As a butcher's daughter from Southland, New Zealand, Margaret Currie didn't consider herself remarkable. Indeed, a strained relationship with her father and a distant relationship with her mother drove her to introversion and self-doubt. The in an encounter with God as a teenager, Margaret head God's call for Christian service in Asia. Would that even be possible, with Communism on the rise in the East, and the strong temptation to settle down to a comfortable life in New Zealand? Serving life is the inspiring story of how God called an ordinary girls from a New Zealand farm, into a life of extraordinary adventure and influence across South East and Central Asia"--Page 4 of cover.
Julia is tormented by nightmares while she struggles to prepare for a first art exhibition with her husband, Tom. Sister Marchant persuades Julia to visit Annie, her dying mother. Mother and daughter have not been on speaking terms since Theo walked out. During the visit Sister asks Julia to consider allowing Christopher, her author brother, to interview her in an attempt to discover why Annie is desperately clinging to life. An extremely jealous side to Toms personality raises its ugly head when he discovers the first interview took place without a chaperone present. Convinced his wife is having an affair, Tom turns to drink and becomes abusive. Julia walks out and calls on Sister who gladly takes her in. Annie dies without resolving what troubled her. With her death the interviews cease. In desperation to complete a novel he has invested so much in, Christopher visits the Lands and Survey Department in Melbourne and discovers Theo purchased a piece of land two farms away from his original farm. On visiting Theo he learns the reason for Julias continuing nightmares. Because his two daughters were the victims of attempted murder, Theo hid his family in the primitive outback of Australia in a shack. What she hasnt realized is her German heritage turned many Australians against her family when they eventually learned of the great slaughter on the beaches of Gallipoli at the beginning of World War I. Christopher and Julia begin an affair, which results in her carrying his child. At Annies burial service a photographer from The Truth took a photo of a very pregnant Julia throwing a clod of earth on her mothers coffin. It made the front page with the question, WHO IS THE FATHER. To protect her son from forever being taunted as a bastard, Julia moves in with her father.
This well researched book provides an interesting study of the development of fever hospitals and fever nursing, mainly in nineteenth and twentieth century Britain. It provides new insights into the development of nursing roles and nurse education and looks at the lives of key figures at that time. The text examines how this once important branch of the nursing profession emerged in the nineteenth century, only to be discarded in the second half of the following century. Drawing on the work of Goffman and Foucault, the study shows how, aided by medical advances, fever nurses transformed their custodial duties into a therapeutic role and how training schemes were implemented to improve the recruitment and retention of nurses. As standards of living improved and patient’s chances of recovery increased, many fever hospitals became redundant and fever nurses were no longer required. The wisdom of creating fever hospitals and then disbanding them is questioned in the light of changing disease patterns, international travel and the threat posed by biological warfare.
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The Stone Angel, The Diviners, and A Bird in the House are three of the five books in Margaret Laurence's renowned "Manawaka series," named for the small Canadian prairie town in which they take place. Each of these books is narrated by a strong woman growing up in the town and struggling with physical and emotional isolation. In The Stone Angel, Hagar Shipley, age ninety, tells the story of her life, and in doing so tries to come to terms with how the very qualities which sustained her have deprived her of joy. Mingling past and present, she maintains pride in the face of senility, while recalling the life she led as a rebellious young bride, and later as a grieving mother. Laurence gives us in Hagar a woman who is funny, infuriating, and heartbreakingly poignant. "This is a revelation, not impersonation. The effect of such skilled use of language is to lead the reader towards the self-recognition that Hagar misses."—Robertson Davies, New York Times "It is [Laurence's] admirable achievement to strike, with an equally sure touch, the peculiar note and the universal; she gives us a portrait of a remarkable character and at the same time the picture of old age itself, with the pain, the weariness, the terror, the impotent angers and physical mishaps, the realization that others are waiting and wishing for an end."—Honor Tracy, The New Republic "Miss Laurence is the best fiction writer in the Dominion and one of the best in the hemisphere."—Atlantic "[Laurence] demonstrates in The Stone Angel that she has a true novelist's gift for catching a character in mid-passion and life at full flood. . . . As [Hagar Shipley] daydreams and chatters and lurches through the novel, she traces one of the most convincing—and the most touching—portraits of an unregenerate sinner declining into senility since Sara Monday went to her reward in Joyce Cary's The Horse's Mouth."—Time "Laurence's triumph is in her evocation of Hagar at ninety. . . . We sympathize with her in her resistance to being moved to a nursing home, in her preposterous flight, in her impatience in the hospital. Battered, depleted, suffering, she rages with her last breath against the dying of the light. The Stone Angel is a fine novel, admirably written and sustained by unfailing insight."—Granville Hicks, Saturday Review "The Stone Angel is a good book because Mrs. Laurence avoids sentimentality and condescension; Hagar Shipley is still passionately involved in the puzzle of her own nature. . . . Laurence's imaginative tact is strikingly at work, for surely this is what it feels like to be old."—Paul Pickrel, Harper's
This first collection of Margaret Mead's personal correspondence creates a vivid and intimate portrait of an American icon--with a foreword by Mead's daughter, Mary Catherine Bateson.
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