Finalist, National Book Critics Circle Award
Finalist, National Book Award in Nonfiction
A New York Times Book Review “The Year in Reading” Selection
All wars are fought twice, the first time on the battlefield, the second time in memory. From the author of the Pulitzer Prize–winning novel The Sympathizer comes a searching exploration of the conflict Americans call the Vietnam War and Vietnamese call the American War—a conflict that lives on in the collective memory of both nations.
“[A] gorgeous, multifaceted examination of the war Americans call the Vietnam War—and which Vietnamese call the American War…As a writer, [Nguyen] brings every conceivable gift—wisdom, wit, compassion, curiosity—to the impossible yet crucial work of arriving at what he calls ‘a just memory’ of this war.”
—Kate Tuttle, Los Angeles Times
“In Nothing Ever Dies, his unusually thoughtful consideration of war, self-deception and forgiveness, Viet Thanh Nguyen penetrates deeply into memories of the Vietnamese war…[An] important book, which hits hard at self-serving myths.”
—Jonathan Mirsky, Literary Review
“Ultimately, Nguyen’s lucid, arresting, and richly sourced inquiry, in the mode of Susan Sontag and W. G. Sebald, is a call for true and just stories of war and its perpetual legacy.”
—Donna Seaman, Booklist (starred review)
Charlotte Salomon's (1917-43) fantastical autobiography, Life? or Theater?, consists of 769 sequenced gouache paintings, through which the artist imagined the circumstances of the eight suicides in her family, all but one of them women. But Salomon's focus on suicide was not merely a familial idiosyncrasy. Nothing Happened argues that the social history of early-twentieth-century Germany has elided an important cultural and social phenomenon by not including the story of German Jewish women and suicide. This absence in social history mirrors an even larger gap in the intellectual history of deeply gendered suicide studies that have reproduced the notion of women's suicide as a rarity in history. Nothing Happened is a historiographic intervention that operates in conversation and in tension with contemporary theory about trauma and the reconstruction of emotion in history.
The rise of the nurse practitioner as a new kind of health care professional has blurred the traditional distinction between physicians and nurses. Nurse practitioners argue that they combine both the traditionally male health care delivery of the M.D. and the traditionally female caring attention of the R.N. In her previous work Sue Fisher has analyzed the difficulties that women patients have in getting doctors to listen to their medical concerns. Now she asks whether women fare any better with nurse practitioners.
Nursing Wounds takes us into the examining rooms of nurse practitioners and doctors to listen to how health care professionals and women patients communicate. The nurse practitioners, unlike the doctors, go beyond the medical problem to ask about the social context of the patients' lives. In these exchanges the doctors insist on reinforcing both their professional status and dominant cultural assumptions about women. While the nurse practitioners sometimes do this, they also distance themselves from their professional identities, respond to their patients woman to woman, and undermine traditional understandings about gender arrangements.These differences have important consequences for the delivery of health care.
This compelling and complex analysis employs a range of theoretical perspectives–-from sociolinguistic to postmodern and materialist. Fisher concludes by urging a health care policy that capitalizes on the special strengths of nurse practitioners as providers of primary care who pay real attention to what their patients are saying and who support an alternative, even oppositional, understanding of women's lives.
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