The Desire to Heal: A Doctor's Education in Empathy, Identity, and Poetry by Rafael Campo  (3)
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Editorial Reviews
From Publishers Weekly
Poet-physician Campo takes a measured approach to the art of medicine in this slim, critical anthology about "the power of language...to promote healing." In 14 brief essays, Campo recounts his interactions with patients suffering from ailments as diverse as depression and AIDS, and he argues for physicians to adopt a practice of integrative medicine, one in which the demands of the mind and soul are understood to play as important a part as those of the body. His reports of empirical success with poetry treatments-patients who recover from depression, for example, after writing poems about their past-come as welcome and comforting news, from which Campo tries to draw some surprising implications for poetry itself. In an earlier, similar volume The Poetry of Healing (1996), Campo argued that the ordered precision of formal poetry helps the bewildered and ill make sense of a world askew. Here he attacks experimental writing as an inaccessible black hole "disjoined from its primary purpose of conveying sense," an Orwellian nightmare designed by a snobby few. Because it gives no pleasure, experimental poetry cannot help the ill. Instead, he writes, "I have chosen to study individual poets who have devoted a substantial portion of their lives' work to the experience of illness." Yet the poems Campo prints and explicates in these essays-verses by such esteemed poets as Adrienne Rich, Mark Doty, Toi Derricotte, Tory Dent and Miroslav Holub-are not drawn from among their best work, a contradiction that might provoke some readers to speculate that they want more from art than just an over-the-counter cure.
Copyright 2003 Reed Business Information, Inc.
From the New England Journal of Medicine, December 25, 2003
Painting is silent poetry, and poetry is painting with the gift of speech. Simonides, 556-468 B.C. Other physicians who are writers provoke readers with dramatic scenes from the vantage point of the bedside, but Rafael Campo uses a palette of poetry to provoke the reader to philosophical, even existential thoughts about the ways in which illness and death define human experience. With poetry by accomplished poets -- Marilyn Hacker, Alicia Suskin Ostriker, Lucia Perillo, and William Carlos Williams, among others -- Campo, himself a poet, constructs the basic tenet of his book, that "curing and healing are not the same, and it is possible to achieve the latter without succeeding in the former." Poetry is his means to those ends. Campo signals his intent in the story of "Daniel," a depressed and suicidal patient who did not respond to psychotherapy or treatment with antidepressant drugs. After trying, and failing, to commit suicide, Daniel appeared in Campo's office with a bundle of poems that recounted sexual abuse by a priest and the humiliation and pain that rendered Daniel unable to mention this dreadful experience. Poetry, however, released him, brought him joy, and gained him freedom. Campo observes that, for Daniel, "his poetry seems in retrospect like a prerequisite, fundamental condition to his healing, because without it, his abuse experience almost surely would have remained unaccounted for, unmarked, as though it never happened, leaving only his intractable symptoms in its place." In this book, both patients and practitioners use poetry to heal the "disease" caused by physiological and sociological illnesses and "the postmodern deconstruction of the body and community." Narrative provides more than a bridge between patient and doctor; it is also a diagnostic and therapeutic tool. Carried in the black bag, it is part of the physical examination, an internal ultrasound. Campo writes that "poetry locates us inside the experience of illness, demanding that we consider it from within, as attentively as we do from without." Campo presents and palpates poems as he might present the symptoms and palpate the body of a patient during teaching rounds. He teaches how to feel the pulse of the meter or elicit the reflex of the metaphor, all the while keeping his refractory light focused on humanity and, sometimes, questioning the humaneness of it all. This book may serve as the course in great poetry one missed in college. Campo offers remarkable insights and interpretations as he places the phonographic needle on the page, playing each poem like a symphony. Tory Dent, a poet and a patient who has human immunodeficiency virus infection, writes of her experience in the doctor's office in "Apology to the Doctor": The two leather chairs of community and isolation: / the desire to heal -- a drilling for water; a searching for the doctor. The body a given, a gift, a limitation, also a mystery / of which there be no end to the cruel suspensions of its mystery. Over my interiority as if, paradoxically, outside myself / how powerful am I, Doctor? You who know and do not know the body, how powerful are we? . . . It is not surprising that the sharing of poems by patient and physician nurtures the relation between creative self-expression and healing. Unfortunately, the reality of today's 15-minute office visits with patients may preclude such exchanges. Nevertheless, reading this book is an experience in and of itself. The book offers a reflective moment similar to what one might feel while sitting in a place of worship. It is an afternoon by a waterfall or at the sea's edge for the busy practitioner, in which to stop and listen to the rhythms of life. Of "Famine Relief," by Marilyn Krysl, about feeding a starving girl in Calcutta, India, Campo writes, "We see laid bare in poetry the complex intersection of biological and cultural forces; in the face of the most profound physiologic deprivation, the delicious mystical sustenance of empathy abounds." Explain, please, this wonder, this / creaturous pleasure, this ruby of feeling / while I feed another being: tell me why when Hasina opens her mouth, / it's as though the world in its entirety opens, the lotus of the Buddha unfolding / its jewel. Veil of skin, draped over bone: Hasina's fourteen, so thin / she can't walk, sit up, hold a cup. Eyes a single beam / scanning for food, even when she's full. She's the mouth / of the soul. . . . Campo invites readers to take part in this therapeutic dance of words. The reader may feel an urge to recite or reread a favorite poem. He writes, "Let us pull ourselves away from validating science, and open our minds to the music of the poets themselves." Campo acknowledges that even the best iambic pentameter cannot replace important medications such as pegylated interferon for his patients with hepatitis C. But he believes that poetry serves where medicine remains notoriously inept, as in exploring and accepting death, "the greatest human drama of all." Audre Lorde, an activist for social justice who died of breast cancer in 1992, wrote in "A Song for Many Movements": Nobody wants to die on the way / caught between ghosts of whiteness / and the real water none of us wanted to leave / our bones / on the way to salvation . . . Campo uses Lorde's poem to conclude that "in poetry, that most valuable effort against the dark, we might all just live and love forever." Campo successfully weaves such threads of philosophy and psychotherapy into his reflections on patients and society. His is a gallant mission, to use poetry to "reclaim medicine as the art it truly remains" -- a healing art. Teresa L. Schraeder, M.D.
Copyright © 2003 Massachusetts Medical Society. All rights reserved. The New England Journal of Medicine is a registered trademark of the MMS.
See all Editorial Reviews
Poet-physician Campo takes a measured approach to the art of medicine in this slim, critical anthology about "the power of language...to promote healing." In 14 brief essays, Campo recounts his interactions with patients suffering from ailments as diverse as depression and AIDS, and he argues for physicians to adopt a practice of integrative medicine, one in which the demands of the mind and soul are understood to play as important a part as those of the body. His reports of empirical success with poetry treatments-patients who recover from depression, for example, after writing poems about their past-come as welcome and comforting news, from which Campo tries to draw some surprising implications for poetry itself. In an earlier, similar volume The Poetry of Healing (1996), Campo argued that the ordered precision of formal poetry helps the bewildered and ill make sense of a world askew. Here he attacks experimental writing as an inaccessible black hole "disjoined from its primary purpose of conveying sense," an Orwellian nightmare designed by a snobby few. Because it gives no pleasure, experimental poetry cannot help the ill. Instead, he writes, "I have chosen to study individual poets who have devoted a substantial portion of their lives' work to the experience of illness." Yet the poems Campo prints and explicates in these essays-verses by such esteemed poets as Adrienne Rich, Mark Doty, Toi Derricotte, Tory Dent and Miroslav Holub-are not drawn from among their best work, a contradiction that might provoke some readers to speculate that they want more from art than just an over-the-counter cure.
Copyright 2003 Reed Business Information, Inc.
From the New England Journal of Medicine, December 25, 2003
Painting is silent poetry, and poetry is painting with the gift of speech. Simonides, 556-468 B.C. Other physicians who are writers provoke readers with dramatic scenes from the vantage point of the bedside, but Rafael Campo uses a palette of poetry to provoke the reader to philosophical, even existential thoughts about the ways in which illness and death define human experience. With poetry by accomplished poets -- Marilyn Hacker, Alicia Suskin Ostriker, Lucia Perillo, and William Carlos Williams, among others -- Campo, himself a poet, constructs the basic tenet of his book, that "curing and healing are not the same, and it is possible to achieve the latter without succeeding in the former." Poetry is his means to those ends. Campo signals his intent in the story of "Daniel," a depressed and suicidal patient who did not respond to psychotherapy or treatment with antidepressant drugs. After trying, and failing, to commit suicide, Daniel appeared in Campo's office with a bundle of poems that recounted sexual abuse by a priest and the humiliation and pain that rendered Daniel unable to mention this dreadful experience. Poetry, however, released him, brought him joy, and gained him freedom. Campo observes that, for Daniel, "his poetry seems in retrospect like a prerequisite, fundamental condition to his healing, because without it, his abuse experience almost surely would have remained unaccounted for, unmarked, as though it never happened, leaving only his intractable symptoms in its place." In this book, both patients and practitioners use poetry to heal the "disease" caused by physiological and sociological illnesses and "the postmodern deconstruction of the body and community." Narrative provides more than a bridge between patient and doctor; it is also a diagnostic and therapeutic tool. Carried in the black bag, it is part of the physical examination, an internal ultrasound. Campo writes that "poetry locates us inside the experience of illness, demanding that we consider it from within, as attentively as we do from without." Campo presents and palpates poems as he might present the symptoms and palpate the body of a patient during teaching rounds. He teaches how to feel the pulse of the meter or elicit the reflex of the metaphor, all the while keeping his refractory light focused on humanity and, sometimes, questioning the humaneness of it all. This book may serve as the course in great poetry one missed in college. Campo offers remarkable insights and interpretations as he places the phonographic needle on the page, playing each poem like a symphony. Tory Dent, a poet and a patient who has human immunodeficiency virus infection, writes of her experience in the doctor's office in "Apology to the Doctor": The two leather chairs of community and isolation: / the desire to heal -- a drilling for water; a searching for the doctor. The body a given, a gift, a limitation, also a mystery / of which there be no end to the cruel suspensions of its mystery. Over my interiority as if, paradoxically, outside myself / how powerful am I, Doctor? You who know and do not know the body, how powerful are we? . . . It is not surprising that the sharing of poems by patient and physician nurtures the relation between creative self-expression and healing. Unfortunately, the reality of today's 15-minute office visits with patients may preclude such exchanges. Nevertheless, reading this book is an experience in and of itself. The book offers a reflective moment similar to what one might feel while sitting in a place of worship. It is an afternoon by a waterfall or at the sea's edge for the busy practitioner, in which to stop and listen to the rhythms of life. Of "Famine Relief," by Marilyn Krysl, about feeding a starving girl in Calcutta, India, Campo writes, "We see laid bare in poetry the complex intersection of biological and cultural forces; in the face of the most profound physiologic deprivation, the delicious mystical sustenance of empathy abounds." Explain, please, this wonder, this / creaturous pleasure, this ruby of feeling / while I feed another being: tell me why when Hasina opens her mouth, / it's as though the world in its entirety opens, the lotus of the Buddha unfolding / its jewel. Veil of skin, draped over bone: Hasina's fourteen, so thin / she can't walk, sit up, hold a cup. Eyes a single beam / scanning for food, even when she's full. She's the mouth / of the soul. . . . Campo invites readers to take part in this therapeutic dance of words. The reader may feel an urge to recite or reread a favorite poem. He writes, "Let us pull ourselves away from validating science, and open our minds to the music of the poets themselves." Campo acknowledges that even the best iambic pentameter cannot replace important medications such as pegylated interferon for his patients with hepatitis C. But he believes that poetry serves where medicine remains notoriously inept, as in exploring and accepting death, "the greatest human drama of all." Audre Lorde, an activist for social justice who died of breast cancer in 1992, wrote in "A Song for Many Movements": Nobody wants to die on the way / caught between ghosts of whiteness / and the real water none of us wanted to leave / our bones / on the way to salvation . . . Campo uses Lorde's poem to conclude that "in poetry, that most valuable effort against the dark, we might all just live and love forever." Campo successfully weaves such threads of philosophy and psychotherapy into his reflections on patients and society. His is a gallant mission, to use poetry to "reclaim medicine as the art it truly remains" -- a healing art. Teresa L. Schraeder, M.D.
Copyright © 2003 Massachusetts Medical Society. All rights reserved. The New England Journal of Medicine is a registered trademark of the MMS.
See all Editorial Reviews
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Inside This Book Citations: This book cites 56 books Explore: Citations | Concordance | Text Stats Key Phrases - CAPs: William Carlos Williams, Native American, Edmond O'Brien, Marilyn Hacker, Puerto Rican Browse Sample Pages: Front Cover | Copyright | Table of Contents | Excerpt | Back Cover | Surprise Me! |
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Inside This Book
(learn more)
First Sentence:
One of my former students, for whom Clara seems an appropriate pseudonym, once warned me of the limitations of trying to link poetry and medicine. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
William Carlos Williams, Native American, Edmond O'Brien, Marilyn Hacker, Puerto Rican New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover | Surprise Me!
One of my former students, for whom Clara seems an appropriate pseudonym, once warned me of the limitations of trying to link poetry and medicine. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
William Carlos Williams, Native American, Edmond O'Brien, Marilyn Hacker, Puerto Rican New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover | Surprise Me!