Showing 21 - 30 of 276 annotations tagged with the keyword "Infectious Disease"
Summary:The Alice Neel painting, T.B. Harlem, can be seen at the National Museum of Women in Arts in Washington, D.C.
Summary:Edvard Munch’s painting, The Sick Child, hanging in the Tate in London, England is his fourth version of the painting. This version is done in oil on canvas and was completed in 1907. The first version was painted in 1885.
Summary:Born in 1894, Grania becomes deaf following scarlet fever at the age of two. Her mother never quite recovers from misplaced guilt over this outcome and is withdrawn. But Grania is well loved by the whole family, who run a hotel in a small town. Her older sister and their Irish-born grandmother see the child's intelligence and find ways to communicate with her by signs and words; they urge the parents to send her to a special school.By age nine, Grania is sent to the famous School for the Deaf in Belleville Ontario, founded by Alexander Graham Bell. Although the school is only a short distance from her home on the north shore of Lake Ontario, the child is not allowed to return for nine long months. At first she is overwhelmed with homesickness, but soon she finds kindred spirits among the other students and teachers and adapts to the life of the institution.
Summary:New York, 1981. As the play opens, Ned Weeks sits outside a doctor’s office with a friend who has developed worrisome symptoms of a mysterious “plague” that strikes homosexuals. The doctor, Emma Brookner, complains that she cannot make headway in getting the gay community to take the threat seriously. This encounter inspires Ned, a writer, to dedicate himself to becoming the spokesman for the growing ranks of disenfranchised patients. He attempts to convert others to his cause, including his heterosexual brother, a closeted bank executive, and a reporter for the New York Times (whom he begins to date). When it becomes clear that the City is not interested in assisting, he co-founds a grassroots activist organization. As the epidemic veers out of control, the man he loves falls ill as well. Over time, Ned’s abrasive, confrontational approach, as well as his focus on abstinence, makes him many enemies within the gay community. Ultimately, he is forced out of his own organization. At the same time, there are hints that, as a result of his work, the disease is beginning to be taken seriously. At the end of the play, Ned’s lover Felix becomes the latest gay man to succumb to the epidemic.
Summary:The author, an experienced surgeon, believes that we will be less frightened by the prospect of death if we understand it as a normal biologic process. He points out that 80 percent of deaths in this country now occur in hospitals and are therefore "sanitized," hidden from view, and from public comprehension. He describes the death process for six major killers: heart disease, stroke, AIDS, cancer, accidents/suicide, and Alzheimer's disease.But the power of the book is in its intensely personal depiction of these events and in the lessons which Nuland draws from his experiences. The message is twofold: very few will "die with dignity" so that (1) it behooves us to lead a productive LIFE of dignity, (2) physicians, patients, and families should behave appropriately to allow nature to take its course instead of treating death as the enemy to be staved off at any cost. Only then will it be possible for us to die in the "best" possible way--in relative comfort, in the company of those we love/who love us.
Summary:Children wasting away, in pain, infected with parasites whose life cycle continues "bodies to fingers, / fingers to lips, of lips to eggs / and eggs to worms." That cycle is echoed in the human experiences of "loneliness to pangs of loss" and of "deep escape to deep connection." The actual parasites take on symbolic significance and become the worm that inhabits us all, whether we be sick kids or weary health care providers.
Summary:Pale, gaunt children from the backwoods hills of Kentucky bring their stool specimens to school so the visiting physician can check for worms. But these sinewy kids come from a long line of leathery ancestors "bred from one tough root"--and they keep on surviving whether they have worms or not. They "shall inherit" the earth, whether or not physicians treat them.
Summary:Many of these poems are confessional accounts of gay love and sexuality. Another group clearly draw on the author’s clinical experiences as a physician. A few poems (e.g. "For You All Beauty", "Her Final Show") mix those broad categories in talking about the care of AIDS patients.The 11 short poems under the sequence title "Ten Patients, and Another" are the most clinical. They mimic clinical presentations during rounds in several ways: individual poems under patient initials--Mrs. G, John Doe; opening lines with the patient’s age, race, and gender; even presenting complaints with hospital shorthand. For example, in "Kelly" Campo begins: "The patient is a twelve-year-old white female. / She’s gravida zero, no STD’s. / She’s never even had a pelvic. One / month nausea and vomiting. No change / in bowel habits. No fever, chills, malaise." But in this poem and others of the sequence, the clinical gradually turns to the personal: "Her pelvic was remarkable for scars / At six o’clock, no hymen visible, / Some uterine enlargement. Pregnancy / Tests positive times two. She says it was / Her dad. He’s sitting in the waiting room."The cumulative effect of the series is a kind of horror at hospital cases and how they get there: a three-year-old who’s ingested cocaine, a homeless man with eyelids frozen shut, one man beaten, another man shot, an abused wife, a suicide, a drug overdose. To feel empathy for these cases, and to turn them into poetry, Campo has practiced the art of medicine as a form of love.Campo also writes as a patient who has experienced a serious arm fracture and subsequent threat of cancer in the 16-poem sequence "Song Before Dying." This changes his perspective on care-giving, as he writes in "IX. The Very Self." " . . . more dying waits / Downstairs for me. I almost hear their groans. / Same hunger, bones. Same face we all consumed. / As I examine them, I find the tomb / Toward which they lead. I know it is my own."
Summary:A four-part poem that begins with glimpses of a man suffering the ravages of AIDS: "He stayed / Four months. He lost his sight to CMV." The man connects with his doctor through the stories he tells, but also through blood: "I'm drowning in his blood . . . . "The doctor at first tries to maintain distance from his patient ("I can't identify with him.") and even feels "residual guilts" when the patient says it's okay that "doctors could be queer." In the end, though, the healer has formed a bond with his patient. After the man dies, the doctor further identifies with him: "His breath, / I dreamed, had filled my lungs--his lips, my lips / Had touched."
Summary:A patient is dying of AIDS. The physician-speaker repositions a drain in the patient's wound, taking care "to slap on latex gloves" before he does so. Another physician, "a hypocrite / Across the room complains that it's her right / To walk away . . . ." She acknowledges no obligation as a physician to care for this patient. Does she think it is too risky? What kind of risk? Might contact with this dying man somehow upset her ordered world and expose her vulnerability? Of course, nothing she could do "Could save him now." Even the physician-speaker must leave the patient "pleading" and continue with his other work: "There's too much to do."