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Newborn health benefits or financial risk protection? An ethical analysis of a real-life dilemma in a setting without universal health coverage. What if the baby doesn't survive? Health-care decision making for ill newborns in Ethiopia. Social Science and Medicine. Roles and responsibilities of clinical ethics committees in priority setting.

Etikkarbeid i lavinntektsland: Etiopia som eksempel Ethics capacity building in low income countries: Ethiopia as a case. Tidsskrift for Den norske legeforening. Ethics capacity building in low-income countries: Ethiopia as a case study.

American Journal of Bioethics. Towards universal health coverage for reproductive health services in Ethiopia: Two policy recommendations. International Journal for Equity in Health.

Prioritizing child health interventions in Ethiopia: modeling impact on child mortality, life expectancy and inequality in age at death. HIV priorities and health distributions in a rural region in Tanzania: a qualitative study. End-of-life decisions as bedside rationing. An ethical analysis of life support restrictions in an Indian neonatal unit.

Physicians' use of guidelines and attitudes to withholding and withdrawing treatment for extremely premature neonates in Norway. Acta Paediatrica. My job is to keep him alive, but what about his brother and sister? How Indian doctors experience ethical dilemmas in neonatal medicine. Developing World Bioethics. Rettferdig bruk av kostnadsdata :. The information contained herein and therein does not constitute an offer for sale in the United States or in any other country.

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What is Gavi? Disbursements Eligible Countries. News and Resources Press Releases Announcements. The poems I wrote during this time fell rather naturally into one of three main categories: the significance and complexities of my German heritage, travel poems the American West, Italy, and Norway , and personal poems: mothering, daughtering, balancing relationships, balancing myself. So, during these fifteen or so years, I had three big file boxes collecting poems that would someday appear together in book form.

None of the books was long or complex enough for a full-length volume, although I did publish a chapbook Blow the Candle Out out of two of the poem sequences. Easiest to arrange was The Angle of Sharpest Ascending. I never planned to write a book with four very long poem sequences, which I think of as essays in the form of connected poems. Parts one and two came next while working collaboratively with two German visual artists at the Villa Waldberta south of Munich, on the Starnberger Lake.

Part four grew out of another collaboration, this time in Eugene, Oregon, where I live. By then, there was firm evidence that the four sequences could form a book; the only question was ordering them.

Surgeonfish , which contains poems of travel, went through many re-structurings: chronological, topical, thematic. The poems were—many times—all over the floor. My recently-completed full-length book, Sanctuary , also has gone through countless re-orderings, again, all over the floor.

There was the temptation to clump poems together topically love poems in a group, etc. The current order—which I hope is the last—operates thematically: 1 misconceptions, 2 the many roles of language in shaping our lives, and 3 confrontations with mortality. We are—many of us in America—articulating our belief that each of us has the responsibility to heal the planet, to care for each other, to work for human rights on all kinds of fronts: racial, ethnic, sexual preference, to name a few.

The election of Barack Obama to the presidency is the most exciting political event of my lifetime, more exciting than the election of JFK which was pretty exciting when I was a teenager.

I have cousins in Germany my age in their 50s and 60s who are still struggling with ambivalence. Is it possible for them to love the parents who were complicit in the Holocaust? When I first came to Oregon as a new college graduate, I drove with two friends from Iowa all the way across this vast country.

It was my first cross-country drive. As the editor of the historical section of the Oregon Poetry Anthology From Here We Speak OSU Press, , I learned that within the borders of this state there lived at one time more than forty-five distinct Indian tribal groups, who spoke over twenty distinct languages. I mean, this genocide was enormous, huge. I also found, in the pioneer magazines and journals of the 19th century poem after poem exalting the land so many of the authors seemed to think was made just for them.

My last months of working on that book led me into a depression of sorts, which I still have to work—that is write—my way through. They finally succeeded in getting it removed. But what took its place? An enormous flagpole, with the American flag on it. How does this represent the memory of the Kalapooya people whose village no longer stands at the base of the hill? C rooker: Excellent questions, all.

W endt: Maybe I can answer this with an anecdote. The editor of another magazine wrote to thank me personally for that poem, saying that her son had recently married a young woman from Germany, and the editor—being Jewish—had been having a hard time with that.

My poem, she said, helped her break through her resistance to welcoming her new daughter-in-law into the family. So yes, there are times when poetry can lead to reconciliation. On the other hand, if I were to write poetry specifically for that purpose, it might not work. My German sculptor-friend and one of the project collaborators, Susi Rosenberg, whose mother was an Auschwitz survivor, is adamant that no reconciliation is ever possible when it comes to the Holocaust.

Maybe we just do what we must, and if our work moves someone towards a peaceful understanding, so much the better. Put another way, did you write first in a different format and reconfigure later? How did you influence her work? The top square of each stack was recessed on the top diagonally, and that recessed half contained standing water. Seven of them echo the shape of the top cement blocks. Each of these seven sections is divided into two parts: the top part with flush-left margins, the bottom half with flush-right margins.

The lines of the top section end so that the last words form a diagonal across and down the page, and the lines of the bottom section begin so that they form a diagonal across and up the page. These two halves of the poem are shaped almost as mirror images of each other. The remaining three sections incorporate other sculptural elements: the fifth and the tenth section of the sequence are vertical pillars, referencing the ascending heights of the blocks.