Death Comes In Her
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If they linger too long, if they want to see one more spring with flowering apple trees, and subsequently slip into a deeper dementia, the opportunity for an early death will have passed. The only thing left will the long detour to the grave. Since , roughly , Dutch people with dementia have died. Tens of thousands of them stated their wish in an advance euthanasia directive. During the first few years after the euthanasia law took effect, not a single patient with severe dementia died the dignified death that they had hoped for.
That was what happened to Joop, whose doctor helped him die on 8 May last year. O n a Monday evening in February , 1. In the documentary, we see Hannie just before her euthanasia.
At one point, someone asks her whether she truly realises what is about to happen. On screen, Hannie Goudriaan is a woman of advanced age with thin, short gray hair, a surprised look and thin, tightly closed lips. He puts his arms around her, his head on her shoulder — as if he is looking for her to comfort him.
Hannie lets it happen. Her husband holds her. From the drip needle attached to her left hand, a transparent tube is connected to the syringe that the doctor is holding. Then the doctor injects the fluid into the vein. Hannie Goudriaan had known where things were headed. Years earlier she had written a will, which stated that she wanted to die as soon as she was no longer able to communicate properly. Her personal doctor considered her wish for a while, but felt he could not be certain that she wanted to die.
The clinic is where people can turn to when their doctor refuses to help them. However, the clinic does not guarantee that it will be able to grant a death wish. Its physicians will consider the same question, which is: can this be done within the law? The doctor who helped Hannie to die, in , a year before the documentary was broadcast, is Remco Verwer.click
The Angel of Death
He read her will and spoke to her case manager before conducting seven conversations with her. And yet many viewers were stunned by what they saw on TV. A day later he repeated the raw accusation on De Wereld Draait Door, one of the most-watched primetime shows on Dutch television, while Verwer sat across from him and tried to explain that Lamme had only seen what he wanted to see.
The documentary, which had aimed to show the reality of the End of Life Clinic, also revealed another truth. We are comfortable talking about our own deaths, but when it comes to the deaths of other people, we feel differently. Apparently, the death of a loved one is far more frightening to us than our own mortality. O ne Sunday last year, I ask my wife to join me in the garden, underneath the old apple tree. Finally, we discuss what lies ahead of us.
I know. Or the other way around. That you would have to push me. There is simply no getting away from that.
The stupid suffering. I will slowly become disabled — but I think I can live with that. Have I already forgotten what that nursing home was like? I thought I wanted to stay a step ahead, to die in the early stage of dementia. I just had to find the courage to ask.
What do we know about death? Death is nothing. We will never have a clue about it. How could I possibly be afraid of it? There is no reason to be.
Death Comes for the Archbishop - Wikipedia
Why are we so obsessed with the idea that we must stay in control? For whom? I take a deep breath. My death will only ever mean something to those I leave behind. Just let me go under, slowly drift off, past the point of nothingness, the point of no return. And then I explain to her, carefully searching for the right words, that I still believe in the right of self-determination.
But in our desire to maintain self-control — a tragic and lonely desire — we sometimes forget about the others. I understand now that no one dies alone, that there are always those left behind who have to deal with that. And that gives us the moral obligation to live on.
The handsome scribe Kameni has fallen in love with Renisenb, and eventually asks her to marry him. Unsure whether she loves him or her father's advisor Hori, whom she has known since she was a child, she leaves the choice effectively in her father's hands and becomes engaged to Kameni. She realises, however, that his relationship with Nofret was closer than she had supposed, and that jealousy may have influenced Nofret's bitter hatred towards the family.
Hori and Esa, the elderly mother of Imhotep a clever woman who although almost completely blind sees things clearer than most others - especially her son begin to investigate the possibility of a human murderer. Ipy, himself a likely suspect, starts to boast about his new, better position with his father; he plots to get rid of housekeeper Henet and tells her so.
The next morning, Ipy is found dead in the lake, drowned. The field of suspects has been further narrowed. Esa attempts to flush out the murderer by dropping a hint about the death of Satipy, but is herself murdered by means of poisoned unguent , despite the presence of a food taster. Henet - who knows the murderer's identity and is momentarily powerful amid the chaos - is smothered by the linens used to wrap the ever-increasing number of victims.
On the same cliff path where Nofret and Satipy died, Renisenb, apparently summoned by Hori, hears footsteps behind her and turns to see Yahmose.
She then sees the look of murderous hatred in her brother's eyes that the other women saw before they were killed. On the brink of her own death, she realises that Satipy was not looking in fear at anything beyond Yahmose — she was looking straight at him. He had consumed a non-lethal dose of poison and pretended to recuperate while committing murders, both to make himself chief heir and to indulge his newfound love of violence. As Renisenb realises some of this, Hori slays Yahmose with an arrow and saves her. Hori explains all. Renisenb's final choice is whom to marry: Kameni, a lively husband not unlike her first, or Hori, an older and more enigmatic figure.
She makes her choice and falls into Hori's arms. Maurice Willson Disher said in The Times Literary Supplement of 28 April that, "When a specialist acquires unerring skill there is a temptation to find tasks that are exceptionally difficult. They are painted delicately.
The household of the priest, who is depicted not as a sacred personage, but as a humdrum landowner, makes an instant appeal because its members are human. But while the author's skill can cause a stir over the death of an old woman some thousands of years ago, that length of time lessens curiosity concerning why or how she and others died. Maurice Richardson, a self-proclaimed admirer of Christie, wrote in the 8 April issue of The Observer , "One of the best weeks of the war for crime fiction.
And it really is startlingly new, with its ancient Egyptian setting in the country household of a mortuary priest who overstrains his already tense family by bringing home an ultra-tough live in concubine from Memphis.