreal and later in Toronto.

Her complications from diabetes were numerous, and included heart disease for which she required surgery. Then she developed breast cancer, which eventually metastasized. In closing her narrative, she knows it will likely take her life.

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Annotated by:
Duffin, Jacalyn

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

In 1904, the 19 year-old Russian Jewish Sabina Spielrein (Keira Knightley) is admitted to Burgholzi clinic under the care of Dr. Carl Jung (Michael Fassbender) who is beginning to adopt the talk-therapy methods of psychoanalysis promoted by Sigmund Freud (Viggo Mortensen). 

She is hysterical and difficult to control, but she is also bright and has been studying to become a doctor. Jung slowly breaks through her resistence using dream interpretation and word association; eventually she reveals that her mental distress has its origin in her relationship with her father. He would punish her physically and she found it sexually exciting. 

The married Jung is obsessed with his patient and seduces her. They conduct a heated affair that entails sessions of bondage and beating, that they pursue almost like a scientific experiment.

On this background, Jung is becoming the protégé and anticipated heir of Freud—but they disagree over whether or not psychotherapy can cure. Spielrein recovers and goes on to become a physician and psychiatrist who develops her own methods of therapy. Freud comes to admire her and Jung is torn by jealousy. 

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Talking with Dolores

O'Connor, Dee

Last Updated: Jun-24-2013
Annotated by:
Bertman, Sandra

Primary Category: Literature / Plays

Genre: Play

Summary:

Centered on an 85 year-old widower named Mo, the play brings to life many of the issues around end-of-life choices. Mo talks with his late wife, Dolores, through her picture and lets her know of his plans to come back to her. but his plans are interrupted--first by a neighbor and later by his nephew. Each interaction illuminates some aspect of the issues facing Mo: risk factors (loss of his spouse, other friends, work); warning signs (insomnia, giving things away) and protective factors (strong relationship with his nephew). The play shines a light on these themes while always keeping the characters honest and real. Yet the play isn't morbid. The audience frequently shifts from tears to laughter as the play weaves in light moments. In one particularly funny scene, Mo's best friend appears handing out condoms and promoting "Safe Sex 'till Rigor Mortis."

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Stag's Leap

Olds, Sharon

Last Updated: Jun-21-2013
Annotated by:
Aull, Felice

Primary Category: Literature / Poetry

Genre: Collection (Poems)

Summary:

With the publication of Stag's Leap, it is very publicly (on the flyleaf) revealed that Olds is writing about the sudden, unexpected death of her 32 year marriage when her husband left to be with another woman. She waited 15 years after the event to publish this book, not wishing her children to have to face the immediate publicity.  Stag's Leap refers both to the favorite wine that she and her husband drank together, and to his leap out of the marriage.

The collection is divided into sections: the year of her husband's revelation and departure, beginning with "While He Told Me"; several years following, divided into seasons; and "Years Later." The poems detail her shock, grief, and eventual acceptance, covering a wide range of emotion, hindsight, and insight. Since the poems were written more or less in the moment, and extend over several years, the reader experiences Olds's evolving inner landscape along with her. The perspective is one of shock - with only the slightest hint of possible trouble ahead: while doing the laundry, she found a picture of the "other woman" in her husband's running shorts ("Tiny Siren," p. 56). But "he smiled at me, / and took my hand, and turned to me,/ and said, it seemed not by rote, / but as if it were a physical law / of the earth, I love you. And we made love, / and I felt so close to him - I had not / known he knew how to lie. . ."
 
Throughout much of the book there is this theme of blissful ignorance torn to shreds and a questioning of how the poet could be so deceived in her assumptions about the relationship - "when I thought he loved me, when I thought / we were joined not just for breath's time, / but for the long continuance" ("Unspeakable," p. 4). The realization of self deception and love lost is both annihilating and shameful: "if I pass a mirror, I turn away, / I do not want to look at her, / and she does not want to be seen  . . . I am so ashamed . . . to be known to be left" ("Known to Be Left," p. 18).

These poems are an intense self-examination and an attempt to understand what happened. "I was vain of his / faithfulness, as if it was / a compliment, rather than a state / of partial sleep" ("Stag's Leap," p. 16). "I think he had come, in private, to / feel he was dying, with me" ("Pain I Did Not," p. 26). "maybe what he had for me / was unconditional, temporary / affection and trust, without romance" and "what precision of action / it had taken, for the bodies to hurtle through / the sky for so long without harming each other." ("Crazy," p. 65 ). There is a recognition that their two worlds were vastly different - he a physician, she a poet - and that their personalities were vastly different - he taciturn, she verbal and open. Olds speculates that even her writing about family and marriage could have been a factor in the divorce: "And he did not give / his secrets to his patients, but I gave my secrets / to you, dear strangers, and his, too . . Uneven, uneven, our scales / of contentment went slowly askew" ("Left-Wife Bop," p. 83).

Still, Olds finds something redeeming: "I saw again, how blessed my life has been, / first, to have been able to love, / then, to have the parting now behind me  . . and not to have lost him when he loved me, and not to have / lost someone who could have loved me for life" ("Last Look," p. 14). "What Left?," the last poem in the collection, presents the marriage and its aftermath as a movement: "we did not hold still, we moved, we are moving / still - we made, with each other, a moving / like a kind of music: duet; then solo, / solo." (p. 89)

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The Soul of the Nurse

Robinson, Elizabeth

Last Updated: May-23-2013
Annotated by:
McEntyre, Marilyn

Primary Category: Literature / Nonfiction

Genre: Treatise

Summary:

In her reflections on the vocation of nursing Robinson explores many myths and archetypes that give shape and energy to the identity of the nurse as it has evolved in Western culture, including the stories of Hygeia, Baubo, Hermes, Hecate, Cassandra, and the Dionysian Maenad.  The ancient stories of each of these figures and others articulate particular constraints, conventions, and conflicts involved in caregiving, especially in the ways women assume the role of caregiver.  She explains at the outset that she deals particularly with women in nursing, though now many men are nurses, since traditionally it has been a profession deeply shaped by cultural notions of female roles.  Another layer of this exploration is a chapter on the nurse in popular culture that considers ways in which the figure of the nurse has been both elevated and debased, made comic or tragic, sidelined or sexualized.  The multidimensionality of the nursing vocation and, consequently, the challenge it poses to women who enter it, is strongly emphasized throughout the six chapters, which together depict the work of nursing as a soul journey. This journey challenges nurses in new ways to work within institutions that suppress important aspects of their power to do healing work at a level of intimacy generally not accessed by doctors.

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Handle With Care

Picoult, Jodi

Last Updated: Mar-16-2013
Annotated by:
McEntyre, Marilyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

At five years old, Willow O’Keefe has lived a life rich in love and exceptional learning; she reads beyond her years and has memorized a startling compendium of unusual facts.  She has also sustained over 50 broken bones, two of them in utero.  She has osteogenesis imperfecta, a congenital defect in the body’s production of type 1 collagen that leaves bones very brittle.  People with the disease generally suffer many fractures and often other conditions—exceptionally small stature, hearing loss, and bowed limbs.  Willow’s parents and older sister have organized their lives for five years around protecting her from damage and helping her heal from her many broken bones.  Though Amelia, her older sister, loves Willow, her parents’, Charlotte and Sean’s, intense focus on Willow’s condition often leaves her jealous and disgruntled.  Things go from bad to worse when their mother learns that a lawsuit for “wrongful birth” is legal in New Hampshire, and could bring them the money they need to cover Willow’s many medical expenses.  Such a step, however, means losing a best friend, since the obstetrician who oversaw Charlotte’s pregnancy and Willow’s birth, and who ostensibly overlooked signs of the disease and failed to warn the parents, has been Charlotte’s best friend for years.  A “wrongful birth” suit is based on the claim that medical information about a congenital defect was withheld that might have been grounds for a decision to abort the pregnancy.  Though Charlotte insists this drastic step is the best thing they can do to insure a secure future for Willow, Sean finds it repugnant enough finally to leave home.  It is clear that even a win will be a pyrrhic victory, and indeed, the outcome is ambiguous, costly, and life-changing for everyone concerned.

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Night Duty

Breznik, Melitta

Last Updated: Feb-27-2013
Annotated by:
Ratzan, Richard M.

Primary Category: Literature / Fiction

Genre: Novel

Summary:

The first person narrator of this debut novel is a young pathologist, a woman who relates the story of her family over the course of the book. The story is bleak: a young German woman marries an Austrian soldier in WWII, moves to Austria with him and has three children - two sons (one of whom dies as a youth following abdominal surgery) and the narrator-daughter. In a running commentary, almost hallucinatory at times,  the narrator offers brief descriptions of  a traditional preliminary internship year during which she acts as a pathologist, cares for in-patients, and even makes a futile ambulance call to a fatally injured man in a freight yard.  Yet, virtually the entire novel revolves around her family:her father (whose tuberculosis is briefly described),  a factory worker with dreams of  inventing an electronic security relay (never realized); intermittent holidays of evanescent family happiness; and a long threnody about her father's eventual death at the end of the book from a hopeless and domestically abusive alcoholism. Her detailed description of his death traumatizes everyone around her and leads to a rupture in the family.

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Art Work

Byatt, A. S. (Antonia Susan)

Last Updated: Jan-23-2013
Annotated by:
Sirridge, Marjorie

Primary Category: Literature / Fiction

Genre: Short Story

Summary:

The Matisse art work which forms the center for this story is the painting, "Le Silence Habité des Maisons," which shows a parent and child with featureless faces sitting at a table while looking together at a book. This painting is described as the reader is introduced to a family of artists and their unusual housekeeper, Mrs. Brown.

The mother is the design editor of a magazine, A Woman’s Place, and the father is a rigid, relatively unsuccessful painter. There are two children in the family. Mrs. Brown provides the cement to keep the family together and learns from them ways to develop her own unusual kind of art. Interpersonal relationships are fragile and personal needs are great. There is a surprise ending.

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Monet Refuses the Operation

Mueller, Lisel

Last Updated: Jan-23-2013
Annotated by:
Belling, Catherine

Primary Category: Literature / Poetry

Genre: Poem

Summary:

Claude Monet (1840--1926) was a French impressionist painter. As he aged, he developed cataracts, but refused to have them surgically removed. In this 46-line free verse poem, Monet, the speaker, tries to make the doctor understand his reasons for refusing the operation.

What the doctor sees as deterioration, an "aberration" and an "affliction," is for the artist the result of a long process of development, a kind of culmination of his life’s work: exploring the way that people (rather than eyes) see. For Monet, removing the cataracts would "restore / my youthful errors" of vision, a world seen according to "fixed notions" of discrete objects rather than as the flux of pure light it has become. Monet wishes the doctor could see what he does: "if only you could see / how heaven pulls earth into its arms . . . ."

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Two Views of a Cadaver Room

Plath, Sylvia

Last Updated: Jan-23-2013
Annotated by:
Belling, Catherine

Primary Category: Literature / Poetry

Genre: Poem

Summary:

This poem is divided into two formally identical halves of eleven lines each. The first part describes a visit to a "dissecting room," a Gross Anatomy laboratory. The female visitor dispassionately observes the four male cadavers, "already half unstrung" by dissection, and the students, "white-smocked boys," who work on them. She observes the fetuses in bottles, "snail-nosed babies," which are given a kind of power and fascination absent from the cadavers. Finally, "he," one of the students, hands her the "cut-out heart" of his cadaver.

This disturbing valentine is indirectly elaborated on in the second half of the poem, which describes Brueghel’s painting The Triumph of Death (1562), a "panorama of smoke and slaughter." The speaker focuses on a pair of lovers who, in the lower right corner of the painting, seem entirely unaware of the horrors around them. Enclosed by their love, they form a "little country," admittedly "foolish" and "delicate," but spared from encroaching death--if not by love itself, then at least by the arresting effect of art’s image, for desolation is "stalled in paint."

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