WhenBreathBecomesAir原版完整文件.docx
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1、ContentsCover7Ie PageCcpvrigKEditorS NOteEDigraDhFCrrWord by AbrdhGn WqhcsePiologuePart I: In PelfeCt Health I BeginPaIl II: CeaSe NOt till DeathEpilogue by LUCy KabnithiDediCaonAckncwkdgmcnfsAbout the AuthorEvents described are based on Dr. Kalanithi,s memory of real-world situations. However, tle
2、names of all patients discussed in this bookif given at allhave been changed. In addition, in each of the medical cases described, identifying detailssuch as patients, ages, genders, ethnicities, professions, familial relationships, places of residence, medical histories, and/or diagnoseshave been c
3、hanged. With one exception, the names of Dr. Kalanithi,s colleagues, friends, and treating physicians have also been changed. Any resemblance to persons living or dead resulting from changes to names or identifying details is entirely coincidental and unintentional.You that seek what life is in deat
4、h, Now find it air that once was breath. New names unknown, old names gone: Till time end bodies, but souls none.Reader! then make time, while you be, But steps to your eternity.Baron Brooke Fulke Greville, uCaelica 83”FOREWORDAbraham VergheseIt occurs to me, as I write this, that the foreword to th
5、is book might be better thouglit of as an afterword. Because when it comes to Paul Kalanithi, all sense of time is turned on its head. To begin withor, maybe, to end withI got to know Paul only after his death. (Bear with me.) I came to know him most intimately when he,d ceased to be.I met him one m
6、emorable afternoon at Stanford in early February 2014. He,d just published an op-ed titled “How Long Have I Got Left?” in The NeW Wrk Times, an essay that would elicit an overwhelming response, an outpouring from readers. In the ensuing days, it spread exponentially. (Im an infectious diseases speci
7、alist, so please forgive me for not using the word viral as a metaphor.) In the aftermath of that, he,d asked to come see me, to chat, to get advice about literary agents, editors, the publishing processhe had a desire to write a book, this book, the one you are now holding in your hands. I recall t
8、he sun filtering through the magnolia tree outside my office and lighting this scene: Paul seated before me, his beautiful hands exceedingly still, his prophet,s beard full, those dark eyes taking the measure of me. In my memory, the picture has a Wrmeer-Iike quality, a camera obscura sharpness. I r
9、emember thinking, Wu must remember thisf because what was falling on my retina was precious. And because, in the context of Paul,s diagnosis, I became aware of not just his mortality but my own.Mfe talked about a lot of things that afternoon. He was a neurosurgical chief resident. Mfe had probably c
10、rossed paths at some point, but we hadn,t shared a patient that we could recall. He told me he had been an English and biology major as an undergraduate at Stanford, and then stayed on for a master,s in English literature. We talked about his lifelong love of writing and reading. I was struck by how
11、 easily he could have been an English professorand, indeed, he had seemed to be headed down that path at one point in his life. But then, just like his namesake on the road to Damascus, he felt the calling. He became a physician instead, but one who always dreamed of coming back to literature in som
12、e form A book, perhaps. One day. He ought he had time, and why not? And yet now time was the very thing he had so little of.I remember his wry, gentle smile, a hint of mischief there, even though his face was gaunt and haggard. He,d been through the wringer with this cancer but a new biological ther
13、apy had produced a good response, allowing him to look ahead a bit. He said during medical school he,d assumed that he would become a psychiatrist, only to fall in love with neurosurgery. It was much more than a falling in love with the intricacies of the brain, much more than the satisfaction of tr
14、aining his hands to accomplish amazing featsit was a love and empathy for those who suffered, for what they endured and what he might bring to bear. I don,t think he told me this as much as I had heard about this quality of his from students of mine who were his acolytes: his fierce belief in the mo
15、ral dimension of his job. And then We talked about his dying.After that meeting, we kept in touch by email, but never saw each other again. It was not just that I disappeared into my own world of deadlines and responsibilities but also my strong sense that the burden was on me to be respectful of Ii
16、is time. It was up to Paul if he wanted to see me. I felt that the last thing he needed was the obligation to service a new friendship. I thought about him a lot, though, and about his wife. I wanted to ask him if he was writing. Ws he finding the time? For years, as a busy physician, Fd struggled t
17、o find the time to write. I wanted to tell him that a famous writer, commiserating about thiseternal problem, once said to me, “If I were a neurosurgeon and I announced that I had to leave my guests to go in for an emergency craniotomy, no one would say a word. But if I said I needed to leave the gu
18、ests in the living room to go upstairs to write.9,1 wondered if Paul would have found tlis funny. After all, he could actually say he was going to do a craniotomy! It was plausible! And then he could go write instead.While Paul was writing this book, he published a short, remarkable essay in Stanfor
19、d Medicinef in an issue that was devoted to the idea of time. I had an essay in the same issue, my piece juxtaposed to his, though I learned of his contribution only when the magazine was in my hands. In reading his words, I had a second, deeper glimpse of something of which there had been a hint in
20、 the New Wrk Times essay: Paul,s writing was simply stunning. He could have been writing about anything, and it would have been just as powerful. But he wasnt writing about anythinghe was writing about time and what it meant to him now, in the context of his illness. Which made it all so incredibly
21、poignant.But here,s the thing I must come back to: the prose was unforgettable. Out of his pen he was spinning gold.I reread Paul,s piece again and again, trying to understand what he had brought about. First, it was musical. It had echoes of Galway Kinnell, almost a prose poem. (“If one day it happ
22、ens / you find yourself with someone you love / in a cafe at one end /of the Pont Mirabeau, at the zinc bar / where wine stands in upward opening glasses.” to quote a Kinnell line, from a poem I once heard him recite in a bookstore in Iowa City, never looking down at the paper.) But it also had a ta
23、ste of something else, something from an antique land, from a time before zinc bars. It finally came to me a few days later when I picked up his essay yet again: Pal,s writing was reminiscent of Thomas Browne,s. Browne had written Religio Medici in the prose of 1642, with all its archaic spellings a
24、nd speech. As a young physician, I was obsessed with that book, kept at it like a farmer trying to drain a bog that his father before him had failed to drain. It was a futile task, and yet I was desperate to learn its secrets, tossing it aside in frustration, then picking it up again, unsure that it
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