fostering the humanistic practice of medicine publishing personal accounts of illness and healing encouraging health care advocacy

fostering the humanistic practice of medicine publishing personal accounts of illness and healing encouraging health care advocacy

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TheDyingWomansmaller

Dying Woman

Gary Hoff

About the artist:
 

I am Associate Professor of Medicine at the Des Moines University College of Osteopathic Medicine where I have taught cardiology for many years. My career as an artist runs in parallel with my career in medicine. My work is primarily in oils and consists of commissioned portraits as well as landscapes and still life.

 

About the artwork:

Dying Woman is a portrait of my mother during the last month of her life, as she was dying of metastatic lung cancer. The drawing is in an old medium called silverpoint, which was the method used by old master painters long before graphite. It allows a precise but unerasable line

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Shattered

Kristina X. Duan

It was a Monday morning in Chengdu, the capital city of China’s Sichuan province. I was a premedical student who had traveled here from the U.S. to do a six-week summer term abroad at People’s Hospital, one of Chengdu’s largest cancer centers.

As the child of Chinese-born parents, I’d always felt a special fascination for my parents’ strange, captivating homeland. In college, I seized the first opportunity to pursue medical studies in China alongside native students. I’d found myself immersed in a healthcare system that was fragmented, corrupt and riddled with problems stemming from overpopulation and limited resources. 

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Escape from Chemo

Ellen Diamond

And while the stuff drips in, I’m rolling over
in my mind the two words: Kemo Sabe.

It’s the name that Tonto called his friend
the Lone Ranger, back in radio days.

I could use a trusty sidekick now,
crouched behind the white screen near the door,

ready in an instant to unsheathe
his blade, then back us slowly to the window.

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What to Say When You’re Terminal

Ellen Diamond

For the past fifteen years, I have had an incurable form of leukemia.

Such diseases used to be called terminal illnesses, but we don’t hear that term as much anymore. With all the new drugs and treatments available, doctors have become more reluctant to refer to diseases they can’t cure yet as “terminal.”

In the years just after my diagnosis, when friends and family would ask what could be done for it, I used to say that nothing could be done, adding: “It’s terminal.”

I was trying to be honest, to say, “Come now, we must face this.” People’s reactions of shock and sadness, though, made me wish I’d put it some other way. But what other way?

My father,

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A Reason to Stay

Ashish Massey

“Aren’t those decorations looking nice?” asks a soft voice beside me.

Startled, I turn to find a young woman wearing a red-and-white sari. Her head and face are swathed in the folds of the sari, leaving only the large red bindi on her forehead clearly visible.

We’re sitting on a grassy tuft amid a large campus green. All about us stand buildings with signs in both Hindi and English. Atop the central building waves an Indian flag, around which workers are hanging colorful garlands, tassels and lights.

“It looks very nice. What is it for?” I reply in Hindi, feeling that my accent must betray my American upbringing.

I am a fourth-year medical student. Two days ago

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The First Cut

Ralph B. Freidin

“Just cut through,” said Dr. Trotter, my anatomy professor.

I had read the instructions in her 1947 dissecting manual. My copy, purchased used, was preserved by stale formaldehyde and smudged with the tissues of past cadavers who’d guided earlier first-year medical students from anatomical landmark to anatomical landmark within the human body. 

The time: forty-six years ago. The day: my first day of medical school. 

The dissecting room was on the second floor of a building that had been new in 1927. The windows, opened to capacity, vainly invited in any breeze from the still St. Louis fall afternoon. The cinnamon aroma of dry sycamore leaves floated from the sidewalk to the windowsill before being repelled by the pungent embalming chemicals permeating

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Note to My Patient

You might be surprised to know that I’m lying here in bed still thinking of you two weeks after you’ve died.

During the month that I watched you die, I often wondered what it felt like to be you, with your deep, husky voice, rounded belly and stubborn anger. You’d once owned your own mechanic shop; now you were sitting here in a hospital bed, staring up at the medical team as we whirled in and out of your room. Staring up at me as I drew blood from your central line each morning.

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for the Ten Days

Madeleine Mysko

We say goodbye, her hand goes up (but not
in time to catch me), then the breach: I kiss
my mother on the cheek. Oops, I say,
you’d better wash your face. We laugh, of course–
that’s the better way to make it through
the chemotherapeutic calendar.
But it’s no joke. Her white cell count is low.
I see my mother back away from me.

I’m treacherous. I’ve not observed the Ten
Solemn Days of Abstinence. Oh what 
to do but put a finger to the lips, 
and teach the mouth never to kiss, never 
to take a breath, or utter Mother, while
stepping lightly past your door, O Death.

About the poet:

Madeleine Mysko is a registered nurse and a graduate of The Writing

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Five Years Later

Steve Lewis

Evenings in the Sloan-Kettering ICU were starkly lit–nowhere to hide from the glare, bloodshot eyes trained on blinking lights, buzzing machines, masked men and women passing soundlessly through sliding glass doors, and little but hours and hours of bright, eerie luminosity ahead.

By contrast, the days then were dark. No comfort to be found in the sunrise or in that old salve about everything looking better in the morning. My wife and kids and I sat on the edge of uncomfortable couches in dimly lit waiting rooms where the waiting was always either too long or never long enough; we stood shoulder to shoulder in airless elevators with strangers sharing the same muted despair; we sat huddled in the cafeteria and did not

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Five Years to a Cure

Ellen Diamond

Recently, while reading a post in an online chat group for people with chronic lymphocytic leukemia (CLL), I spotted an intriguing comment. At an important conference, a world-renowned hematologist had referred to a “five-year timeline” for a cure.

This took me back fourteen years, to when I’d just been diagnosed with CLL. There was a Gilda’s Club near my workplace; I’d always passed it quickly on my way home. Now I found myself stepping through the doorway to hear a top specialist talk about my disease.

I recall his closing words: “Give me five years, and I’ll give you a cure.” 

As desperately as I wanted to

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Remembering John

Hilton Koppe

I remember you the day we met. It was five years ago. I was terrified. You seemed relaxed and at peace. I’d been invited to join the Lennox Head Club, in the town where I live and work; this over-thirty-five match was the first game of soccer I’d played in twenty-five years. I was the oldest on the team. You were the youngest. For you it was just the start of another season, your loping, languid style belying your skill and your speed.

I remember you sitting next to me in my car on the long drive home from a game at Nimbin. You telling me about

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The Hallway

Colleen Fogarty

Sitting here, waiting to teach a medical student.

My eyes lock
onto the windowed display cabinet of anatomic pathology specimens.

Aging bottles of shriveled dun-colored parts, pale reminders of bodies once vital.

My thoughts drift
my rib pain, localized, continuous, nagging.
my breast cancer, localized, excised, treated…just over a year ago.

What pains my rib?

Mets?
Muscles?

These tumor specimens cut too close.

I got my daughter to kindergarten; what about sixth grade?

About the poet:

Colleen Fogarty, an associate professor in the University of Rochester Department of Family Medicine, has dabbled in poetry and prose most of her life. Medical school temporarily killed her creative muse.

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