Bishop as Pawn
he passed a gurney on which sat a rather good-looking man engaged in a seemingly reasonable discussion concerning treatment for pain. The doctor was insisting on a prescription for Motrin. The patient was arguing, with decreasing composure, in favor of codeine.
    Carleson well knew the powerful difference between the two analgesics. He also knew the young man was going to need a fix of something soon or he would slip into withdrawal symptoms.
    At this point there was still an element of humor in the exchange. Before long, the black comedy would disintegrate in the face of the patient’s desperate craving for drug release.
    There was nothing Carleson could do about it. No prayer or blessing, no offer of understanding and friendship could supersede the patient’s yearning for oblivion.
    The young doctor was being quite resolute … although in actuality, there was little else he could do. Inevitably, what was now a fairly amicable difference of opinion would segue into a demeaning—even violent—pleading, demanding in the face of intractable refusal.
    Carleson moved on.
    An elderly man whose face testified to his having weathered many an intemperate northern season sat gingerly on a gurney. Loudly he gave witness that these doctors and nurses were badly underpaid. For this unsolicited testimonial he received affectionate support from the staff. At Carleson’s approach, the man generously included the priest among those insufficiently compensated. Carleson thought the man didn’t know whereof he spoke. Nonetheless, the priest gave him a bright smile and a thumbs-up.
    The attendant, about to wheel the man to surgery, informed Carleson that the patient had tucked a pint of liquor in his back pocket, then absentmindedly plumped himself down on a cement curb, thus emptying the precious liquid directly into the sewer to the delight of thirsty rats. And, of course, lacerating his rump.
    He certainly didn’t seem to feel any pain. Undoubtedly he had consumed some of the contents before the container smashed.
    Last in the parade of trauma scenes was a gurney holding a naked man covered only with a hospital-issue sheet. Standing at the patient’s head, an intern attempted to determine what was wrong. Had he been drinking?
    “A beer … maybe two.”
    “C’mon … two?”
    “Two! Maybe three. No more’n three.”
    The intern began inserting a nasal-gastric tube through the patient’s nostril. The patient began to gag.
    “Swallow, man, swallow,” the intern urged.
    Suddenly, the patient began throwing up. Quickly, the intern turned the patient’s head to one side so he wouldn’t drown in his own vomit.
    To Carleson, it was a repulsive sound and a nauseating odor. A nurse standing nearby obviously was similarly affected. “I’ve seen it a million times,” she said, “but it still makes me gag.”
    Carleson was grateful.
    A heavy, pungent odor permeated the room. “Three beers, eh? Smells more like whiskey to me,” the intern said.
    At the foot of the gurney, a nurse shook her head with certainty. “Jamaica rum!”
    Before leaving Emergency, Carleson glanced back. Trauma Room Three remained the center of activity. The beehive continued to swirl and an attentive audience was absorbed in the goings-on.
    That’s what it was all about. The life of one person. The most sophisticated and expensive machinery available—and the most knowledgeable and dedicated personnel—bent to the purpose of saving a life.
    Carleson thought again of his work in regions that were considered advanced if there was clean water available. If there was electricity, one felt that one had entered the twentieth century.
    The TV series “M*A*S*H” referred to near-frontline doctors’ work as “meatball surgery.” Compared with what went on here in Receiving, the Korean front was rudimentary. But measured against Carleson’s capabilities in the jungle, “M*A*S*H” was the Mayo Clinic of the Far East
    Whatever, his journey through Emergency

Similar Books

Casting Bones

Don Bruns

For Sure & Certain

Anya Monroe

Outlaw

Lisa Plumley

Mignon

James M. Cain

B003YL4KS0 EBOK

Lorraine Massey, Michele Bender