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On May 10, 2008, a tornado struck the northeastern Oklahoma town of Picher, destroying more than one hundred homes and killing six people. It was the final blow to a onetime boomtown already staggering under the weight of its history. The lead and zinc mining that had given birth to the town had also proven its undoing, earning Picher in 2006 the distinction of being the nation’s most toxic Superfund site. Recounting the town’s dissolution and documenting its remaining traces, Picher, Oklahoma tells the story of an unfolding ghost town. With shades of Picher’s past lives lingering at every intersection, memories of its proud history and sad decline inhere in the relics, artifacts, personal treasures, and broken structures abandoned in disaster’s wake. In Todd Stewart’s haunting photographs, faded snapshots and letters, well-worn garments, and books and toys give harrowing and elegiac testimony of constancy and dislocation. Empty buildings and bared foundations stand in silent witness to the homes, schools, churches, and businesses that once defined life in Picher. As these photographs and Alison Fields’s accompanying essays explore the otherworldly town teetering over massive sinkholes, they reveal how memory, embedded in everyday objects, can be dislocated and reframed through both chronic and acute instances of environmental trauma. Though hardly known outside the Three Corners Region of Oklahoma, Kansas, and Missouri, the fate of Picher echoes well beyond its borders. Picher, Oklahoma reflects the broader intersections of memory, time, material objects, and changing environments, demanding our attention even as it resists easy interpretation.

Despite the serious and often debilitating consequences of violent crime, most survivors do not receive needed services after the trauma. The most disadvantaged crime survivors, including people of color, people living in poverty, LGBTQ survivors, and non-English speakers are among those least likely to receive support services. Barriers to care include psychological distress, physical injuries, the stigma associated with being a victim, and not knowing where to turn for help. The UCSF Trauma Recovery Center (TRC) model is designed to remove these and other barriers to care. By using a trauma-informed approach to outreach, clinical case management, and evidence-based mental health treatments, the TRC model has been proven both clinically and cost-effective. Outcomes include reducing survivors’ mental and emotional distress, increasing functionality and well-being, and improving survivors’ overall quality of life. This manual is designed to be of use for new TRCs whether they are entirely new programs or are adding services to an existing program structure. It provides the framework for developing different components of the TRC model as well samples of clinical tools such as intake assessments, plans of care, and risk assessment guides. From the philosophy and structure of a TRC to the nuts-and-bolts tools needed to implement clinical services, this manual provides a comprehensive road map for engaging and serving crime survivors from underserved populations.

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Paperback. Ernest E. Moore Shock Trauma Center at Denver Health Illustrated Tips and Tricks in Trauma Surgery "Established in 1860, fittingly one of the first patients treated at the Denver General Hospital (DGH) was Dr Stone who was shot in a duel by the acting Governor Bliss. In 1967, over a century later, Ben Eiseman MD became the first academic Chief of Surgery at DGH and recruited Ernest E Moore MD as the first Chief of Trauma a decade later"-- Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.74

Despite the serious and often debilitating consequences of violent crime, most survivors do not receive needed services after the trauma. The most disadvantaged crime survivors, including people of color, people living in poverty, LGBTQ survivors, and non-English speakers are among those least likely to receive support services. Barriers to care include psychological distress, physical injuries, the stigma associated with being a victim, and not knowing where to turn for help. The UCSF Trauma Recovery Center (TRC) model is designed to remove these and other barriers to care. By using a trauma-informed approach to outreach, clinical case management, and evidence-based mental health treatments, the TRC model has been proven both clinically and cost-effective. Outcomes include reducing survivors’ mental and emotional distress, increasing functionality and well-being, and improving survivors’ overall quality of life. This manual is designed to be of use for new TRCs whether they are entirely new programs or are adding services to an existing program structure. It provides the framework for developing different components of the TRC model as well samples of clinical tools such as intake assessments, plans of care, and risk assessment guides. From the philosophy and structure of a TRC to the nuts-and-bolts tools needed to implement clinical services, this manual provides a comprehensive road map for engaging and serving crime survivors from underserved populations.

Defying comprehension, the tragic history of the Holocaust has been alternately repressed and canonized in postmodern Western culture. Recently our interpretation of the Holocaust has been the center of bitter controversies, from debates over Paul de Man's collaborationist journalism and Martin Heidegger’s Nazi past to attempts by some historians to downplay the Holocaust’s significance. A major voice in current historiographical discussions, Dominick LaCapra brings a new clarity to these issues as he examines the intersections between historical events and the theory through which we struggle to understand them.In a series of essays―three published here for the first time―LaCapra explores the problems faced by historians, critics, and thinkers who attempt to grasp the Holocaust. He considers the role of canon formation and the dynamic of revisionist historiography, as well as critically analyzing responses to the discovery of de Man’s wartime writings. He also discusses Heidegger’s involvement with National Socialism, and he sheds light on postmodernist obsessions with such concepts as loss, agora, dispossession, deferred meaning, and the sublime. Throughout, LaCapra demonstrates that psychoanalysis is not merely a psychology of the individual but that its concepts have sociocultural dimensions and can help us perceive the relationship between the present and the past. Many of our efforts to comprehend the Holocaust, he shows, continue to suffer from the traumatizing effects of its events and require a "working through" of that trauma if we are to gain a more profound understanding of the meaning of the Holocaust.

After forty-one years of emergency services, the former flight nurse / paramedic recalls some of the most challenging, heartbreaking, and simply hilarious stories from a career working on an air medical helicopter out of a Northern California trauma center. Always described as "a great storyteller," the author writes these stories in the same great storytelling fashion, recalling the smallest detail and challenge of each scenario. Never knowing what that challenge is going to be in the next five minutes, laughing with friends, to crying in the corner of the room, follow him on his adventures of triumphs to tragedies.

In this imaginative new work, Adam Lowenstein explores the ways in which a group of groundbreaking horror films engaged the haunting social conflicts left in the wake of World War II, Hiroshima, and the Vietnam War. Lowenstein centers Shocking Representation around readings of films by Georges Franju, Michael Powell, Shindo Kaneto, Wes Craven, and David Cronenberg. He shows that through allegorical representations these directors' films confronted and challenged comforting historical narratives and notions of national identity intended to soothe public anxieties in the aftermath of national traumas.Borrowing elements from art cinema and the horror genre, these directors disrupted the boundaries between high and low cinema. Lowenstein contrasts their works, often dismissed by contemporary critics, with the films of acclaimed "New Wave" directors in France, England, Japan, and the United States. He argues that these "New Wave" films, which were embraced as both art and national cinema, often upheld conventional ideas of nation, history, gender, and class questioned by the horror films. By fusing film studies with the emerging field of trauma studies, and drawing on the work of Walter Benjamin, Adam Lowenstein offers a bold reassessment of the modern horror film and the idea of national cinema.

In this imaginative new work, Adam Lowenstein explores the ways in which a group of groundbreaking horror films engaged the haunting social conflicts left in the wake of World War II, Hiroshima, and the Vietnam War. Lowenstein centers Shocking Representation around readings of films by Georges Franju, Michael Powell, Shindo Kaneto, Wes Craven, and David Cronenberg. He shows that through allegorical representations these directors' films confronted and challenged comforting historical narratives and notions of national identity intended to soothe public anxieties in the aftermath of national traumas.Borrowing elements from art cinema and the horror genre, these directors disrupted the boundaries between high and low cinema. Lowenstein contrasts their works, often dismissed by contemporary critics, with the films of acclaimed "New Wave" directors in France, England, Japan, and the United States. He argues that these "New Wave" films, which were embraced as both art and national cinema, often upheld conventional ideas of nation, history, gender, and class questioned by the horror films. By fusing film studies with the emerging field of trauma studies, and drawing on the work of Walter Benjamin, Adam Lowenstein offers a bold reassessment of the modern horror film and the idea of national cinema.

 A world-recognized authority and acclaimed mind-body medicine pioneer presents the first evidence-based program to reverse the psychological and biological damage caused by trauma.In his role as the founder and executive director of The Center for Mind-Body Medicine (CMBM), Dr. Gordon has created and implemented what may well be the world’s largest and most effective program for healing population-wide psychological trauma. He and 130 international faculty have brought this program to populations as diverse as refugees from wars in the Balkans, the Middle East, and Africa; firefighters and U.S. military personnel and their families; student/parent/teacher school shooting survivors; and Native American children – as well as stressed out professionals, stay-at-home mothers, inner-city children, and people struggling with mental and physical disorders and end of life challenges.   Dr. Gordon’s work is grounded in scientific evidence and timeless wisdom. Through his decades of first-hand experience, he understands that trauma will come to all of us sooner or later. That each of us has the capacity to understand and heal ourselves. And that the heartbreaking devastation that trauma causes can also open our hearts and minds to deeper understanding, enhanced meaning and purpose, and greater love. In the compassionate, compelling pages of The Transformation, he invites us on a step-by-step, evidence-based journey to heal the psychological and biological damage that trauma brings and to become the people whom we are meant to be.

The somatosensory system is a diverse sensory system comprising the receptors and processing centers to produce the sensory modalities such as touch, temperature, proprioception (body position), and nociception (pain). This book gives an overview of the methodology for investigation of pain in neuroimaging studies and the relevant structures of the lateral pain system. Furthermore, classic studies understand the body map representation in primary somatosensory cortex (SI) as fix and reflecting the physical location of peripheral stimulation in the form of the famous somatosensory homunculus. This book reports the results of recent studies that challenge this view and suggest a more complex role of SI. Also dealt with in this book is the current state and perspective of neurotechnology, particular the use of brain computer interfaces (BCI) and neurostimulation in the rehabilitation of stroke. Future developments and prospects such as the combination of BCI systems with non-invasive form of neurostimulation and functional electric stimulation (FES) is examined as well. Other chapters include a review of research done in the primary somatosensory cortex implicated in the pathogenesis of absence epilepsy, an analysis of the development of noninvasive neuroimaging techniques that have enabled the study of S1 more widely, and an electrophysiological investigation of central neuronal responses evoked by CO2 laser pulses to study evoked responses and thermal pain sensation.

Three art therapists have collaborated to produce this unique workbook. Designed especially for trauma survivors, Managing Traumatic Stress Through Art introduces inventive ways to understand, manage, and transform the aftereffects of trauma. This dynamic workbook consists of carefully structured step-by-step art projects, augmented by tearout images, and writing experiences. The book's first section, Developing Basic Tools For Managing Stress, is devoted to establishing a safe framework for trauma resolution. The second section, Acknowledging and Regulating Your Emotions, helps the trauma survivor to make sense of overwhelming emotional experiences. The final section, Being and Functioning in the World, focuses on self and relational development, leading into the future. Managing Traumatic Stress Through Art will inspire survivors to explore the aftermath of traumatic stress as it affects self-image, relationships with others, and functioning in the world. The 26 projects in this book encourage creative growth and help to establish a sense of personal safety, while exploring and honoring feelings of anger, fear, shame, and sadness. The art experiences are broad enough to be of value to survivors of a wide variety of traumatic experiences, ranging from childhood abuse to accidents to disabling mental illness. This workbook offers an opportunity to everyone, regardless of previous experience or artistic talent, to manage symptoms of traumatic stress in a creative, life-affirming way.

M*A*S*H meets Scrubs in a sharply observant, darkly funny, and totally unique debut memoir from physical therapist Adele Levine. In her six years at Walter Reed Army Medical Center, Adele Levine rehabilitated soldiers admitted in worse and worse shape. As body armor and advanced trauma care helped save the lives—if not the limbs—of American soldiers fighting in Afghanistan and Iraq, Walter Reed quickly became the world leader in amputee rehabilitation. But no matter the injury, physical therapy began the moment the soldiers emerged from surgery. Days at Walter Reed were intense, chaotic, consuming, and heartbreaking, but they were also filled with camaraderie and humor. Working in a glassed-in fishbowl gymnasium, Levine, her colleagues, and their combat-injured patients were on display at every moment to tour groups, politicians, and celebrities. Some would shudder openly at the sight—but inside the glass and out of earshot, the PTs and the patients cracked jokes, played pranks, and compared stumps. With dazzling storytelling, Run, Don’t Walk introduces a motley array of oddball characters including:  Jim, a retired lieutenant-colonel who stays up late at night baking cake after cake, and the militant dietitian who is always after him; a surgeon who only speaks in farm analogies; a therapy dog gone rogue; —and Levine’s toughest patient, the wild, defiant Cosmo, who comes in with one leg amputated and his other leg shattered. Entertaining, engrossing, and ultimately inspiring, Run, Don’t Walk is a fascinating look into a hidden world.

M*A*S*H meets Scrubs in a sharply observant, darkly funny, and totally unique debut memoir from physical therapist Adele Levine. In her six years at Walter Reed Army Medical Center, Adele Levine rehabilitated soldiers admitted in worse and worse shape. As body armor and advanced trauma care helped save the lives—if not the limbs—of American soldiers fighting in Afghanistan and Iraq, Walter Reed quickly became the world leader in amputee rehabilitation. But no matter the injury, physical therapy began the moment the soldiers emerged from surgery. Days at Walter Reed were intense, chaotic, consuming, and heartbreaking, but they were also filled with camaraderie and humor. Working in a glassed-in fishbowl gymnasium, Levine, her colleagues, and their combat-injured patients were on display at every moment to tour groups, politicians, and celebrities. Some would shudder openly at the sight—but inside the glass and out of earshot, the PTs and the patients cracked jokes, played pranks, and compared stumps. With dazzling storytelling, Run, Don’t Walk introduces a motley array of oddball characters including:  Jim, a retired lieutenant-colonel who stays up late at night baking cake after cake, and the militant dietitian who is always after him; a surgeon who only speaks in farm analogies; a therapy dog gone rogue; —and Levine’s toughest patient, the wild, defiant Cosmo, who comes in with one leg amputated and his other leg shattered. Entertaining, engrossing, and ultimately inspiring, Run, Don’t Walk is a fascinating look into a hidden world.

A tense, edge-of-your-seat thriller, Trauma centers on two fathers, Dan (John Simm, Doctor Who, Life on Mars) and Jon (Adrian Lester, Girlfriends, Undercover), whose very different lives collide when Dan's teenage son tragically dies under the care of trauma consultant Jon in a Central London hospital. Devastated and heartbroken, Dan, a working class father struggling to make ends meet, believes Jon is responsible for his son's death and, as he strives for justice, Dan begins to unpick the fabri

Doctor Reagan Rosner loves her fast-paced life of practicing medicine in New York City's busiest trauma center. Kind and confident, she's taking her profession by storm--until a young girl's accidental death leaves her shaken to her core. With her life a mess and her future uncertain, Reagan accepts a position as Head Physician for The Appalachia Project, an outreach program working with some of America's poorest citizens. Shane Harper, Ethan Cooke Security's newest team member, has been assigned a three-month stint deep in the mountains of Eastern Kentucky, and he's not too happy about it. Guarding a pill safe in the middle of nowhere is boring as hell, but when he gets a look at his new roommate, the gorgeous Doctor Rosner, things start looking up. Shane and Reagan encounter more than a few mishaps as they struggle to gain the trust of a reluctant community. They're just starting to make headway when a man's routine checkup exposes troubling secrets the town will do anything to keep hidden--even if that means murder.*NOTE: While reading the series in order is recommended, it is not necessary. Each story is a stand alone title featuring new primary characters with limited overlapping secondary characters.*

A reevaluation of Édouard Glissant that centers on the catastrophe of the Middle Passage and creates deep, original theories of trauma and Caribbeanness  While philosophy has undertaken the work of accounting for Europe’s traumatic history, the field has not shown the same attention to the catastrophe known as the Middle Passage. It is a history that requires its own ideas that emerge organically from the societies that experienced the Middle Passage and its consequences firsthand. Glissant and the Middle Passage offers a new, important approach to this neglected calamity by examining the thought of Édouard Glissant, particularly his development of Caribbeanness as a critical concept rooted in the experience of the slave trade and its aftermath in colonialism.In dialogue with key theorists of catastrophe and trauma—including Aimé Césaire, Frantz Fanon, George Lamming, Gilles Deleuze, Félix Guattari, Derek Walcott, as well as key figures in Holocaust studies—Glissant and the Middle Passage hones a sharp sense of the specifically Caribbean varieties of loss, developing them into a transformative philosophical idea. Using the Plantation as a critical concept, John E. Drabinski creolizes notions of rhizome and nomad, examining what kinds of aesthetics grow from these roots and offering reconsiderations of what constitutes intellectual work and cultural production.Glissant and the Middle Passage establishes Glissant’s proper place as a key theorist of ruin, catastrophe, abyss, and memory. Identifying his insistence on memories and histories tied to place as the crucial geography at the heart of his work, this book imparts an innovative new response to the specific historical experiences of the Middle Passage.

A reevaluation of Édouard Glissant that centers on the catastrophe of the Middle Passage and creates deep, original theories of trauma and Caribbeanness  While philosophy has undertaken the work of accounting for Europe’s traumatic history, the field has not shown the same attention to the catastrophe known as the Middle Passage. It is a history that requires its own ideas that emerge organically from the societies that experienced the Middle Passage and its consequences firsthand. Glissant and the Middle Passage offers a new, important approach to this neglected calamity by examining the thought of Édouard Glissant, particularly his development of Caribbeanness as a critical concept rooted in the experience of the slave trade and its aftermath in colonialism.In dialogue with key theorists of catastrophe and trauma—including Aimé Césaire, Frantz Fanon, George Lamming, Gilles Deleuze, Félix Guattari, Derek Walcott, as well as key figures in Holocaust studies—Glissant and the Middle Passage hones a sharp sense of the specifically Caribbean varieties of loss, developing them into a transformative philosophical idea. Using the Plantation as a critical concept, John E. Drabinski creolizes notions of rhizome and nomad, examining what kinds of aesthetics grow from these roots and offering reconsiderations of what constitutes intellectual work and cultural production.Glissant and the Middle Passage establishes Glissant’s proper place as a key theorist of ruin, catastrophe, abyss, and memory. Identifying his insistence on memories and histories tied to place as the crucial geography at the heart of his work, this book imparts an innovative new response to the specific historical experiences of the Middle Passage.