Description
Visual Text Answer Three Questions: What is the main idea or thesis? Describe the conflict or tension How do the elements in the image support the main message?
Every Wednesday, as part of my second-year medical student
experience in Rockford, I travel north to see patients at the UIC
University Primary Care Clinic at Rockton. Early this past winter,
I was handed the chart of a new patient and I was told I was seeing
him for “stomachaches.” I closed the door to the sterile white
examination room to face a thin, pale young boy, fourteen years old
and sitting on the exam table with his knees pulled to his chest. His
head jumped as the exam door snapped briskly shut. I introduced
myself and crouched at eye-level next to him. He tightened the grip
on his knees. “What’s wrong?” Silence filled the bleach-tinged air,
and his eyes stared at me, unblinking.
“He’s not eating anything, says his stomach hurts.” The voice
came from the mother in the corner of the room. I hadn’t even
noticed her as I entered, all my attention focused immediately on the
tensed figure on the bed. “For the past two weeks, it’s been nothing
but cereal, and only a handful of that.” I listened to the mother
sketch a history of nausea, stomachaches, and absent stares. It gave
the impression of more than the typical stomachache, and I plied
ahead, waiting to finally ask the key question that slipped the knot
on this mystery and sent the bacteria or virus or swallowed garden
flower culprit plummeting into my lap. The knot refused to give.
“Where did he get the bruises?” I ventured, hoping to unearth
some bleeding disorder with a forgotten manifestation of
gastrointestinal symptoms. The mother looked at the scattered marks
around the red-head’s temples through her friendly librarian glasses,
then up at me.
“He’s very active, normally, and gets into all sorts of spots.
He comes in from the woods with new cuts and scrapes every night.
You should have seen him after the big rains, all mud and torn
jeans.” With this she looked back at the alabaster boy huddling on
the bed and smiled with the memory of his past spirit.
A professor teaching our physical diagnosis class told us we
should know 80 percent of the cases coming before us by hearing the
•
descriptive
details set the
scene and focus
on the patient
• first-person
point of view
•
dialogue
provides information
narrator
did not know
•
Narrator
introduces a
key conflict into
the plot
•
Mother uses
present and
past perfect
tenses to refer
to earlier
actions by her
son; narrator
uses past tense
to describe
mother’s
actions in the
exam room
Jeff Gremmels, “The Clinic”
history alone. This case was quickly proving itself the undesired
20 percent. I moved to the physical exam. The boy was not keen on
the concept of my examining him, and made his desires very clear as
he refused every request to look up at me or to open his clamped
mouth. I wanted to solve this puzzle and began to insist more
forcefully until finally, with his surprisingly strong mother, I
managed to pull his loose shirt over his head. Beneath that shirt lay
pale doughy skin, its spongy texture belying the taut musculature
beneath. On the surface of the skin was a continuation of the light
bruising around his temples. As the mother sat down and the boy
resumed his curled-ball posture, my eyes picked out almost one-dozen
small, red “U”s, with two small bars between the uprights like a
German umlaut. Raised and bright, more like a rash or burn than
a bruise, I hoped these would be the clues I needed to solve my
mystery of the afternoon. Further examination revealed nothing
more than a continuation of the pattern down to his ankles.
I combed my cloudy memories of past lectures for anything
reminiscent of this strange mark as I walked up the hall to find a
doctor. The search failed to exhume any diseases with ties to
Germanic vowels.
As I explained my cryptic findings to the attending physician,
I saw her eyes quickly open, contradicting my belief that she was
actually asleep. Pushing insurance papers towards me, she quickly
stated, “I’m going to look at him. I want you to have the mother fill
these out in the waiting room.” I followed her white lab coat to the
exam room and completed my assigned mission. I returned from
the waiting room—despite the mother’s distant protests of having
already completed the same forms—to find the attending physician
on the phone and admitting my patient directly to hospital care.
Twenty-five minutes later, I again sat in her office, listening to
the diagnosis. “The wheels of a lighter, a disposable lighter, leave
those two umlaut marks—nothing else looks like it. It’s almost
always abuse in his age group.” I couldn’t think of any reply, and we
spent several minutes gazing into the carpet, silent and introspective.
•
Events in
exam room
presented in
chronological
order
•
transitions
increase
suspense, then
lead to climax
of plot
I left the clinic alone and went directly to my apartment, missing
the evening lecture on “Insulin and Diabetic Control.”
Four days later, I went to the hospital to see the boy who was
once my patient. I read the psychiatrist’s chart notes slowly,
rereading the passages describing the boy’s abuse by his stepfather
and his three-year history of self-mutilation and depression. It never
entered my mind, so avid for a solution, to ask for a history of
hospitalizations or illness, and I felt the cavernous shadows of my
own missing knowledge hinting at their depth. My focus had always
been on the disease, the physiologic atrocity accosting the patient’s
unsuspecting organs and cells. This was my first glimpse into an
arena I had utterly neglected—the patient’s psyche—quietly present
in everyone and in every disease.
Entering the boy’s room, I found him asleep, an IV pole
standing sentry over his frail visage. I picked up a crumpled note
from the floor, smoothing it to reveal the young patient’s shaky
handwriting:
I wish I were a paper airplane,
Soaked in gas, shooting red flames,
burning with an orange glow, over
all the people below.
I could fall through the sky
like a comet or a meteorite.
I could become a UFO,
become someone I did not know.
Years of lectures, labs, and research could not match the
education I received in five days with this single boy.
•
More transitions
lead to
narrator’s final
understanding
of events
•
Narrator’s main
point in telling
the story
Jeff Gremmels, “The Clinic.” Reprinted by permission of the author.
