Critical Care: Revisited

by Richard Dooling on August 16, 2009

in NY Times Op-Eds

The new IT article on health care: How American Health Care Killed My Father, by David Goldhill, writing in the September 2009 Atlantic.

Richard Dooling on NPR’s Talk of the Nation discussing his opinion piece in the New York Times, “Heath Care’s Generation Gap.

It was my first novel, and I wrote it almost two decades ago, but I doubt I’d change a word of it. If anything, the money and the madness changing hands in the ICU have only gotten worse. When I wrote Critical Care, circa 1990, total expenditures for health care ran at roughly 10% of our gross national product. Now, as my opinion piece in the New York Times indicates, it’s 16% and headed for 31% in the next 25 years, unless something changes.

The new hysterical fear is that if we counsel elderly patients about end-of-life choices it means we are “pulling the plug” or sending them off to suicide parlors. People need to know what all of this aggressive, no-holds-barred, spare-no-expense intensive care buys you at the end of life. It’s not pretty, and that is the real subject of Critical Care: What happens when modern medicine doesn’t know when to quit.

Here then, by popular demand, is an excerpt from an early chapter of Critical Care: A Novel:

Resignation was the order of the day. Everybody from the nurses on down to the respiratory therapists and the lab techs had already privately agreed that Bed One would ‘code’ sometime tonight, code being short for Code Blue. Bed One’s heart would stop beating, or he would stop breathing, or both; the hospital operator would then announce: “Code Blue, Ninth Floor Intensive Care Unit” three times over the hospital’s public address system, and a dozen or so specially trained personnel would then descend on Bed One, snap Bed One’s head back, pump Bed One’s lungs full of oxygen with an ambu bag, inject massive doses of expensive drugs in some of Bed One’s veins, draw blood for expensive tests from other veins, shock Bed One with electricity, beat on Bed One’s chest, and generally do everything possible to jump-start Bed One, as if Bed One were a ‘57 Chevy that should have been taken to the junkyard twenty years ago, and the doctors and nurses were a bunch of drunk teenagers whose car had broken down on the way to a pig roast.

It would go on for hours. It would require more blood, stool, and sputum specimens to be drawn and sent to the lab. Worse yet, everything would have to be scrupulously documented for the Legal Department. Afterwards, there would be witness interviews, probably depositions, just like the ones they had after the craniotomy in Bed Seven was struck by lightning that came in through the TV set.

Bed One had no business dying from a simple valve replacement. The lawyers knew that.

Because it was 3:30 A.M., Werner was solely responsible for the likes of Bed One. All the real doctors and primary physicians had gone home, had barbecued steaks, had watched a few hours of cable TV and had gone to bed. In Werner’s capacity as House Officer, Werner had to respond to every medical emergency occurring outside the normal hours of the medical work day: like Bed One dying too soon.

“This is what makes it all worthwhile,” he said to a wombat at his elbow. “Being able to help people. This is where training pays off.”

Werner looked the impending medical crisis squarely in the eye and measured himself against it, his self-confidence barely surmounting sleepless anxiety. As usual, he fought the urge to panic by silently reminding himself of his credentials: I am Doctor Peter Werner Ernst. I graduated at the top of my medical school class. I was Editor-In-Chief of the University’s Journal of Medicine. I am qualified and capable of practicing medicine. I will not panic or succumb to stress and make the wrong decision. That would be irrational and inconsistent with my past performance.

Given the hopelessness of Bed One’s situation, another medical resident might have thrown up his hands and accepted the inevitable descent of the patient. Another resident might have been discouraged by the resignation on the faces of the Intensive Care Unit nurses–faces that said ‘Bed One is about to code, creating boatloads of pointless labor and paperwork for us all.’ Yes, another resident might have allowed the normal course of human events to degenerate into chaos, death, and a Code Blue. But not Werner Ernst. Werner was blessed with a superior medical mind, trained in the healing arts.

Werner’s rigorous training had prepared him for this moment, when he, the House Officer in charge of the Medical Center and the resident physician immediately responsible for the welfare of Bed One, would come up with the right combination of medications to drip into Bed One, just the right mix of dosages given at just the right intervals, to keep blood pressure up, keep CO2 down, keep heart beats passably even, and urine flowing . . . keep everything just so, for six or seven hours at least . . . so that Bed One would go down the tubes and croak on the Day Shift, not the Night Shift. So that Werner could eat and possibly nap tonight, instead of presiding over the death of a corpse. So that the ICU nursing staff could embroider or read romance novels through the wee hours. So that Bed One could sleep one, last, peaceful, vegetable sleep before being assaulted by a Code Blue wrecking crew trying to save his life. And, above all, so that all the wicked, ridiculous insanity concerning the demise of Bed One (who, only two months ago was a grandpa, a loving husband, and dad to the people who had brought him here) would come down on Bed One’s primary physician and the Day shift. The Day Shift had advised Bed One and Bed One’s family that eighty was not too old to try for another valve replacement. Eighty? Bed One’s primary physician, Bed One’s chest surgeon, and Bed One’s family made Bed One’s bed of slaughter and anguish, why should Werner and the Night Shift sleep in it?

Excerpted from Critical Care: A Novel, by Richard Dooling

If you’d like, you can read all of chapter one at Amazon.

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Writer Uninterrupted

by Richard Dooling on July 28, 2009

in Writing

Great post from Paul Graham on the difference between being a manager and a maker. Most writers and computer programmers are makers, and for them, meetings can ruin the whole day.

Most powerful people are on the manager’s schedule. It’s the schedule of command. But there’s another way of using time that’s common among people who make things, like programmers and writers. They generally prefer to use time in units of half a day at least. You can’t write or program well in units of an hour. That’s barely enough time to get started.

It makes for an interesting comparison to novelist Neal Stephenson’s “Why I’m A Bad Correspondent”:

Writing novels is hard, and requires vast, unbroken slabs of time. Four quiet hours is a resource that I can put to good use. Two slabs of time, each two hours long, might add up to the same four hours, but are not nearly as productive as an unbroken four. If I know that I am going to be interrupted, I can’t concentrate, and if I suspect that I might be interrupted, I can’t do anything at all. Likewise, several consecutive days with four-hour time-slabs in them give me a stretch of time in which I can write a decent book chapter, but the same number of hours spread out across a few weeks, with interruptions in between them, are nearly useless.

On one level, both men are saying nothing more than the obvious: Writing requires long blocks of uninterrupted concentration, but the beauty of both pieces is how they explain this in terms non-writers may be able to appreciate.

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New Yorker: Show Or Tell

by Richard Dooling on June 12, 2009

in Publishing, Writing

Should Creative Writing Be Taught?

From The New Yorker, June 8, 2009, by Louis Mendand

The workshop is a process, an unscripted performance space, a regime for forcing people to do two things that are fundamentally contrary to human nature: actually write stuff (as opposed to planning to write stuff very, very soon), and then sit there while strangers tear it apart. There is one person in the room, the instructor, who has (usually) published a poem. But workshop protocol requires the instructor to shepherd the discussion, not to lead it, and in any case the instructor is either a product of the same process–a person with an academic degree in creative writing–or a successful writer who has had no training as a teacher of anything, and who is probably grimly or jovially skeptical of the premise on which the whole enterprise is based: that creative writing is something that can be taught.

More at The New Yorker. . . .

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The Big Takeover

by Richard Dooling on March 29, 2009

in Uncategorized

Finally, somebody (Matt Taibbi for Rolling Stone) explains A.I.G. and the financial crisis in plain English. It’s long and depressing, but worth the trip:

So it’s time to admit it: We’re fools, protagonists in a kind of gruesome comedy about the marriage of greed and stupidity. And the worst part about it is that we’re still in denial — we still think this is some kind of unfortunate accident, not something that was created by the group of psychopaths on Wall Street whom we allowed to gang-rape the American Dream.

More at Rolling Stone – The Big Takeover: The global economic crisis isn’t about money – it’s about power. How Wall Street insiders are using the bailout to stage a revolution.

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If Microsoft’s EULA Applied To Books

by Richard Dooling on December 10, 2008

in Rapture For The Geeks, Technology

RAPTURE FOR THE GEEKS: (RETAIL)
END-USER LICENSE AGREEMENT (EULA)

Paperback Release: November 24th, 2009.

1. GRANT OF LICENSE. Richard Dooling grants you the following rights provided that you comply with all terms and conditions of this EULA:

2. INSTALLATIONS AND USE. You may install, use, access, display and read ONE COPY OF THIS BOOK on a SINGLE PERSON, such as an adult, man, woman, teenager, or other human person. This book may NOT be read by more than one person.

3. MANDATORY ACTIVATION. The license rights granted under this EULA are limited to the first thirty (30) minutes after you install the book by opening it, unless you supply information required to activate your licensed copy of the book in the manner described on this page. You may also need to reactivate the book if you modify yourself or alter your personality. For instance if you grow older and more mature, develop a mental illness, change your diet, or receive any artificial limbs or joints, pacemakers, implants, or organ transplants, then you may need to reactivate your license before you will be allowed to reaccess the book.

4. UNLICENSED USE. This book contains technological measures designed to prevent unlicensed use of the book. For instance, an embedded microchip allows the publisher to scan your retinas from time to time and make sure that it’s really YOU and ONLY YOU reading this book and not some random book pirate. Rest assured that Richard Dooling will not collect any personally identifiable information from you during this process, just blood, tissue, and bone marrow samples, which may be taken (forcefully if necessary) to determine DNA. If you are not using a licensed copy of the book, you are not allowed to read the book or read subsequent updates to the book.

5. BOOK TRANSFER. You may make a one-time permanent transfer of the book to another end-user. But after the transfer you must completely remove all knowledge about the book from the brain of the former person who read the book. If the book was so memorable that knowledge cannot be completely removed from the former person, then execute the former person using the most humane measures listed in Appendix A and mail the enclosed proof-of-execution and a notarized certificate of death (with a raised seal) to Richard Dooling at the address below.

6. TERMINATION. Without prejudice to any other rights, Richard Dooling may terminate this EULA if you fail to comply with the terms and conditions of this EULA. In such event, you must destroy all copies of the book and all of its component parts, destroy any notes you made about the book, and forget any parts of the book that you may be tempted to remember. If you find the book simply unforgettable then decapitate yourself and mail your head to Richard Dooling for a $50.00 rebate. Be sure to enclose your original sales receipt (no copies!), the bar code from the book jacket, and the enclosed rebate form, which you should take care to complete before detaching and mailing your head.

7. PROTECT YOURSELF! Read only genuine books purchased from an authorized reseller. Do not download pirated books! Anytime you read counterfeit books, you are at serious risk. In a recent study, an organization hired by Richard Dooling found that 25% of the websites offering pirated copies of books also attempted to install spyware and trojan horse programs that can compromise your operating system and make it impossible for you to properly view pornography on your computer.

Make sure your copy of Rapture For The Geeks is GENUINE! Ensure that you have easy access to book updates, sequels, second and third editions, book downloads, technical support, and special offers. Validate your copy of Rapture For The Geeks NOW with Richard Dooling’s Genuine Advantage!

Okay, now if you are sure that you have a GENUINE copy of Rapture For The Geeks, it’s probably safe to proceed.

Excerpted from Rapture For The Geeks: When AI Outsmarts IQ, by Richard Dooling.

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