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Waiting Is the Hardest Thing


It's a strange thing, to hang around a hospital, hooked up to an IV, when you don't actually feel bad. But there I was, on the sixth floor of the Toronto General Hospital, awaiting surgery.

I went for what I thought was a mere consultation at 1:15 on Friday. The doctor examined me and my CT scans and told me to head downstairs to be admitted. "Your orbital bone is shattered," he said. "We're going to replace it with a titanium mesh. We'll make an incision in your eyelid and work in from there." He explained that the orbital bone is almost eggshell thin and can't be repaired. (The bone is just below the eye, and holds that orb in place. Without it, one's eyeball will slowly sink down and in, presumably really screwing up one's vision.) "We'll try to get you into the operating room tonight, or tomorrow morning," he told me as I packed up my bag.

The woman at the Admissions desk was a big, friendly Jamaican immigrant, who rolled her eyes when I told her no one upstairs had given me my admission papers (she had to call up to get them faxed down to her) and who laughed out loud when she asked if I wanted to declare a religion and I replied, "Absolutely not!"

Which didn't come on Friday, nor on Saturday.

Despite my lack of glasses, I did a lot of reading, a little writing (the results of which I hope to post shortly - meaning later today), and a lot of striding down the halls with my rolling pole holding the bag of saline solution.

The Room-mate - Work on the Sense of Humour, Buddy!


I wasn't sure whether my insurance covered the cost of a semi-private room, so I opted for a bed in a ward, figuring I was only going to be in for a night in any event. As it turned out, though, I ended up in a semi-private space anyway, sharing it with a patient whose face looked a lot like Frankenstein's monster - a huge scar from ear to chin, and several more on his face.

Saturday night, we exchanged stories. "Face cancer," he said, and told me had been in the hospital for 6 weeks now.

It was about 3 in the morning and he had awoken me on his way to the bathroom we shared, stopping at the foot of my bed on his way back to his.

I told him my story, of how I had spent 30 seconds being pounded by a drunk, and then I must have blinked, because the next thing I knew, he was looming over me, fist cocked and aimed at my face.

My feet were trapped by my blankets, my left arm tied to the IV, and I close to freaked out.

Struggling to free my legs for a defensive kick at his chest, I shouted, "Fuck off!" and, happily, he did. "Sorry," he said, "sorry. I was just kidding."

Some joke. I told him I didn't think it was very funny and he went back to his bed while I calmed myself down.

Surgery At Last


After Saturday's anti-climactic waiting (I kept getting bumped by emergencies), Suday saw me bording a gurney and being wheeled down to the operating room.

I have to say that, throughout this ordeal, I have been pretty impressed with both the professionalism and the personalities of almost everyone who dealt with me. As a fer'instance, the anesthesiologists spent a good ten minutes questioning me about my medical history before admitting me to the OR itself.

Once there, I finally believed it was actually happening and found that I was, in fact, a little nervous. But - by god! - general anesthetics work fast! They hooked me up, placed the oxygen mask over my face and ... the next thing I knew, I was in another room entirely, groggy but coming back to consciousness fast.

Within an hour I was once more wandering around, waiting again. At first I felt almost ecstatic. I had a lot of energy, but not much to do with it, but wait for Laura to arrive and, by the time she did, I had fallen into a post-operative low that her arrival did little to alleviate.

I wanted to go home, but they wanted me to spend one more night for observation before letting me out.

Monday morning, after a quick examination by the surgeon, they did. And here I am. My face is still kind of numb, I'm still not allowed to blow my nose and I won't be able to get new glasses for a week or two, but the ordeal is over (or so I hope). And I think I'll be pretty again.


ed_rex: (Default)
... With A History of Violence, the notoriously weird and weirdly intense David Cronenberg has produced what may be one of the best films I've ever seen. Cronenberg has married his continuing interest in the grotesque and the violent with a clear, linear narrative thread that, for perhaps the first time since he made The Fly in 1986, is satisfying as "cinema" and as story-telling.

Thoroughly modern in its sensibility and including two of the most real sex scenes I have ever encountered on film (about which more anon), A History of Violence at the same time reminded me of such early Hollywood "gangster" films as the 1936 film, The Petrified Forest, combining action with psychology and wrapping both in an intense, compelling narrative drama.

In brief, the story concerns Viggo (yes, that Viggo) Mortensen as Tom Stall, a happily married family man, living and running a diner in a small American town. With a teenage son and a young daughter, he is not a wealthy man, but by all evidence, he is a happy one. He loves his wife and his children and appears to enjoy the life he has made for himself.

All this changes when three desperados hold up his diner at closing. Not only do they insist that Tom is actually a gangster from Philadelphia named Joey, they don't stop at robbing the place. They intend on rape and, almost certainly, murder.

And Tom Stall reveals a completely different side to himself as he takes out all three, leaving three dead bodies on the diner floor following a brief, brutal and not at all gratuitous battle. He is quickly proclaimed an American hero, his face flashed across television screens across the world - and across Philadelphia, where others too, believe they recognize the man known as Joey. It isn't long before an ominous black limousine is haunting his small town.

Beyond that, the plot follows two main themes: Is Tom Stall who he says he is and, whether or not, will he be able to deal with the vengeance meant for "Joey", and, if he survives, can he hold his family together?

For Tom Stall clearly loves his family. I mentioned that A History of Violence contains two of the best sex scenes I have ever seen on film. The first occurs early, when Tom and his wife, Edie (played by Maria Bello, an actress whose name I don't recognize, but who plays her role to perfection) manage to get an evening free of the kids.

Far from graphic, the scene nevertheless shows good sex in all its joyous, sometimes awkward, always loving splendour. Tom and Edie laugh, embrace, go down, and struggle to find the comfortable position, all while displaying the physical intensity of sex between two people who have known and loved - and still love - each other for 20 years.

The second, much later in the film, when the marriage threatens to unravel amidst the possibility that it has been build upon a foundation of lies, is brutal and intense, but still entirely real. Cronenberg shows how sex can communicate not only love, but anger and fear.

But in the sex scenes, as in the violent ones, Cronenberg shows an admirable restraint; we see only what is necessary to move the story along. There is no pornography to the violence - no lingering, loving shots of blown-off heads or balletic fight scenes - as there is no voyeuristic eroticism to the sex. Instead, we see emotions and intellect. I have seldom seen a film-maker so deftly, so subtly, follow the writer's dictum, "Show, don't tell."

Despite the theme of a man beset by evil forces, this isn't High Noon. Tom Stall's town is not one of cowards and his family stands by him without question, at least until they began to wonder if he is telling them the truth.

It is, of course, too soon to tell, but after one viewing, I have little hesitation is saying that A History of Violence is a masterpiece. Go see it; you have never seen a movie quite like it.

January 2022

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