forgiveness – medhum.org

Stone Yard Devotional by Charlotte Wood

Howard Trachtman — Tue, 06 Oct 2026 13:27:11 +0000

Stone Yard Devotional is Charlotte Wood’s seventh novel; she is widely recognized for her literary artistry. The book was shortlisted for the Booker Prize in 2024 and deemed one of the 10 best books by the New York Times in 2025. Wood’s beautiful novel moves seamlessly and repeatedly from the present to the past and back again. The unnamed narrator is a highly regarded Sydney-based environmental activist whose parents were attentive to their children, and loving and generous to others, but whose values were often at odds with the Catholic dogma that she learned in school. They died over 30 years ago, but the narrator still mourns their loss and regrets her inability to offer them meaningful solace or express her gratitude for their sensitive parenting. In late midlife, she abruptly chooses to leave everything – marriage, job, and community – and move into a small religious outpost in stark rural Australia. There is significant medical illness in the story – older characters die of cancer, younger ones suffer from eating disorders, learning disabilities, or disabling anxiety. But Wood’s attention is not on treatment strategies or clinical outcomes. How people cope with the unpredictability of life is her focus. The mistakes we make, the petty crimes we commit, the unintentional harm and pain we impose on one another; these are the essential ingredients of her powerful narrative. Can we overcome our mistakes, can we be forgiven by those we have harmed; can we offer atonement to those who have hurt us? Is personal history immutable?

The book has a Biblical quality. The story unfolds in present day Australia, but the atmosphere is ancient and premodern. Wood incorporates a frightening plague of mice who infiltrate every element of the women’s home and terrify the nuns. Also, a woman who knew the narrator in high school and who was the victim of a horrifying adolescent gang attack surfaces unexpectedly. She is now a famous nun charged with returning the bones of a murdered sister to the community for burial. Her sudden appearance unsettles everyone. It all sounds like “A Children’s Bible” by Lydia Millet. But it is unmistakably a tale of adults living today in a world that we recognize. These mythical events play out in the setting of grounded people caught up in regular everyday challenges and missteps – miscommunication between couples, adolescent conflicts, failing to realize unintended slights, evenings spent comforting ill friends. The narrator is surrounded by nuns, neighbors, and friends whose activities and conversation are routine. Against this backdrop, her voice sounds timeless and prophetic.

This is an extraordinary book. It is not an easy read but a rewarding one that would be meaningful to any doctor trying to become a better care provider. For example, there is an intense effort underway to incorporate quantitative rigor into medical practice. With that as the point of departure, absent evidence to support one treatment over another, it might seem that restraint would be the best path for a doctor to follow. But illness calls for action. And if doctors are honest, they will acknowledge that errors are made in the course of action that they choose. Patients can be injured and their deepest hopes may be ignored. There is plenty of room for misunderstanding and hurt in both directions — patient to doctor, doctor to patient. How does a thoughtful, mature doctor manage this inescapable burden?

Wood’s novel speaks to doctors who have to address mistakes and conflicts every day in their practice. The setting is religious, but the scope is human. She does not offer an evidence-based one-size-fits-all solution to the chaos of life. The interdependency of people and the connectedness of people and nature are central features of the book and key to its emotional integrity. With that backdrop, she has created a narrative that sensitively details the burden of pain and despair when people cannot get past these challenges. This is balanced by the serenity that is achieved when people honestly confront their mistakes and receive forgiveness for misdeeds. The individual stories in the novel vary and the outcomes differ. The endings are often imperfect and reflect our human limitations. But there are moments of deep connection between characters, a willingness to accept how life played out. The feelings that are created are real and genuine. And they speak to doctors.

This is the season in the Jewish annual calendar when one is commanded to take stock of one’s life and conduct. The underlying theme is atonement, to frankly acknowledge personal flaws and misdeeds and seek forgiveness from that one has hurt. The religious framework is an opportunity to address mistakes of the past and map a path to a healthier more moral future. Ideally, it builds on true memory to create a new future history for our personhood. I would recommend Wood’s book as a human companion text to traditional Jewish prayer books. It is a challenging read, unsettling in its directness, and implacable in its honesty. It is an irreplaceable guide to genuine forgiveness, acceptance, and compassion, whether or not you are a doctor, regardless of your faith.

Stone Yard Devotional
Charlotte Wood
Riverhead Books, 2023, 293 pp

Web image generated using the original book cover.

An Awkward Business by Anton Chekhov

Jack Coulehan — Wed, 11 Jun 2025 14:40:22 +0000

Chekhov 1898 by Osip Braz

A country doctor, Gregory Ovchinnikov, begins his daily rounds in the hospital. He soon notices that his assistant, Smirnovsky, is drunk. When the assistant refuses to obey an order and verbally snaps back at him, Ovchinnikov hits the man in his face. The angry physician then rushes out of the ward and goes back to his lodgings, abandoning his patients.

At first, Ovchinnikov considers demanding that the town council fire Smirnovsky. Later, after he calms down and goes back to work, he begins to appreciate the enormity of his unprofessional act — perhaps the town council will fire him for assaulting his assistant. Strangely, when the assistant comes to apologize, the doctor indicates that it is he, the doctor, who has behaved inexcusably. The assistant is stunned but decides to report Ovchinnikov to the council. Of course, the council demands that the lower-class Smirnovsky apologize to the upper-class Ovchinnikov.

This story illustrates both a conflict of conscience and a conflict between social classes. With regard to the latter, it is quite clear that the town council would never rule against the gentleman-physician in favor of the drunken, lower class medical orderly. The physician, however, struggles with his own conscience: was he justified in hitting the man? If not, what should he do to make amends?

Originally Published 1888
Jack Coulehan (Ed.) Chekhov’s Doctors, Kent State University Press, 2003. Translated by Ronald Hingley.

A previous version of this review was published in the NYU Literature, Arts, and Medicine Database (Litmed).

Reviews of Chekhov’s Stories

Did You Ever Have a Family? by Bill Clegg

Howard Trachtman — Tue, 10 Jun 2025 13:47:29 +0000

One of the best features of the apartment building where I live is the three bookcases that are shoved together in the basement on the path to the laundry room. It is a convenient place for residents to deposit books they have read and so prevent them from piling up on their desks, bedside tables, or windowsills. I pass by the bookcases nearly every morning and this novel was my most recent pickup. It is not a new release, and the draw was the bright, orange-colored cover and the relatively large print that seemed inviting to my aging eyes. It was a fortuitous choice

The story begins abruptly. A woman named June is driving westward alone in her car, destination unknown. She is trying desperately to escape the small town near Litchfield, Connecticut where she grew up, after the funerals for four people who have died in a lethal housefire — her ex-husband Adam, her boyfriend Luke, her daughter Lolly, and her daughter’s fiancé Will. The tragedy is compounded by the timing of the fire, the night before the scheduled wedding of June’s daughter.

Bill Clegg

In a format that is increasingly common in current literature, the story unfolds from the unique perspective of people connected in various ways to those who perished and those who survived the disaster. The gallery of characters includes June, Lolly, Luke’s mother Lydia, the lesbian couple who own the seaside hotel where June hides out, the Native American woman who cleans the rooms in the hotel, Will’s parents, and a fidgety, socially awkward adolescent who has an unhealthy fixation on Lydia. Each chapter is told from the vantage point of one person, in their voice, in their thoughts. The narrative is in the first person except for the chapters that recount June and Lydia’s experience. There is minimal dialogue, mostly stream of consciousness story telling. Insight emerges from the action. The chapters weave together seamlessly, and you feel yourself drawn more and more into this microcosm of people struggling to make sense of a senseless tragedy. It would be a category error to call the novel a page turner. But there is a profound mystery at the core of the story, an appreciation of the ineffable wonder at how our lives play out and the complexity of our interactions with one another.

This haunting book incorporates many classic themes that characterize literature that can engage us – the pain of the sudden loss of loved ones, loneliness, regret for mistakes made and actions not taken. It echoes Tolstoy’s notion that every unhappy family is unhappy in its own way. Were it even simply a tale of coping with heartbreak and learning from life’s catastrophes, this would be a notable book. But there is an unexpected element that emerges from the prose that raises this novel to another level and makes it truly worth reading.

Amid the grief and wreckage of personal stories, June and Lydia’s stories gradually move to the narrative center. Each one is wracked with guilt and remorse for ill-thought-out actions that caused a loved one profound emotional pain and hurt. Faced with death of the loved one, they feel powerless to get past their feelings of worthlessness and shame. But as the story gradually unfolds and moves inexorably to its conclusion, each woman becomes more acutely aware of what she has done and is willing to accept responsibility. This self-knowledge culminates in a moment of genuine forgiveness and a sense of rebirth,

In the Jewish tradition, forgiveness for sins must be preceded by a verbal recognition of wrongdoing, regret for what has been done, and a public resolve to avoid doing the same thing again if the opportunity to sin presents itself in the future. But there is a wrinkle depending on the nature of the sin. If it is directed to God, confession and repentance are enough to wipe the slate clean. But for sins committed against people, confession and repentance alone are insufficient. True forgiveness and closure are not achieved until forgiveness is granted by the person who was injured. Did You Ever Have a Family? describes and captures this interpersonal healing process in lyrical prose. Moreover, the sense of rebirth that animates the climax of the novel recapitulates the Jewish notion that a person who achieves genuine repentance after committing a sin is a new person, completely different than the person who committed the crime.

There have been recent books like A Children’s Bible by Lydia Millet that create a storyline that incorporates biblical elements. Did you ever have a family?’ is different. The architecture of the novel and its human voices are unequivocally modern. But the deeper structure has a profoundly religious sensibility; it grapples with spiritual themes and ideas normally taken up in non-secular settings. The book is infused with a heartfelt intensity that is unusual in contemporary fiction. I’m sure the author would be gratified to know that his book has beautifully articulated the regenerative power of forgiveness in a manner that transcends the bounds of plain fiction.

Did You Ever Have a Family?
Bill Clegg
Reviewed by Howard Trachtman
Simon & Schuster, Inc
Published 2015
Paperback version, Scout Press, 2016, pp291
Web Photo by Norbert Buduczki