Posts Tagged ‘medicine’
July 23, 2014 | by Dan Piepenbring
Given the ungodly humidity, today seems as good a day as any to peruse an 1858 volume whose full title is The Swamp Doctor’s Adventures in the South-West; Containing the Whole of The Louisiana Swamp Doctor; Streaks Of Squatter Life; and Far-Western Scenes; in a Series Of Forty-Two Humorous Southern And Western Sketches, Descriptive Of Incidents And Character, by John Robb (“Madison Tensas, M.D.” and “Solitaire”) author of “Swallowing Oysters Alive, etc.”
Oh, the glories of the public domain! Here’s a sordid bit from a chapter called “The Mississippi Patent Plan for Pulling Teeth”:
I had just finished the last volume of Wistar’s Anatomy, well nigh coming to a period myself with weariness at the same time, and with feet well braced up on the mantel-piece, was lazily surveying the closed volume which lay on my lap, when a hurried step in the front gallery aroused me from the revery into which I was fast sinking.
Turning my head as the office door opened, my eyes fell on the well-developed proportions of a huge flatboatsman who entered the room wearing a countenance, the expression of which would seem to indicate that he had just gone into the vinegar manufacture with a fine promise of success.
“Do you pull teeth, young one?” said he to me.
“Yes, and noses too,” replied I, fingering my slender moustache, highly indignant at the juvenile appellation, and bristling up by the side of the huge Kentuckian, till I looked as large as a thumb-lancet by the side of an amputating knife.
July 22, 2014 | by Sadie Stein
For longer than I care to admit, I have been unable to scroll down on my computer. This is only the latest in a series of laptop-related inconveniences, but, given the nature of my employment, is something of a problem. If you manage to catch the scrolling bar to the far right of the screen, you can generally navigate okay, but if you relax your vigilance for a moment and move your cursor, that option is closed, and it is necessary to refresh the screen. At least, that’s the only way I know how to do it.
I have lived without video and Flash capacity for some five months now, and it has been a rich, full life, but this scrolling situation seems untenable. I am going to have to go to the Genius Bar, a prospect I dread.
It’s not that I mind the trip, the wait, or even the well-deserved condescension of the Geniuses. At least this time around, there is no varicolored crayon wax mysteriously covering my computer, leading me to mumble some absurd, half-formed lie that implied I either had small children or was a preschool teacher. I’m just terrified that they’re going to tell me the computer can’t be saved, that the scrolling is indicative of a more serious—terminal—illness. (From this you might imagine how conscientiously I deal with actual medical issues.) Read More »
June 13, 2014 | by Sadie Stein
Today marks the birthday of the English novelist and playwright Fanny Burney, born in 1752, whose Evelina, Cecilia, Camilla, and The Wanderer were all major sensations in her day. Hers were satirical novels—often now called proto-Austenian—which were highly regarded by contemporary critics as well as readers.
Burney wrote one of the earliest accounts of a mastectomy—her own—which she was, horrifyingly, awake enough to observe. The operation was performed by “7 men in black, Dr. Larrey, M. Dubois, Dr. Moreau, Dr. Aumont, Dr. Ribe, & a pupil of Dr. Larrey, & another of M. Dubois”—the latter of whom was considered the number-one doctor in France. Warning: the account, taken from a letter to her sister, gets a little gory, so it’s not for the faint of heart. But Burney did survive, until 1840, at least. Of course, we can't be sure she really had cancer: she had pains in her breast, but in the absence of a biopsy, it’s hard to know.
I mounted, therefore, unbidden, the Bed stead—& M. Dubois placed me upon the Mattress, & spread a cambric handkerchief upon my face. It was transparent, however, & I saw, through it, that the Bed stead was instantly surrounded by the 7 men & my nurse. I refused to be held; but when, Bright through the cambric, I saw the glitter of polished Steel—I closed my Eyes. I would not trust to convulsive fear the sight of the terrible incision. Yet— when the dreadful steel was plunged into the breast—cutting through veins—arteries—flesh—nerves—I needed no injunctions not to restrain my cries. I began a scream that lasted unintermittingly during the whole time of the incision—& I almost marvel that it rings not in my Ears still, so excruciating was the agony. When the wound was made, & the instrument was withdrawn, the pain seemed undiminished, for the air that suddenly rushed into those delicate parts felt like a mass of minute but sharp & forked poniards, that were tearing the edges of the wound. I concluded the operation was over—Oh no! presently the terrible cutting was renewed—& worse than ever, to separate the bottom, the foundation of this dreadful gland from the parts to which it adhered—Again all description would be baffled—yet again all was not over,—Dr. Larry rested but his own hand, & — Oh heaven!—I then felt the knife (rack)ling against the breast bone—scraping it!
June 11, 2014 | by Alice Whitwham
In 2008, Rivka Galchen published Atmospheric Disturbances, a novel about a psychiatrist who wakes up one day to discover that his wife has been substituted by a replica. He subscribes to the delusions of a patient (who believes he can control the weather) to explain her disappearance. What James Wood referred to as the narrator’s first-person “double unreliability” made for a richly inconclusive novel about the confusion and mystery of love.
In her new story collection, American Innovations, Galchen, who has a background in medicine, returns us to worlds in which weird things happen. A woman watches the objects in her Brooklyn apartment leave of their own volition; a student of Library Sciences develops a third breast; refrigerated string cheese won’t stay put. Galchen’s stories suggest oppositions that dissolve in their own reversals: real things take on the patina of the artificial, while the fantastic and strange can feel more real than what we call real life. To read her stories is something like using a map without contours or coordinates; it’s impossible to plan your trip.
Over e-mail, Galchen and I discussed fiction’s relationship to field geology, the peculiarities of the short story as a form, and the allure of McDonald’s. Galchen is exhilaratingly imaginative, precise, and generous.
Why is the story a form you return to?
Short stories feel found to me—I like that about them. Of course, they’re actually not found, they’re written, just as novels are written, but they seem to have a more dense and unchangeable core than novels do, or at least it seems like one reaches the immutable core faster.
I like how stories can feel like some shiny thing on the ground, something that might be malachite, or might be a fragment of a comet, or might be a rusted old ignition. The writing process for a short story feels more like field geology, where you keep turning the thing over and over, noting its qualities in detail, hammering at it, putting it near flame, pouring different acids on it, and then finally you figure out what it is, or you just give up and mount it on a ring and have an awkward chunky piece of jewelry that seems weirdly dominating but that you for some reason like. I could be wrong about field geology here.
Where do you find your stories?
Sometimes I wonder if it’s immaterial things rooting around to find their material. For example, I have a story set in large part in a McDonald’s, there’s a young girl at the center of it, it’s in many ways a kind of love story, but why McDonald’s? McDonald’s was just sitting there in the old costume trunk of the back brain, and there was some inchoate emotion trying to play its little tune, and for whatever congregation of reasons McDonald’s was ideally useful to that emotion. It gave it the right language—probably in part because of that weird residue of how enchanting McDonald’s used to be when we were kids, how it was all an outsize luxury. And then, of course, it looks so different to us today. I think it has something to do with the question, What is it fiction is actually good at? What can it do that’s not better done with, say, a long piece of journalism, or a photograph, or a TV show? And that, in turn, has something to do with the intangible murk from which stories start to organize themselves. That intangible murk is the part that feels found to me. Read More »
April 7, 2014 | by Merve Emre
When Leslie Jamison and I met outside the Glass Shop, an airy café in Crown Heights, I noticed her left arm was sporting a wide, wordy tattoo. It was in Latin, and she spared the embarrassment of translating it—“I am human; nothing is alien to me.”
Too often, Leslie says, people treat tattoos as an invitation to intimacy. Strangers on the subway ask her to relay the story of her tattoo without a second thought, much as they would, in offering a seat to a pregnant woman, ask for the details of what’s growing inside of her. But in Leslie’s case the tattoo does point to an intimate story—or rather, to a whole constellation of intimate stories that Leslie offers in her essay collection The Empathy Exams.
“I am human; nothing is alien to me” is the epigraph to the collection. It is a quote that has been casually misattributed to Montaigne, John Donne, Karl Marx, and Maya Angelou, but it actually comes from The Self-Tormentor, a play written by Terence, the ancient Roman slave turned playwright. It is the thread that connects such different yet equally luminous works as “Grand Unified Theory of Female Pain,” “Pain Tours,” and “The Devil’s Bait”—meditations on how to feel pain, both physical and psychic in nature, and how to regard the pain of others in a way that respects their humanity. Having read The Empathy Exams, I can begin to appreciate why Leslie has made the small, if painful, jump from writing about the body to writing on the body.
Leslie and I circled this conversation so many times at the Glass Shop that we decided to revisit it one morning in late October at my apartment in Brooklyn, and later that day, on the Metro-North to Yale University, where we are both finishing Ph.D.s in English literature. Most of the time, the tape recorder was on, but sometimes I switched it off so we could gossip idly, and forgot to switch it back on until Leslie was already halfway into a thought on feminism I wanted to preserve. But if this interview reads like the midpoint of a conversation that’s been taking place for some time now, that shouldn’t prevent you—the reader—from making sense of it. After all, you are human. This will not be alien to you.
The most ungenerous criticism of the collection that I could imagine is, Oh, she keeps putting herself in these positions to experience pain or woundedness so she can have something to write about. How narcissistic. I can see people thinking as they’re reading, She’s a real glutton for pain.
I guess that’s why it felt right to put “Grand Unified Theory” at the end of the collection. That idea of being drawn to pain is starting to emerge as a pattern in the essays themselves, and the final essay speaks to that directly. What position of pride do I have in relationship to these experiences?
There’s a basic and important distinction to draw between positions I inhabit as somebody who has experienced some kind of trauma and somebody who’s seeking out pain. Going to the Morgellons conference is a choice in a way that getting hit in the street isn’t. But the collection chooses to bring all of those experiences together in a certain way—what kind of appetite is being spoken to there? In certain ways, as a writer, you do profit off your own experiences of pain, and there’s a way of seeing that profit that’s wholly inspirational—in terms of turning pain into beauty—and a way of seeing it that’s wholly cynical—in terms of being a “wound dweller” in a corrosive or self-pitying way. The honest answer—to me—dwells somewhere between those views. Read More »
March 13, 2014 | by Paul Kalanithi
Remembering Sherwin Nuland, the author of How We Die, who died last week.
I attended the Yale School of Medicine when Shep Nuland taught there, and despite our both being surgeons, I know him best in my capacity as a reader. I don’t recall when I first read How We Die—I was just finishing high school when it came out—but I do know that few books I had read so directly and wholly addressed that fundamental fact of existence: all organisms, whether goldfish or grandchild, die. His description of his grandmother’s illness showed me how the personal, medical, and spiritual all intermingled. As a child, Nuland would play a game in which he indented her skin to see how long it took to resume its shape—a part of the aging process that, along with her newfound shortness of breath, showed her “gradual slide into congestive heart failure … the significant decline in the amount of oxygen that aged blood is capable of taking up from the aged tissues of the aged lung.”
But “what was most evident,” he continued, “was the slow drawing away from life… By the time Bubbeh stopped praying, she had stopped virtually everything else as well.” With her fatal stroke, Shep Nuland remembers Browne’s Religio Medici: “With what strife and pains we come into the world we know not, but ’tis commonly no easy matter to get out of it.” Read More »