Theme Hospital Quotes

A library in the middle of a community is a cross between an emergency exit, a life-raft and a festival. They are cathedrals of the mind; hospitals of the soul; theme parks of the imagination. On a cold rainy island, they are the only sheltered public spaces where you are not a consumer, but a citizen instead

A library in the middle of a community is a cross between an emergency exit, a life raft and a festival. They are cathedrals of the mind; hospitals of the soul; theme parks of the imagination.

A library in the middle of a community is a cross between an emergency exit, a life raft and a festival. They are cathedrals of the mind; hospitals of the soul; theme parks of the imagination.

We have imagined that a white hospital train with a white Diesel engine has taken you through many a tunnel to a mountainous country by the sea. You are getting well there. But you cannot write because your fingers are so very weak. Moonbeams cannot hold even a white pencil. The picture is pretty, but how long can it stay on the screen? We expect the next slide, but the magic-lantern man has none left. Shall we let the theme of a long separation expand till it breaks into tears? Shall we say (daintily handling the disinfected white symbols) that the train is Death and the nursing home Paradise? Or shall we leave the picture to fade by itself, to mingle with other fading impressions? But we want to write letters to you even if you cannot answer. Shall we suffer the slow wobbly scrawl (we can manage our name and two or three words of greeting) to work its conscientious and unnecessary way across a post card which will never be mailed? Are not these problems so hard to solve because my own mind is not made up yet in regard to your death? My intelligence does not accept the transformation of physical discontinuity into the permanent continuity of a nonphysical element escaping the obvious law, nor can it accept the inanity of accumulating incalculable treasures of thought and sensation, and thought-behind-thought and sensation-behind-sensation, to lose them all at once and forever in a fit of black nausea followed by infinite nothingness. Unquote.

Everything I am is based on this ugly building on its lonely lawn—lit up during winter darkness; open in the slashing rain—which allowed a girl so poor she didn’t even own a purse to come in twice a day and experience actual magic: traveling through time, making contact with the dead—Dorothy Parker, Stella Gibbons, Charlotte Brontë, Spike Milligan. A library in the middle of a community is a cross be-tween an emergency exit, a life raft and a festival. They are cathedrals of the mind; hospitals of the soul; theme parks of the imagination. On a cold, rainy island, they are the only sheltered public spaces where you are not a consumer, but a citizen, instead. A human with a brain and a heart and a desire to be uplifted, rather than a customer with a credit card and an inchoate “need” for “stuff.” A mall—the shops—are places where your money makes the wealthy wealthier. But a library is where the wealthy’s taxes pay for you to become a little more extraordinary, instead. A satisfying reversal. A balancing of the power.

When I sell liquor, it’s bootlegging,” either Capone or one of his amanuenses said. “When my patrons serve it on a silver tray on Lake Shore Drive, it’s hospitality.” It was a recurrent theme, this shrugging disavowal of evil intent: “Ninety percent of the people of Cook County drink and gamble,” he said at another time, “and my offense has been to furnish them with those amusements.

Not one of those worlds will be identical to Earth. A few will be hospitable; most will appear hostile. Many will be achingly beautiful. In some worlds there will be many suns in the daytime sky, many moons in the heavens at night, or great particle ring systems soaring from horizon to horizon. Some moons will be so close that their planet will loom high in the heavens, covering half the sky. And some worlds will look out onto a vast gaseous nebula, the remains of an ordinary star that once was and is no longer. In all those skies, rich in distant and exotic constellations, there will be a faint yellow star—perhaps barely seen by the naked eye, perhaps visible only through the telescope—the home star of the fleet of interstellar transports exploring this tiny region of the great Milky Way Galaxy. The themes of space and time are, as we have seen, intertwined. Worlds and stars, like people, are born, live and die. The lifetime of a human being is measured in decades; the lifetime of the Sun is a hundred million times longer. Compared to a star, we are like mayflies, fleeting ephemeral creatures who live out their whole lives in the course of a single day. From the point of view of a mayfly, human beings are stolid, boring, almost entirely immovable, offering hardly a hint that they ever do anything. From the point of view of a star, a human being is a tiny flash, one of billions of brief lives flickering tenuously on the surface of a strangely cold, anomalously solid, exotically remote sphere of silicate and iron. In all those other worlds in space there are events in progress, occurrences that will determine their futures. And on our small planet, this moment in history is a historical branch point as profound as the confrontation of the Ionian scientists with the mystics 2,500 years ago. What we do with our world in this time will propagate down through the centuries and powerfully determine the destiny of our descendants and their fate, if any, among the stars.

And if the Americans could bomb a hospital in Serbia or a civilian housing estate in Baghdad, who were the hypocritical West to object when the Israeli army slaughtered the innocents of Lebanon and Gaza in identical ways? This, then, is another theme of this book; the ‘normalisation’ of this latest warfare, which deletes the protection of civilians enshrined in international law in favour of a new and cruel morality:

We have to start accounting for the three themes that define women's relationship with that world. The first of these themes is the female body - or, to be precise - its invisibility. Routinely forgetting to accommodate the female body in design - whether medical, technological or architectural - has led to a world that is less hospitable and more dangerous for women to navigate. It leads to us injuring ourselves in jobs and cars that weren't designed for our bodies. It leads us to dying from drugs that don't work. It has led to the creation of a world where women just don't fit very well. There is an irony in how the female body is apparently invisible when it comes to collecting data, because when it comes to the second trend that defines women's lives, the visibility of the female body is key. That tend is male sexual violence against women - how we don't measure it, don't design our world to account for it, and in so doing, allow it to limit women's liberty.

[L]ike everybody, held hospitals in the highest, purest, dread and loathing. To come in with a bump and leave with the baby – this is the only grace available in the hospital. Other than that, there is only pain. The concentration of pain. Hospitals are unique in this concentration. There are no areas in the world dedicated to the concentration of pleasure (theme parks and their like are concentration of the symbols of pleasure, not pleasure itself), there are no buildings dedicated to laughter, friendship or love.

Like Cortona, my best beloved Tuscan hill town, Oxford invites you in, makes you a participant in the repetition and variation of its particular themes. As in Piazza Signorelli, you’re a star in the cast as you step into the daily play. Your breathing slows, your shoulders push back. All the proprioceptors agree: This is how a town should be built. But unlike any Italian town, here the green air under massive trees dislodges my senses: world in a jar. You may stroll in this vast terrarium, or so I felt growing up in a one-mile-square town in south Georgia. One reason I felt immediately at home in Tuscany was that certain strong currents of life reminded me of the South. The warmth of people and their astonishing generosity felt so familiar, and I knew well that identical y’all come hospitality. “It’s unhealthy to eat alone,” our neighbor in Italy told us early on. “We’re cooking every night so come on over.

In the 1840s Charles Dickens lived just around the corner from the Foundling Hospital, and he took an interest in the institution soon after his arrival in the neighborhood, renting a pew at the hospital’s chapel so he could hear the foundlings sing, or wandering the grounds and watching the children go about their daily chores. Dickens was evidently inspired by what he saw there, making unmarried mothers and children raised without parents frequent themes in his works, most notably in Oliver Twist. Other

the overall theme of theology can be twofold: the search for meaning and the responsibility one has to the others.

The answers are perhaps as varied as the questions one asks, but a common theme that comes through in discussions with caregivers on the front lines and those who think a great deal about patient safety, is our failure to change our culture. What we have not done, they say, is create a “culture of safety,” as has been done so impressively in other industries, such as commercial aviation, nuclear power and chemical manufacturing. These “high-reliability organizations” are intrinsically hazardous enterprises that have succeeded in becoming (amazingly!) safe. Worse, the culture of health care is not only unsafe, it is incredibly dysfunctional. Though the culture of each health care organization is unique, they all suffer many of the same disabilities that have, so far, effectively stymied progress: An authoritarian structure that devalues many workers, lack of a sense of personal accountability, autonomous functioning and major barriers to effective communication. What is a culture of safety? Pretty much the opposite! Books have been written on the subject, and every expert has his or her own specific definition. But an underlying theme, a common denominator, is teamwork, founded on an open, supportive, mutually reinforcing, dedicated relationship among all participants. Much more is required, of course: Sensitivity to hazard, sense of personal responsibility, attitudes of awareness and risk, sense of personal responsibility and more. But those attitudes, that type of teamwork and those types of relationships are rarely found in health care organizations.

riendship is a treasure. If you possess even one nugget of the real thing-you're rich! So celebrate! Give your friend a book or an item with a note explaining its importance. Or set up a spa day. Why not add to her collection-or even start one for her! A bell, a miniature animal, an antique ...something in line with her interests. Personalized notepads are always great and practical! You could get her a monogrammed Bible or a hymnbook for her devotional times. Or one of those wonderful little rosebush trees if she's into gardening. Express your care and love for her friendship. by not widen your circle of friends? Don't miss the joy of sharing your Christian life through hospitality. Bible studies and small-group meetings are great ways to open your home and your heart. Fill a basket with food and take it to neighbors. What a surprise it will be for them! Host a neighborhood barbecue, potluck, theme dinner (ask everyone to bring something related to the theme), or even start a dinner club and meet somewhere different each month. Throw an "all girls" party for you and your friends. Volunteer at a homeless shelter or hospital. What do you enjoy most? Let that be the focus of your hospitality to others.

Commercial and Residential Interior Design Fit Out Dubai, UAE Artefirma has extensive experience and track record in creating themed environments for residential, corporate, and hospitality sectors, with a growing focus on differentiation

He also repeated another theme from his original essay, one that has been little mentioned: since so much disorderly street behavior is the product of untreated mental illness and drug dependency, he suggested that “social workers” should patrol the streets along with the police. “We shouldn’t be using our jails as mental hospitals or drug rehabilitation sites.

A great story about a big company’s ability to do this comes from one of the world’s biggest businesses, General Electric. I learned about Doug Dietz a few years ago when I saw him speak to a group of executives. Doug leads the design and development of award-winning medical imaging systems at GE Healthcare. He was at a hospital one day when he witnessed a little girl crying and shaking from fear as she was preparing to have an MRI — in a big, noisy, hot machine that Dietz had designed. Deeply shaken, he started asking the nurses if her reaction was common. He learned that 80 percent of pediatric patients had to be sedated during MRIs because they were too scared to lie still. He immediately decided he needed to change how the machines were designed. He flew to California for a weeklong design course at Stanford’s d.school. There he learned about a human-centric approach to design, collaborated with other designers, talked to healthcare professionals, and finally observed and talked to children in hospitals. The results were stunning. His humandriven redesigns wrapped MRI machines in fanciful themes like pirate ships and space adventures and included technicians who role-play. When Dietz’s redesigns hit children’s hospitals, patient satisfaction scores soared and the number of kids who needed sedation plummeted. Doug was teary-eyed as he told the story, and so were many of the senior executives in the audience. Products should be designed for people. Businesses should be run in a responsive, human-centric way. It is time to return to those basics. Let TRM be your roadmap and turn back to putting people first. It worked for our grandparents. It can work for you.

So what can we generalize about Victorian vampires? They are already dead, yet not exactly dead, and clammy-handed. They can be magnetically repelled by crucifixes and they don’t show up in mirrors. No one is safe; vampires prey upon strangers, family, and lovers. Unlike zombies, vampires are individualists, seldom traveling in packs and never en masse. Many suffer from mortuary halitosis despite our reasonable expectation that they would no longer breathe. But our vampires herein also differ in interesting ways. Some fear sunlight; others do not. Many are bound by a supernatural edict that forbids them to enter a home without some kind of invitation, no matter how innocently mistaken. Dracula, for example, greets Jonathan Harker with this creepy exclamation that underlines another recurring theme, the betrayal of innocence (and also explains why I chose Stoker’s story “Dracula’s Guest” as the title of this anthology): “Welcome to my house! Enter freely and of your own will.” Yet other vampires seem immune to this hospitality prohibition. One common bit of folklore was that you ought never to refer to a suspected vampire by name, yet in some tales people do so without consequence. Contrary to their later presentation in movies and television, not all Victorian vampires are charming or handsome or beautiful. Some are gruesome. Some are fiends wallowing in satanic bacchanal and others merely contagious victims of fate, à la Typhoid Mary. A few, in fact, are almost sympathetic figures, like the hero of a Greek epic who suffers the anger of the gods. Curious bits of other similar folklore pop up in scattered places. Vampires in many cultures, for example, are said to be allergic to garlic. Over the centuries, this aromatic herb has become associated with sorcerers and even with the devil himself. It protected Odysseus from Circe’s spells. In Islamic folklore, garlic springs up from Satan’s first step outside the Garden of Eden and onion from his second. Garlic has become as important in vampire defense as it is in Italian cooking. If, after refilling your necklace sachet and outlining your window frames, you have some left over, you can even use garlic to guard your pets or livestock—although animals luxuriate in soullessness and thus appeal less to the undead. The vampire story as we know it was born in the early nineteenth century. As

Brian Wells recalls, during a day spent with Nick in his bedroom at Far Leys, picking up a guitar and starting to play. Recognizing the riff, Nick took up his saxophone, and for a while the two jammed away on Henry Mancini’s familiar, throbbing ‘Peter Gunn’ theme. ‘I think he was a sensitive guy,’ Brian says. ‘After he’d been in the psychiatric hospital… I was talking about Bryter Layter, and getting him to play it, and talking about tracks on it, because he would show me tunings. This is when he had gone back to Tanworth … and I would go up there just to hang out and have a laugh. And then we’d play tracks off Pink Moon, and I remember saying, God, if I’d made that record and it hadn’t sold, I’d have been very pissed off. And he said: “Well, now you know what’s going on with me.” He actually said that. Which was rare for him, because normally he was very unforthcoming

Clearly, then, two fundamental themes of biblical sacrifice were meal hospitality toward God and table fellowship with God and one another.

Joyce Jordan progressed slowly from Girl Interne to M.D., the change becoming complete around 1942. But the theme of a woman’s difficulty in a man’s world remained. In the earliest days it was a progression of suitors. Then Joyce faced the “necessity of choosing between a brilliant career as a physician or becoming the wife of a wealthy man,” hospital trustee Neil Reynolds. At last, married to foreign correspondent Paul Sherwood, Joyce found happiness threatened by Paul’s bitter and neurotic sister, Margot. Eventually Paul was written out of the script, and Joyce practiced medicine in the little town of Preston, becoming a surgeon at Hotchkiss Memorial Hospital.

may surprise you,’ he urged. Lily’s eyes no longer smiled. Now their licorice darkness reflected only bitterness. ‘It’s not a matter of me finding the courage, Jack. I know my parents. They won’t surprise me. They’re very predictable. They’re also traditional and as far as they’re concerned, I’m as good as engaged … no, married! And they approve of Jimmy.’ Her expression turned glum. ‘All that’s missing are the rings and the party.’ ‘Lily, risk their anger or whatever it is you’re not prepared to provoke but don’t do this.’ He stroked her cheek. ‘Forget me. I’m not important. I’m talking about the rest of your life, here. From what I can see of my friends and colleagues, marriage is hard enough without the kiss of death of not loving your partner.’ ‘It’s not his fault, Jack. You don’t understand. It’s complicated. And in his way, Jimmy is very charismatic.’ Jack didn’t know Professor James Chan, eminent physician and cranio-facial surgeon based at Whitechapel’s Royal London Hospital, but he already knew he didn’t much like him. Jack might be sleeping with Lily and loving every moment he could share with her, but James Chan had a claim on her and that pissed Jack off. Privately, he wanted to confront the doctor. Instead, he propped himself on one elbow and tried once more to reason with Lily. ‘It’s not complicated, actually. This isn’t medieval China or even medieval Britain. This is London 2005. And the fact is you’re happily seeing me … and you’re nearly thirty, Lily.’ He kept his voice light even though he felt like shaking her and cursing. ‘Are you asking me to make a choice?’ He shook his head. ‘No. I’m far more subtle. I’ve had my guys rig up a camera here. I think I should show your parents exactly what you’re doing when they think you’re comforting poor Sally. I’m particularly interested in hearing their thoughts on that rather curious thing you did to me on Tuesday.’ She gave a squeal and punched him, looking up to the ceiling, suddenly unsure. Jack laughed but grew serious again almost immediately. ‘Would it help if I —?’ Lily placed her fingertips on his mouth to hush him. She kissed him long and passionately before replying. ‘I know I shouldn’t be so answerable at my age but Mum and Dad are so traditional. I don’t choose to rub it in their face that I’m not a virgin. Nothing will help, my beautiful Jack. I will marry Jimmy Chan but we have a couple more weeks before I must accept his proposal. Let’s not waste it arguing and let’s not waste it on talk of love or longing. I know you loved the woman you knew as Sophie, Jack. I know you’ve been hiding from her memory ever since and, as much as I could love you, I am not permitted to because I’m spoken for and you aren’t ready to be in love again. This is not a happy-ever-after situation for us. I know you enjoy me and perhaps could love me but this is not the right moment for us to speak of anything but enjoying the time we have, because neither of us is available for anything beyond that.’ ‘You’re wrong, Lily.’ She smiled sadly and shook her head. ‘I have to go.’ Jack sighed. ‘I’ll drop you back.’ ‘No need,’ Lily said, moving from beneath the quilt, shivering as the cool air hit her naked body. ‘I have to pick up Alys from school. She’s very sharp and I don’t need her spotting you – especially as she’s had a crush on you since you first came into the flower shop.’ Suddenly she grinned. ‘If you hurry up, at least we can shower together!’ Jack leaped from the bed and dashed to the bathroom to turn on the taps. He could hear her laughing behind him but he felt sad. Two more weeks. It wasn’t fair – and then, as if the gods had decided to punish him further, his mobile rang, the ominous theme of Darth Vader telling him this was not a call he could ignore. He gave a groan. ‘Carry on without me,’ he called to Lily, reaching for the phone. ‘Hello, sir,’ he said, waiting for the inevitable apology

Pop-up restaurants?" Ana took the tablet back, practically vibrating with excitement. "Once a month, even once a week. Fixed menu, unusual locations. Heavy emphasis on experience and hospitality." "I know what they are." They'd been popular in Europe for many years now. Some of them were spectacular productions closer to a circus, like Gingerline in London. Others were immersive experiences in the same place using rotating themes. A few farm-to-table chefs in Colorado already hosted pop-ups at their farms for a select guest list. Tickets were as coveted in the food world as white truffles and twice as hard to acquire.

In Taiwan, there are prison and hospital-themed restaurants. The most peculiar of them all, however, is a restaurant called “Modern Toilet” that serves food on miniature toilets.

Our Gospel takes up the theme of the First Reading: “just as Moses lifted up the serpent in the desert, so must the Son of Man be lifted up.” There are several levels of paradox, irony, and double-meaning in this one line. The serpent was a sign of judgment, of evil, and of death. It recalled the serpent in the Garden. Nonetheless, gazing on the serpent brought life. Similarly, Jesus is going to be subjected to torture and great evil, and be killed by being lifted up on the Cross. A cross is a terrible punishment that only a very vile person could deserve—the cross is fit for the devil himself. Yet Jesus is subjected to a fate the devil deserves. To outward appearances, Jesus looks like an evil criminal on the Cross. There is no visible sign of his innocence or his divinity. The cross was a means of execution, like the electric chair. It’s highly ironic that the cross in now a sign of health care and hospitals. Would the electric chair ever be sign of healing? Would people ever wear gold electric chairs around

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