Death Of The Good Doctor

Fifty-five-year-old Dr. Harold "Fred" Shipman has a noble dedication to his profession, winning the trust of his patients with ingratiating charm and an old-school bedside manner. In fact, he even made house calls--but his unsuspecting patients has no idea of the evil that lurked behind the friendly facade of the kindly doctor... After thirty years of practice, Dr. Shipman's true nature was finally exposed--that of a calculating killer who delivered his own prescription for death. Authorities eventually unearthed the shocking possibility that the fatherly physician had killed as many as 297 people. As body after body was exhumed from the local graveyard, the question grew more disturbing. How could such a prolific killer remain undetected for so long? What motive drove this seemingly "good" doctor to his deadly obsession with murder? And just how many people did Harold Shipman kill? The search for answers would take investigators into the life of a man who forever changed the stereotype of the sweet country doctor...

DEATH OF THE GOOD DOCTOR-LESSONS FROM THE HEART OF THE AIDS EPIDEMIC A physician's memoir Kate Scannell abandoned her academic career in 1985 expecting to enter an "ordinary" medical practice in Northern California. Instead, the thirty-two-year-old physician found herself assigned to an Alameda county hospital's AIDS ward where much of the medicine she had studied over many difficult years was rendered irrelevant. Working with AIDS patients, nearly all of whom were dying, Scannell discovered the inadequacy of the "good doctor" who battles illness to keep patients alive regardless of their suffering. By embracing her patients' unique needs and stories, Scannell reached an expanded understanding of her patients and of herself as a physician.

The Good Doctor Guillotin follows five characters to a common destination—the scaffold at the first guillotining of the French Revolution: Dr. Guillotin, of course, a physician and member of the National Assembly, involved in many important events, including the Tennis Court Oath. Nicolas Pelletier, the first victim—or “patient,” as they were sometimes called, since the new beheading machine was seen as a humanitarian medical intervention in the state’s technique of dealing death. Father Pierre, the curé who accompanies Pelletier in his last days, a man torn between his religious commitment, and an equally strong commitment to the poor and their revolution. Sanson, the famous executioner of Paris who, 9 months later would execute the king and retire from remorse. Tobias Schmidt, builder of the new machine, a German piano maker working in Paris, a freethinker predicting the Terror that will follow, but allowing himself to initiate it. The revolution, after all, had reduced the sale of pianos. Various other interesting figures briefly appear: Damiens, Mozart, Mesmer, Louis XVI, the Marquis de Sade, Marat, Robespierre, Demoulins among them. The eighteenth century narrative is divided into several sections, each introduced by an essay in the author’s voice, the first on five-ness and Pentagons; a second on hope and Utopia; a third on revolutionary violence; and a fourth on capital punishment. This is no “historical novel.” It is, rather, a fictive meditation on a contemporary conundrum using an eighteenth century drum.

Set in the ghettos of wartime Warsaw, this is a sweeping, poignant, and heartbreaking novel inspired by the true story of one doctor who was determined to protect two hundred Jewish orphans from extermination. Deeply in love and about to marry, students Misha and Sophia flee a Warsaw under Nazi occupation for a chance at freedom. Forced to return to the Warsaw ghetto, they help Misha's mentor, Dr Janusz Korczak, care for the two hundred children in his orphanage. As Korczak struggles to uphold the rights of even the smallest child in the face of unimaginable conditions, he becomes a beacon of hope for the thousands who live behind the walls. As the noose tightens around the ghetto, Misha and Sophia are torn from one another, forcing them to face their worst fears alone. They can only hope to find each other again one day . . . Meanwhile, refusing to leave the children unprotected, Korczak must confront a terrible darkness.

The story of two doctors, a father and son, who practiced in very different times and the evolution of the ethics that profoundly influence health care As a practicing physician and longtime member of his hospital’s ethics committee, Dr. Barron Lerner thought he had heard it all. But in the mid-1990s, his father, an infectious diseases physician, told him a stunning story: he had physically placed his body over an end-stage patient who had stopped breathing, preventing his colleagues from performing cardiopulmonary resuscitation, even though CPR was the ethically and legally accepted thing to do. Over the next few years, the senior Dr. Lerner tried to speed the deaths of his seriously ill mother and mother-in-law to spare them further suffering. These stories angered and alarmed the younger Dr. Lerner—an internist, historian of medicine, and bioethicist—who had rejected physician-based paternalism in favor of informed consent and patient autonomy. The Good Doctor is a fascinating and moving account of how Dr. Lerner came to terms with two very different images of his father: a revered clinician, teacher, and researcher who always put his patients first, but also a physician willing to “play God,” opposing the very revolution in patients' rights that his son was studying and teaching to his own medical students. But the elder Dr. Lerner’s journals, which he had kept for decades, showed the son how the father’s outdated paternalism had grown out of a fierce devotion to patient-centered medicine, which was rapidly disappearing. And they raised questions: Are paternalistic doctors just relics, or should their expertise be used to overrule patients and families that make ill-advised choices? Does the growing use of personalized medicine—in which specific interventions may be best for specific patients—change the calculus between autonomy and paternalism? And how can we best use technologies that were invented to save lives but now too often prolong death? In an era of high-technology medicine, spiraling costs, and health-care reform, these questions could not be more relevant. As his father slowly died of Parkinson’s disease, Barron Lerner faced these questions both personally and professionally. He found himself being pulled into his dad’s medical care, even though he had criticized his father for making medical decisions for his relatives. Did playing God—at least in some situations—actually make sense? Did doctors sometimes “know best”? A timely and compelling story of one family’s engagement with medicine over the last half century, The Good Doctor is an important book for those who treat illness—and those who struggle to overcome it.

Luke presents a unique take on the life of Jesus, for he was not only a gentile but also a second-generation Christian. Luke was a product of the wider, secular world of his day. A world filled with all sorts of weird and wonderful beliefs and practices. A world like ours. A world that, like his, needs to hear anew and afresh the story of Jesus.

“A lovely, lethal, disturbing novel” of the dashed hopes of post-apartheid South Africa and the small betrayals that doom a friendship (The Guardian). An extraordinary parable of the corruption of the flesh and spirit, The Good Doctor has inspired enthusiastic interest around the world and has assured Damon Galgut’s place as a major international talent. When Laurence Waters arrives at his new post at a deserted rural hospital, staff physician Frank Eloff is instantly suspicious. Laurence is everything Frank is not—young, optimistic, and full of big ideas. The whole town is beset with new arrivals and the return of old faces. Frank reestablishes a liaison with a woman, one that will have unexpected consequences. A self-made dictator from apartheid days is rumored to be active in cross-border smuggling, and a group of soldiers has moved in to track him, led by a man from Frank’s own dark past. Laurence sees only possibilities—but in a world where the past is demanding restitution from the present, his ill-starred idealism cannot last. “Galgut’s prose, its gentle rhythms and straightforward sentences edging toward revelation, is utterly seductive and suspenseful . . . Galgut is a master of psychological tension. . . . Tragic and brilliant.” —The Globe and Mail (Toronto)