Midwives Day Quotes

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I remember the days of my youth when everything was new and bright; when the mind was always questing, searching, absorbing; when the pain of love was so acute it could suffocate. And the days when joy was delirious.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
Everything about [chance] scares the bejesus out of so many people; it's the this thing they try to avoid at all costs. Don't travel to the Middle East these days - there's a chance something could happen. Don't get involved with that new fellow on Creamery Street - I hear a lot of mud was scraped off his floor after the divorce. Don't have your baby at home - there's a a chance something could go wrong. Don't don't don't... Well, you can't live your life like that! You can't spend your entire life avoiding chance. It's out there, it's inescapable, it's a part of the soul of the world. There are no sure things in this universe, and it's absolutely ridiculous to try and live like there are!
Chris Bohjalian (Midwives)
Good midwifery is a combination of art, science, experience, and instinct.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
Rafe hadn't sworn in front of a lady since he was fifteen and said something unacceptable in his mother's hearing. Though he'd been twice her size already, she grabbed him by his hair queue and dragged him to her boudoir, where she proceeded to wash his mouth out with lavendar soap. He had been vilely sick, to this day couldn't bear the scent of lavendar, anhd watched his tongue around females of all ages and social rank.
Laurie Alice Eakes (Heart's Safe Passage (The Midwives, #2))
There is something in the eyes of a woman who has lost a child that sets her apart from others. The grief and pain never go away.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
You have to imagine what it was like to be on the receiving end of vicious antagonism: sneering, contempt, ridicule, slights about one’s intelligence, integrity and motives. In those days, women even ran the risk of dismissal for their opinions. And this treatment came from other women, as well as men. In fact, “in-fighting” between various schools of nurses who had some sort of training in midwifery was particularly nasty. One eminent lady – the matron of St Bartholomew’s Hospital – branded the aspiring midwives as “anachronisms, who would in the future be regarded as historical curiosities”. The medical opposition seems to have arisen mainly from the fact that “women are striving to interfere too much in every department of life”.* Obstetricians also doubted the female intellectual capacity to grasp the anatomy and physiology of childbirth, and suggested that they could not therefore be trained. But the root fear was – guess what? – you’ve got it, but no prizes for quickness: money. Most doctors charged a routine one guinea for a delivery. The word got around that trained midwives would undercut them by delivering babies for half a guinea! The knives were out.
Jennifer Worth (Call the Midwife: A Memoir of Birth, Joy, and Hard Times (The Midwife Trilogy #1))
Menopause had finally terminated her fantastically involved and complex relationship with her womb: a legendary saga of irregular bleeding, eleven-month pregnancies straight out of the Royal Society proceedings, terrifying primal omens, miscarriages, heartbreaking epochs of barrenness punctuated by phases of such explosive fertility that Uncle Thomas had been afraid to come near her—disturbing asymmetries, prolapses, relapses, and just plain lapses, hellish cramping fits, mysterious interactions with the Moon and other cœlestial phenomena, shocking imbalances of all four of the humours known to Medicine plus a few known only to Mayflower, seismic rumblings audible from adjoining rooms—cancers reabsorbed—(incredibly) three successful pregnancies culminating in four-day labors that snapped stout bedframes like kindling, vibrated pictures off walls, and sent queues of vicars, mid-wives, physicians, and family members down into their own beds, ruined with exhaustion.
Neal Stephenson (The Baroque Cycle: Quicksilver, The Confusion, and The System of the World)
It is now time to face the fact that English is a crazy language — the most loopy and wiggy of all tongues. In what other language do people drive in a parkway and park in a driveway? In what other language do people play at a recital and recite at a play? Why does night fall but never break and day break but never fall? Why is it that when we transport something by car, it’s called a shipment, but when we transport something by ship, it’s called cargo? Why does a man get a hernia and a woman a hysterectomy? Why do we pack suits in a garment bag and garments in a suitcase? Why do privates eat in the general mess and generals eat in the private mess? Why do we call it newsprint when it contains no printing but when we put print on it, we call it a newspaper? Why are people who ride motorcycles called bikers and people who ride bikes called cyclists? Why — in our crazy language — can your nose run and your feet smell?Language is like the air we breathe. It’s invisible, inescapable, indispensable, and we take it for granted. But, when we take the time to step back and listen to the sounds that escape from the holes in people’s faces and to explore the paradoxes and vagaries of English, we find that hot dogs can be cold, darkrooms can be lit, homework can be done in school, nightmares can take place in broad daylight while morning sickness and daydreaming can take place at night, tomboys are girls and midwives can be men, hours — especially happy hours and rush hours — often last longer than sixty minutes, quicksand works very slowly, boxing rings are square, silverware and glasses can be made of plastic and tablecloths of paper, most telephones are dialed by being punched (or pushed?), and most bathrooms don’t have any baths in them. In fact, a dog can go to the bathroom under a tree —no bath, no room; it’s still going to the bathroom. And doesn’t it seem a little bizarre that we go to the bathroom in order to go to the bathroom? Why is it that a woman can man a station but a man can’t woman one, that a man can father a movement but a woman can’t mother one, and that a king rules a kingdom but a queen doesn’t rule a queendom? How did all those Renaissance men reproduce when there don’t seem to have been any Renaissance women? Sometimes you have to believe that all English speakers should be committed to an asylum for the verbally insane: In what other language do they call the third hand on the clock the second hand? Why do they call them apartments when they’re all together? Why do we call them buildings, when they’re already built? Why it is called a TV set when you get only one? Why is phonetic not spelled phonetically? Why is it so hard to remember how to spell mnemonic? Why doesn’t onomatopoeia sound like what it is? Why is the word abbreviation so long? Why is diminutive so undiminutive? Why does the word monosyllabic consist of five syllables? Why is there no synonym for synonym or thesaurus? And why, pray tell, does lisp have an s in it? If adults commit adultery, do infants commit infantry? If olive oil is made from olives, what do they make baby oil from? If a vegetarian eats vegetables, what does a humanitarian consume? If pro and con are opposites, is congress the opposite of progress? ...
Richard Lederer
The words and ways this requires are…potent. They come at a price—power always does. This isn’t a matter of wrong or right, you understand, but merely the working of the world. If you want strength, if you want to survive, there must be sacrifice.” That’s not what Mags taught them. You can tell the wickedness of a witch by the wickedness of her ways. “So who paid your price?” He bends his neck to look directly at her, weighing something. “A fever spread through my parents’ village that first winter.” The word fever rings in Juniper’s ears, a distant bell toiling. “It was nothing too remarkable, except the midwives and wise women couldn’t cure it. One of them came sniffing around, made certain deductions…I took her shadow, too. And the sickness spread further. The villagers grew unruly. Hysterical. I did what I had to do in order to protect myself.” That line has smoothed-over feel, like a polished pebble, as if he’s said it many times to himself. “But then of course the fever spread even further… I didn’t know how to control it, yet. Which kinda of people were expendable and which weren’t. I’m more careful these days.” The ringing in Juniper’s ears is louder now, deafening. An uncanny illness, the Three had called it. Juniper remembers the illustrations in Miss Hurston’s moldy schoolbooks, showing abandoned villages and overfull graveyards, carts piled high with bloated bodies. Was that Gideon’s price? Had the entire world paid for the sins of one broken, bitter boy? And—were they paying again? I’m more careful these days. Juniper thinks of Eve’s labored breathing, the endless rows of cots at Charity Hospital, the fever that raged through the city’s tenements and row houses and dim alleys, preying on the poor and brown and foreign—the expendable. Oh, you bastard. But Hill doesn’t seem to hear the hitch in her breathing. “People grew frightened, angry. They marched on my village with torches, looking for a villain. So I gave them one.” Hill lifts both hands, palm up: What would you have of me? “I told them a story about an old witch woman who lived in a hut in the roots of an old oak. I told them she spoke with devils and brewed pestilence and death in her cauldron. They believed me.” His voice is perfectly dispassionate, neither guilty nor grieving. “They burned her books and then her. When they left my village I left with them, riding at their head.” So: the young George of Hyll had broken the world, then pointed his finger at his fellow witches like a little boy caught making a mess. He had survived, at any cost, at every cost. Oh, you absolute damn bastard.
Alix E. Harrow (The Once and Future Witches)
The history of the land is a history of blood. In this history, someone wins and someone loses. There are patriots and enemies. Folk heroes who save the day. Vanquished foes who had it coming. It’s all in the telling. The conquered have no voice. Ask the thirty-eight Santee Sioux singing the death song with the nooses around their necks, the treaty signed fair and square, then nullified with a snap of the rope. Ask the slave women forced to bear their masters’ children, to raise and love them and see them sold. Ask the miners slaughtered by the militia in Ludlow. Names are erased. The conqueror tells the story. The colonizer writes the history, winning twice: A theft of land. A theft of witness. Oh, but let’s not speak of such things! Look: Here is an eagle whipping above the vast grasslands where the buffalo once thundered bold as gods. (The buffalo are here among the dead. So many buffalo.) There is the Declaration in sepia. (Signed by slave owners. Shhh, hush up about that, now!) See how the sun shines down upon the homesteaders’ wagons racing toward a precious claim in the nation’s future, the pursuit of happiness pursued without rest, destiny made manifest? (Never mind about those same homesteaders eating the flesh of neighbors. Winters are harsh in this country. Pack a snack.) The history is a hungry history. Its mouth opens wide to consume. It must be fed. Bring me what you would forget, it cries, and I will swallow it whole and pull out the bones bleached of truth upon which you will hang the myths of yourselves. Feed me your pain and I will give you dreams and denial, a balm in Gilead. The land remembers everything, though. It knows the steps of this nation’s ballet of violence and forgetting. The land receives our dead, and the dead sing softly the song of us: blood. Blood on the plains. In the rivers. On the trees where the ropes swing. Blood on the leaves. Blood under the flowers of Gettysburg, of Antioch. Blood on the auction blocks. Blood of the Lenape, the Cherokee, the Cheyenne. Blood of the Alamo. Blood of the Chinese railroad workers. Blood of the midwives hung for witchcraft, for the crime of being women who bleed. Blood of the immigrants fleeing the hopeless, running toward the open arms of the nation’s seductive hope, its greatest export. Blood of the first removed to make way for the cities, the factories, the people and their unbridled dreams: The chugging of the railways. The tapping of the telegram. The humming of industry. Sound burbling along telephone wires. Printing presses whirring with the day’s news. And the next day’s. And the day after that’s. Endless cycles of information. Cities brimming with ambitions used and discarded. The dead hold what the people throw away. The stories sink the tendrils of their hope and sorrow down into the graves and coil around the dead buried there, deep in its womb. All passes away, the dead whisper. Except for us. We, the eternal. Always here. Always listening. Always seeing. One nation, under the earth. E Pluribus unum mortuis. Oh, how we wish we could reach you! You dreamers and schemers! Oh, you children of optimism! You pioneers! You stars and stripes, forever! Sometimes, the dreamers wake as if they have heard. They take to the streets. They pick up the plow, the pen, the banner, the promise. They reach out to neighbors. They reach out to strangers. Backs stooped from a hard day’s labor, two men, one black, one white, share water from a well. They are thirsty and, in this one moment, thirst and work make them brothers. They drink of shared trust, that all men are created equal. They wipe their brows and smile up at a faithful sun.
Libba Bray
Wanasayansi wana uwezo wa kupeleleza hadi kipindi cha karne ya kwanza ambapo Yesu aliishi, alikufa, alifufuka na alipaa kwenda mbinguni, na wana uwezo wa kujua mambo mengi kwa hakika yaliyofanyika katika kipindi hicho na hata katika kipindi cha kabla ya hapo. Kuna miujiza ambayo Yesu aliifanya ambayo haiko ndani ya Biblia. Kwa mfano, Biblia inasema Yesu alizaliwa ndani ya zizi la ng’ombe wakati sayansi inasema alizaliwa nje ya zizi la ng’ombe; na muujiza wa kwanza kuufanya ambao hauko ndani ya Biblia ni kutembea mara tu baada ya kuzaliwa, na watu na ndege wa angani kuganda kabla ya kuzaliwa Masihi na kabla ya wakunga kufika kumsaidia Maria Magdalena kujifungua. Akiwa na umri wa miaka sita, sayansi inasema, Yesu alikuwa akicheza na mtoto mwenzake juu ya paa la nyumba ya jirani na mara Yesu akamsukuma mwenzake kutoka juu hadi chini na mwenzake huyo akafariki papo hapo. Watu walipomsonga sana Yesu kwa kumtuhumu kuwa yeye ndiye aliyesababisha kifo cha mwenzake, na kwamba wangemfungulia mashtaka, Yesu alikataa katakata kuhusika na kifo hicho. Lakini walipozidi kumsonga, aliusogelea mwili wa rafiki yake kisha akamwita na kumwambia asimame. Yule mtoto alisimama! Huo ukawa muujiza mkubwa wa kwanza wa Yesu Kristo, kufufua mtu nje ya maandiko matakatifu. Kuna mifano mingi inayodhihirisha uwepo wa Mungu ambayo wanasayansi hawawezi hata kuipatia majibu. Tukio la Yoshua kusimamisha jua limewashangaza wanasayansi hadi nyakati za leo. Mwanzoni mwa miaka ya 70 wanasayansi walijaribu kurudisha muda nyuma kwa kompyuta kuona kama kweli wangekuta takribani siku moja imepotea kama ilivyorekodiwa katika Biblia. Cha kushangaza, cha kushangaza mno, walikuta saa 23 na dakika 20 zimepotea katika mazingira ambayo hawakuweza na hawataweza kuyaelewa. Walipochunguza vizuri walikuta ni kipindi cha miaka ya 1500 KK (Jumanne tarehe 22 Julai) ambacho ndicho tukio la Yoshua la kusimamisha jua na kusogeza mwezi nyuma digrii 10, ambazo ni sawa na mzunguko wa dakika 40, lilipotokea. Kwa kutumia elimu ya wendo, elimu ya kupanga miaka na matukio ya Kibiblia, dunia iliumbwa Jumapili tarehe 22 Septemba mwaka 4000 KK. Hata hivyo, mahesabu ya kalenda yanaonyesha kuwa Septemba 22 ilikuwa Jumatatu (si Jumapili) na kwamba kosa hilo labda lilisababishwa na siku ya Yoshua iliyopotea. Hayo yote ni kwa mujibu wa Profesa C. A. Totten, wa Chuo Kikuu cha Yale, katika kitabu chake cha ‘Joshua’s Long Day and the Dial of Ahaz: A Scientific Vindication and a Midnight Cry’ kilichochapishwa mwaka 1890. Kama hakuna Mungu iliwezekanaje Yoshua aombe jua lisimame na jua likasimama kweli? Iliwezekanaje Yesu aseme atakufa, atafufuka na atapaa kwenda mbinguni na kweli ikatokea kama alivyosema? Ndani ya Biblia kuna tabiri 333 zilizotabiri maisha yote ya Yesu Kristo hapa duniani na zote zilitimia – bila kupungua hata moja. Utasemaje hapo hakuna Mungu? Mungu yupo, naamini, sijui. Tukio la Yesu kufa, kufufuka na kupaa kwenda mbinguni si la vitabu vitakatifu pekee, hata sayansi inakubaliana na hilo.
Enock Maregesi
Ma la vita è fatta di gioia e miseria in uguali proporzioni ed è una verità che dobbiamo accettare.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
Sì, c'è qualcosa negli occhi di una donna che ha perso il proprio figlio che la rende diversa da tutti gli altri. Il dolore e la sofferenza non l'abbandonano più.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
jaw-sickness – a disease which attacked children only, in the first few days of their existence. Their jaws were closed to such an extent that it was impossible to open them and to get anything down, with the result that they died of hunger. It was not a natural disease and never attacked children delivered by white women. The Negro midwives alone could cause it, and it is believed that they performed some simple operation on the newly born child which resulted in the jaw-sickness. Whatever the method this disease caused the death of nearly one-third of the children born on the plantations.
Anonymous
Wiv difficulty 'an injinuity. Jest bein' smart, like.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
One evening Steve and I didn’t feel like cooking, and we had ordered a pizza. I noticed that I was a bit leaky, but when you are enormously pregnant, all kinds of weird things happen with your body. I didn’t pay any particular attention. The next day I called the hospital. “You should come right in,” the nurse told me over the phone. Steve was fairly nearby, on the Gold Coast south of Brisbane, filming bull sharks. I won’t bother him, I thought. I’ll just go in for a quick checkup. “If everything checks out okay,” I told them at the hospital, “I’ll just head back.” The nurse looked to see if I was serious. She laughed. “You’re not going anywhere,” she said. “You’re having a baby.” I called Steve. He came up from the Gold Coast as quickly as he could, after losing his car keys, not remembering where he parked, and forgetting which way home was in his excitement. When he arrived at the hospital, I saw that he had brought the whole camera crew with him. John was just as flustered as anyone but suggested we film the event. “It’s okay with me,” Steve said. I was in no mood to argue. I didn’t care if a spaceship landed on the hospital. Each contraction took every bit of my attention. When they finally wheeled me into the delivery room at about eight o’clock that night, I was so tired I didn’t know how I could go on. Steve proved to be a great coach. He encouraged me as though it were a footy game. “You can do it, babe,” he yelled. “Come on, push!” At 9:46 p.m., a little head appeared. Steve was beside himself with excitement. I was in a fog, but I clearly remember the joy on his face. He helped turn and lift the baby out. I heard both Steve and doctor announce simultaneously, “It’s a girl.” Six pounds and two ounces of little baby girl. She was early but she was fine. All pink and perfect. Steve cut the umbilical cord and cradled her, gazing down at his newborn daughter. “Look, she’s our little Bindi.” She was named after a crocodile at the zoo, and it also fit that the word “bindi” was Aboriginal for “young girl.” Here was our own young girl, our little Bindi. I smiled up at Steve. “Bindi Sue,” I said, after his beloved dog, Sui. Steve gently handed her to me. We both looked down at her in utter amazement. He suddenly scooped her up in the towels and blankets and bolted off. “I’ve got a baby girl!” he yelled, as he headed down the hall. The doctor and midwives were still attending to me. After a while, one of the midwives said nervously, “So, is he coming back?” I just laughed. I knew what Steve was doing. He was showing off his beautiful baby girl to the whole maternity ward, even though each and every new parent had their own bundle of joy. Steve was such a proud parent. He came back and laid Bindi beside me. I said, “I couldn’t have done it if you hadn’t been here.” “Yes, you could have.” “No, I really needed you here.” Once again, I had that overwhelming feeling that as long as we were together, everything would be safe and wonderful. I watched Bindi as she stared intently at her daddy with dark, piercing eyes. He gazed back at her and smiled, tears rolling down his cheeks, with such great love for his new daughter. The world had a brand-new wildlife warrior.
Terri Irwin (Steve & Me)
Nel nostro mestiere ci capita spesso di conoscere le persone nei momenti più ntimi e drammatici delle loro vite. Ma poi, come le navi che passano di notte, scompaiono all'orizzonte e non le vediamo più.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
«Sembra tutto così diverso se lo si guarda da prospettive differenti, non è vero? Vediamo le cose in un certo modo e ci sembra corretto. Ma basta spostare appena l'incidenza della luce...», spostò leggermente il cucchiaio, «e di colpo le vediamo completamente diverse. [...]»
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
Il mestiere di levatrice è una combinazione di arte, scienza, esperienza e istinto.
Jennifer Worth (Farewell to the East End: The Last Days of the East End Midwives (Midwife Trilogy #3))
Since the awful day King Jupiter fell and the Great Wood was lost to tyranny, our world has been wounded to its heart. No greater peril has existed for us since Whitson Mariner’s trekkers first came to this place. There are secret citadels, though only a few, which have kept alive a hope of invading and retaking the Great Wood. I wish them well, and part of my sewing and mending goes to support them. But there’s another kind of mending that must be done. This place is full of farmers, artists, carpenters, midwives, cooks, poets, healers, singers, smiths, weavers— workers of all kinds. We’re all doing our part.” “But what good will all that do?” Heather asked. “Shouldn’t everyone fight for the Great Wood—for King Jupiter’s cause?” “Sure we should,” Mrs. Weaver said. “In a sense. Some must bear arms and
S.D. Smith (The Green Ember (The Green Ember #1))
No one was more agitated at what he called “the characteristic imbecility of a council of war” than Lieutenant Colonel Hamilton, who had served as notetaker during the dim-lit conference. The generals collectively resembled a “society of midwives,
Rick Atkinson (The Fate of the Day: The War for America, Fort Ticonderoga to Charleston, 1777-1780)
Midwifery was not illegal in the state of Idaho, but it had not yet been sanctioned. If a delivery went wrong, a midwife might face charges for practicing medicine without a license; if things went very wrong, she could face criminal charges for manslaughter, even prison time. Few women would take such a risk, so midwives were scarce: on the day Judy left for Wyoming, Mother became the only midwife for a hundred miles.
Tara Westover (Educated)