Showing 91 - 100 of 212 annotations tagged with the keyword "War and Medicine"
It is 1938, Germany. A Jewish family--lawyer husband, Walter (Merab Ninidze), wife, Jettel (Juliane K?ler), and young daughter, Regina (Lea Kurka, Karoline Eckertz )-- must leave their homeland. Walter establishes a base as a tenant farmer in the British colony, Kenya, sending for his wife and child later. We see Walter in Kenya, sick with malaria, being nursed by Owuor (Sidede Onyulo), a native Kenyan who serves as a live-in cook. Juxtaposed are scenes of Jettel in Germany--fashionably dressed, socially active, secure in the presence of her parents, and not looking forward to living in Africa.
The remainder of the story takes place in Kenya after Jettel and Regina join Walter, who tries to scratch out a tenant farmer's livelihood on the barren, red earth. Walter is stoic but Jettel is miserable in the strange new country, where she cannot speak the languages (English and Swahili) and desperately misses her family. Her dissatisfaction strains the marriage. Adding to the strain on both Walter and Jettel is their worry over what will happen to their parents, who remained behind in Germany. Regina, however, adapts quickly, in part because she responds to the affectionate welcome offered her by Owuor.
When war breaks out between Germany and Great Britain, the family is interned (still in Kenya)--they are considered to be enemy aliens. Men are separated from women, but the women are housed in a former resort hotel where conditions are not too unpleasant. Jettel pleads with the British administrators to find a position for her husband so that they can leave the camps--after all, she points out, they are Jewish and no friend of Hitler. A young officer overhears her, seizes the opportunity to take advantage of Jettel's vulnerability, and in exchange for her sexual favors, helps the family to leave internment and resume farming in a new location.
When the war ends, Walter looks for an opportunity to return to Germany and to work in his profession (law). He is idealistic, believing he has a responsibility to help build a decent society in Germany while Jettel, on the other hand, has grown to like their life in Kenya and deeply distrusts the country that rejected them and murdered their parents.
The time is November 1899 through February 1900; the place is Ladysmith, a small railroad town in British Natal near its border with the Boer Republics. The Boers have surprised the world with an initial series of Samson-and-Goliath victories over the British army and have now laid siege to Ladysmith. As they shell the town from surrounding hills, people die, disease is rampant, structures collapse, starvation looms, and yet the British muddle through with an improvised cricket match whenever possible.
The setting of this novel is historically accurate, and a number of historical figures appear as characters; for example, the Boers arrest a young reporter named Winston Churchill as he struggles to reach the besieged town, and an Indian lawyer-turned-medical volunteer named Mohandas K. Gandhi becomes more and more committed to his philosophy of active nonviolence.
The core of the novel is a fictionalized version of a love story that the author found in the letters of his great-grandfather, who was a British soldier at Ladysmith. Bella, the Irish hotelkeeper’s daughter, falls in love, first, with a British soldier; and later with a Portuguese barber, thus defying convention and rebelling against her father. The unlikely couple escapes in a balloon.
This is a collection of poems that ranges widely through both the geographical and spiritual worlds. Susan Rich began her career as a human rights activist and Peace Corps volunteer in Niger. She has also worked in South Africa, Bosnia, Gaza, and as a program coordinator for Amnesty, International. Her poems are lyrics of empathy, discontent, and hope, unified by her "Cartographer's Tongue."
From an international medical and health perspective, some of the best of these poems are "Haiti," "The Woman with a Hole in the Middle of Her Face," "In the Language of Maps," "The Toughest Job," "The Beggars," "Sarajevo," "La Verbena Cemetery," "Whatever Happened to the Bodies," and "The Scent of Gasoline."
An American-trained Japanese surgeon working in Japan during World War II, pulls a wounded American sailor, presumably an escaped POW, from the surf behind his home. Against the advice of his wife, he hides the sailor, operates on him, and preserves his life temporarily.
Becoming fearful for his family, he reports what he has done to his patient, an official in the Japanese military. The officer says he will arrange to have the American assassinated in order to spare possible retribution against Sadao, the surgeon, and his family. It doesn’t happen, and Sadao is left with determining how to rid himself of this hazard he has brought into his home and healed. He makes a series of decisions that lend themselves to widely varying interpretations in terms of his motivation.
Dr. Robert Weiss passes through the town of Sankt Vero in the Tirol and rents a room from the Lukasser family. During the night, the Lukasser's son, Niki, develops acute appendicitis; the visiting doctor operates right there on the kitchen table, saving the boy's life. Years later, when war rages in Europe, the Jewish doctor returns to Sankt Vero and knocks on the Lukasser's door. He tells of soldiers forcing men, women, and children into railroad cars, and how he himself--he who had saved Niki years before--needs asylum.
To hide Dr. Weiss, Mr. Lukasser boards him up in a small room in the back of the hayloft, a space one meter wide and three meters high. For two years, the doctor exists in this box. Niki and his friend, a blind girl named Sigi, bring Dr. Weiss food once a day and, for ten minutes or so, they stay and talk. Sustained by Niki and Sigi's lives--the stories of their discoveries of sexuality, cruelty, and love--the doctor survives.
Although Sigi is blind, she has the insight to recognize and try to alleviate the doctor's growing depression by encouraging him to tell his own stories. It is through these stories and through the doctor's observation of Sigi and Niki's blossoming adolescence and struggles with morality that we experience both the doctor's confinement and the powerful conflicts and transformations that rage behind the doors of Sankt Vero.
This haunting memoir by a South African surgeon who has witnessed tremendous suffering across the globe is best read as his story, and not a war chronicle as the subtitle would suggest, since large chunks of the book are not about war in the dressing station sense of the term. That said, however, the war that rages inside the author continues throughout the book and gives the reader glimpses of wisdom gained during Kaplan's remarkable journey of life amidst death. The book is culled from journals of writing and sketches that he kept throughout his travels.
Kaplan's first crisis occurs when he joins fellow medical students in an anti-apartheid demonstration in Cape Town and, following the lead of a more senior student, Stefan, tends to the wounded and frightened after riot police attacked the demonstrators. Kaplan then gets the call of not only medicine as service, but surgery as service, when, as a neophyte doctor, he saves the life of a youth shot in the liver by the police.
This feat should not be underestimated, though the author writes with humility. Indeed, in recounting later incidents in which patients die, the odds tremendously stacked against the patients surviving anyway (a woman with disseminated intravascular coagulopathy and multiple organ failure, or the Kurdish boy in a refugee camp with a great hemorrhaging, septic wound), the author's self-chastisement is a painful reminder of how the physician suffers with each loss.
After a beautifully written prologue which begins, "I am a surgeon, some of the time" (p. 1), the book proceeds chronologically, each chapter named for the location of the action. Kaplan leaves South Africa to avoid military service and the fate that befell Stefan, who becomes an opioid addict after euthanizing a torture victim in a horrible scene of police brutality and violence. Kaplan's post-graduate training in England and BTA (Been to America) research stint heighten his sense of cynicism about hierarchy in English society and capitalistic forces in American medical research.
Ever the outsider, Kaplan first returns to Africa (treating victims of poverty, deprivation and violence), then sets off to war zones in Kurdistan, Mozambique, Burma (Myanmar), and Eritrea. In between, he works not only as a surgeon, but also a documentary filmmaker and a cruise ship and flight doctor. He avoids the more established medical humanitarian relief efforts, such as Médecins Sans Frontières, and instead prefers to work where no other ex-pat physician will go--enemy territory, front lines, and poorly equipped dressing stations.
Along the way he decides the number of people he has helped as a surgeon, particularly in Kurdistan, has been small compared to the potential to intervene in broader public health measures (he meets a Swiss water treatment engineer) and occupational health exposés to help abused victims (e.g., of mercury poisoning in South Africa and Brazil). The book ends with Kaplan studying to become an expert in occupational medicine, though, incongruously, in the heart of London's financial district where he treats stress-related illness.
Edgar Drake, a forty-one-year-old English piano tuner, accepts a commission from the 1886 British War Office to tune an Erard grand piano located in a colonial military outpost in Mae Lwin commanded by Surgeon-Major Anthony Carroll. Edgar leaves the squalor, fog and drizzle of London, as well as his middle class life and his wife Katherine, childless for eighteen years, for a journey by boat, train, carriage and horse to the exotic, intoxicating beauty of Burma.
En route, Edgar is surrounded by stories--a tale by the deaf Man With One Story, rumors about the legendary, eccentric Carroll's peace-making with the local Shan via music and cultural exchange, and socio-historical treatises about the Burmese, internecine wars, and British imperialism. The journey becomes a search for the meaning of home and purpose in Edgar's life. It is an adventure far beyond his prior imaginings and dreams.
The clash of cultures, British and Burmese, civilian and military, wealthy and poor, rule-bound and individualistic, is explored throughout the text. For example, a tiger hunt led by several British officials ends in disaster. Edgar meets Burmese culture on both grand and personal scales: street theatre; appealing, poverty-stricken children; the garb and cosmetics of various tribes; and, ultimately, the allure of Khin Myo, an educated Burmese woman who guides him to Mae Lwin and Carroll.
Carroll, a renaissance physician with a Victorian fervor for botanical and medicinal classifications and investigations, asks Edgar to assist him in his clinic. Common infectious diseases are diagnosed and treated by this forward-thinking physician, and he also performs finger amputations on the mangled hand of a boy without benefit of anesthetic. Other maladies are treated with local remedies and prayer. Meanwhile the delirium of malarial fever descends on Edgar.
Edgar does finally meet and treat the ailing, badly out-of-tune Erard piano. Edgar's expertise is required--his aural excellence and perfect pitch, his delicate yet callused hands, and his willingness to be innovative in the repair of a bullet hole. But what Edgar cannot be prepared for--intrigue and deceptions, fascination with the lush beauty of Burma, and his own shifting priorities and secret longings--is ultimately what sets his fate.
In the book’s Introduction, Dr. Cleaveland explains his personal need for real and fictional heroes. Seeing himself often as a victim of cruel childhood peers, he sought protectors and savored particularly the exploits of World War II heroes. His heroes, he notes, delivered him safely through childhood and adolescence.
Cleaveland describes seeing a documentary movie about Dr. Croydon Wassel in 1944; Dr. Wassel became his first personal hero. A book about Dr. Wassel was read by Cleaveland many times; later, as an adult, Cleaveland looked for the book again and set out to ascertain its authenticity. From extensive research he found Dr. Wassel to be far more courageous than he had anticipated--"studied, found not wanting."
The author was introduced to the story of Dr. Billie Dyer in 1992 through a collection of short stories. Dyer was a black physician who kept a diary during his eighteen months in service in the U.S. Medical Corp during the First World War. Cleaveland found a copy of the diary in the public library in Lincoln, Illinois and learned more about a new hero.
Other heroes he writes about were Dr. Woodrow Dodson, who served sixty years as a "domestic medical missionary"; and Dr. Lonnie Boaz, a black physician, the son of a victim of a hate crime, who became a well known ophthalmologist, husband, father, civic leader, and reformer after starting out as a painter, janitor, and army medic.
Cleaveland considers some of his patients to be heroes: Vera Gustafson, a World War II nurse whom he interviewed extensively, later adding historical information to her story; Paulette McGill, a childhood diabetic cared for by Dr. Cleaveland for twenty years; and an obese diabetic who became a "universal friend," teaching others about devotion and courage. Other patients were also deemed heroic, each for some special reason.
The longest story, saved till the last, is about Dr. Janusz Korczak, described by Dr. Cleaveland as the most heroic figure he knows of. Korczak was a Polish, Jewish pediatrician who devoted his life to improving the welfare of children in the Warsaw ghetto; he was deported to the Treblinka concentration camp with the children. (A movie that came out in 1990 dramatically tells this story.)
According to the author's introduction, the most "beautiful and informative images of nursing are found on picture postcards" (xi). He has gathered over 580 full--color postcard images of nursing from 65 nations, documenting nurses' work in peace and war time and documenting, often in breathtakingly lovely images, an important part of nursing's history. Postcards from the years 1893 to 2002 (many of these from the "golden age of postcards," 1907 through World War I) follow nurses from factories to flu wards, from battlefields to mission welfare clinics.
The author has divided his book into seven chapters: "Symbols of Care," "Twentieth--Century Postcard Art," "As Advertised: The Nurse on the Advertising Postcard," "Portraits," "War!" "An American Photo Postcard Album," and "Parade of Nations." Each chapter begins with an intelligent, fascinating explanatory essay by the author, and each chapter ends with copious notes revealing the origins and stories behind the postcards. The book has an extensive bibliography and is well indexed.
This is an exhibition catalogue for a show of 16 photographers who documented major topics in health over the last century. Carol Squiers, curator of the show, provides ten essays, amply illustrated by photos, on critical topics such as child labor, domestic violence, environmental pollution, AIDS, veterans of war, and aging. Some 80 per cent of the images treat American subjects.
Lewis Wickes Hine's photographs of child labor are dramatic and disturbing; these document children in coal mines, cotton mills, glass works, etc. in the first part of the 20th century. The Farm Security Administration sponsored photographers (including Dorothea Lange) to represent the New Deal Health Initiatives. Topics include farm labor, poverty in the South and Southwest, and inoculations. W. Eugene Smith created a photographic essay for Life magazine about Maude Callen, an African-American nurse-midwife in 1950s rural South Carolina.
Donna Ferrato documented domestic violence in the U.S. in powerful, personal shots, including a series of an actual attack. David T. Hanson created triptychs about environmental pollution: one panel shows a map of the area, a middle panel gives descriptive text, the last panel is an aerial shot in color. Eugene Richards spent time in the 1980s in Denver General's Emergency Room. Eleven black and white photos show the turmoil and drama.
Gideon Mendal documented HIV/AIDS in several African countries. Lori Grinker took photos of army veterans (some without hands) but also noncombatants harmed by war, including children. Ed Kashi presents images of aging Americans, rich and poor, urban and rural. Sebastião Salgado provides photos of vaccination in Africa and Asia.