Showing 501 - 510 of 759 Nonfiction annotations
This is a collection of two dozen case studies, written for non-medical readers, of patients with right-brain disorders. The chapters are divided into four groups: "Losses," dealing with loss of memory, cognition, and proprioceptive sense; "Excesses," with tics and other cases of overabundance; "Transports," with seizures and various "dreamy states," and "The World of the Simple," concerning mental retardation. In every case, Sacks focuses on the interior or existential world of the patient as the foundation of diagnosis and treatment. Sacks argues that this approach is appropriate for the right hemisphere, which compared to the left is less dedicated to specific skills and more dedicated to a "neurology of identity."
Sacks openly proposes these studies as a corrective to the field of neurology, which has tended to focus on the left hemisphere and therefore, he argues, has wound up treating patients solely in terms of specific deficits, often to their detriment. In "the higher reaches of neurology," and in psychology, Sacks argues, disease and identity must be studied together, and thus he recommends that neurologists "restore the human subject at the centre" of the case study. Sacks warmly recommends music, story-telling, and prayer as therapies that work by ignoring physiological defects and speaking to the patient's spirit or soul.
This biography, first published in French in 1971, was written by a Soviet émigré living in Paris. She begins her introduction with a quotation from Chekhov, "Happiness and the joy of life do not lie in money, nor in love, but in truth" (1). She follows this statement with an observation of her own, "Chekhov makes no prognoses, never raises his voice, does not explain, insist, and above all, does not instruct. . .
He is the least Russian of the great Russian writers." To a large extent, her short biography is devoted to presenting a particular vision of Chekhov that might be called "compassionate objectivity." Although her subject may not have insisted or instructed his readers, Ms. Laffitte does. In fact, there is a hagiographic quality about this book that leads the reader to conclude that if Chekhov had been a believer, by now he would have been canonized as Blessed Anton of Moscow.
Ms. Laffitte proceeds in multiple short chapters. While they are generally in chronological sequence, each one also takes up an issue or theme in Chekhov’s life. She makes copious and skillful use of her subject’s letters and notebooks. She also devotes considerable attention to Chekhov’s medical career, unlike V. S. Pritchett, whose short biography entitled, Chekhov. A Spirit Set Free (1988, see annotation in this database) portrays medicine as more of a hobby than a serious enterprise for Chekhov.
Ms. Laffitte also has a habit of tying up loose ends without presenting much evidence for her point of view, or acknowledging that uncertainty exists. For example, when dealing with what she calls Chekhov’s "moral depression" of the mid-1890s, she concludes, "By a logical exertion of willpower, Chekhov was gradually to emerge from this moral depression" (168). It seems here that she considers depression--assuming this is the correct term to use in the first place--a weakness or failure of will, rather than a clinical disorder.
Nonetheless, this short literary biography (not out-of-print) provides much easier reading than most of the major Chekhov biographies that have appeared since it was published.
Summary:This book contains six medical case studies in which hope, or lack of it, played a role in the outcome. Five stories are of Groopman's cancer patients, the sixth the story of his own recovery from severe chronic lower back pain. The book concludes with an account of Groopman's search for scientific answers to the questions that inspired the book: How is the cognitive-emotional complex of hope formed in the mind? How might that complex affect the chemistry of the brain? And how might that, in turn, affect the physiology of the body in a way that would be relevant to healing?
In four lengthy chapters, the biographies of Haydn, Mozart, Beethoven, and Schubert are carefully presented. Special attention is given to health, both physical and psychological, throughout life and at its end. Autopsy information is included. In particular, the author emphasizes the impact of illness on the composers' relationships with family members and doctors, and on their musical composition.
Evidence is derived from a wealth of primary sources, often with long citations from letters, poetry, musical scores, prescriptions, diaries, the remarkable "chat books" of Beethoven. Neumayr also takes on the host of other medical biographers who have preceded him in trying to retrospectively 'diagnose' these immortal dead.
Late eighteenth- and early nineteenth-century Vienna emerges as a remarkable city of musical innovation and clinical medicine. The composers' encounters with each other link these biographies. Similarly, many patrons, be they aristocrats or physicians, appear in more than one chapter, such as the Esterhazy family and Dr Anton Mesmer.
The disease concepts of the era, prevalent infections, and preferred therapies are treated with respect. Rigid public health rules in Vienna concerning burial practices meant that ceremonies could not take place in cemeteries and may explain why some unusual information is available and why other seemingly simple facts are lost.
Biographical information about the treating physicians is also given, together with a bibliography of secondary sources, and an index of specific works of music cited.
An automobile accident left Mary Swander nearly paralyzed and coping with chronic pain. After several incorrect diagnoses, she saw a neurosurgeon who told her that a disk in her neck ruptured "at C6 and punched a hole in the spinal cord. The flu virus went into the cord and infected it." She had central cord syndrome (which can paralyze arms) and myelitis (which can paralyze legs).
Other than traction, the doctors said they could not do anything more for her. She went to New Mexico where herbal medicines of a curandera and spiritual healing by a Russian Orthodox monk helped her. She now walks without a cane.
Physician-scientist Lewis Thomas turns to pressing, threatening issues in this collection of 24 essays, many of which have been published in Discover magazine. The book opens and closes with meditations on nuclear warfare--the atom bombs of World War II and the escalation of worldwide tensions and technology that can combine to destroy the human race. In between, other essays, such as "On Medicine and the Bomb" and "Science and 'Science,'" also focus on these issues.
Less apocalyptic essays concern Thomas's experience with requiring a pacemaker, the state of psychiatry, lie detectors as evidence for essential human morality, and his abiding interest in language and scientific research.
During a sabbatical year in Florence, English professor and writer James McConkey immersed himself in reading Anton Chekhov’s works, as well as biographies of the Russian writer. He began to feel a particular affinity for Chekhov’s crisis of 1889-1890 and his resolution of that crisis by traveling alone to Sakhalin Island off the eastern coast of Siberia to investigate conditions in the penal colonies that the Russian government had established in that distant region. Perhaps because McConkey himself was recovering from a series of traumatic experiences in his own life, he felt a kinship to this depressed young Russian author and his search for a new direction in life.
McConkey responded to this feeling of kinship by writing To a Distant Island, which is partly biographical, in that it retells the story of Chekhov’s six month long journey to Sakhalin Island in 1890; and partly a memoir, in that McConkey relates Chekhov’s life events to the feelings and events of his own life at the time. McConkey establishes this perspective from the beginning, when he explains why he refers to Chekhov throughout the book as "T": "I honor the man too much to call him by name throughout an account, which. . . is bound to be a fiction of my own" (8).
To a Distant Island dwells especially on the motivation for Chekhov’s journey to Sakhalin, a question scholars have debated for a hundred years now. Of the many contributing reasons for the trip, McConkey chooses to highlight and fictionalize "the suicidal tendency that surfaced again a decade later in the marriage his health simply couldn’t afford" (26). McConkey refines this to "T. wants to escape--he wants out, at whatever the personal cost" (27). It is in this state of mind (or soul) that the brilliant and sensitive T. begins his journey to the end of the earth.
Perhaps as a metaphor that characterizes any human quest, McConkey devotes most of the writing and energy to T’s justification, preparation, and outward-bound journey. Only 37 pages remain for the story of what happens to his hero once the goal is achieved; and less than 6 pages for the homeward trek (or homeward "sail" in this case). [This is a technique, come to think of it, quite the opposite of Homer’s in "The Odyssey"!]
The conclusion? "Sakhalin, then, gave to T. nothing he hadn’t known all along. . . Perhaps despair--that absence of hope--is a requisite for any deepened understanding of a universal hope for something never to be found in the present time or place" (82).
Fifty-two year old Pete, the hospital mailman, suddenly experiences severe abdominal pain. He is evaluated and treated in the emergency room. His diagnosis is acute surgical abdomen, but the exact cause of his pain is still unknown. The surgeon-narrator determines that the severity of Pete's condition mandates exploratory surgery. During the operation, "an old enemy" (18) is encountered--pancreatitis.
Afterwards, the surgeon assures Pete that he will get better. One week later though, the mailman dies. His death has been painful. An autopsy is scheduled, but the surgeon deliberately arrives 20 minutes late. He does not want to view the intact body of his deceased patient. No matter, the pathologist has waited for him to arrive before beginning the post-mortem examination. The pathologist closes Pete's eyelids before starting the autopsy, mindful of how the mailman's "blue eyes used to twinkle" (21) when he delivered the mail everyday.
Kirk, a man in his 50s with highly metastasized kidney cancer, presents himself to Dr. Groopman after having been turned away as a helpless case by several respected cancer clinics. He tells Groopman that he is a risk-taking venture capitalist and is willing to take any medical risk on the chance that it will save him. After pondering the ethics of the situation and the nature of informed consent under such conditions, Groopman agrees to treat Kirk. He proceeds to devise a highly risky (and untried) combination of chemotherapeutic agents. The course of treatment is excruciatingly difficult, but the experiment succeeds, and Kirk's cancer goes into complete remission.
Kirk calls it magic, a miracle, and the hospital interns call it a "fascinoma," a case defying normal expectations. Groopman releases Kirk to home and weekly checkups with a local internist, but in doing so he notices that Kirk's mood has mysteriously changed. He has lost the "piss and vinegar" of their earlier contact. Kirk continues to improve physically, traveling and playing golf and even tennis, but Kirk's wife soon reports that Kirk has stopped reading the newspapers he used to devour, which now collect in their driveway.
Several months later some physical symptoms return, and Kirk's cancer is back. A month later he is dead. In talks with Kirk near the end, Groopman discovers that Kirk's brush with death had brought with it a new and sharply negative view of himself as selfish and disconnected from the world and other people. Suddenly all his financial success seemed to him "pointless," and, since his life contained nothing else, it seemed to him a waste, and he felt it was too late to live it over. What Kirk ironically calls "my great epiphany" seems to have undone his doctor's "magic."
Summary:When faced with breast cancer and chemotherapy, Catherine Lord chronicles her illness in a literary performance piece by adopting the online persona of Her Baldness--a testy, witty, passionate presence who speaks forthrightly about her fears to a highly selective listserv audience of friends, family, and colleagues. The fragmented, multifaceted format of this autobiographical text includes photos, lists, e-mail narrations of her illness, responses from friends, plus the quick-tempered, no-holds-barred ruminations of Her Baldness on what cancer, chemotherapy, and baldness have meant in her life.