Kates Story

Each of these wards had its own challenges people with massive head injuries, people with permanent tracheotomies, and young people at the start of their lives now destined to live out their days in nursing homes. Looking after people in the 

What Kate took away most of aU from her experience in the road trauma unit is a sense that life is fickle it can be switched on and it can be switched off in the blink of an eye. And for all the young people that were wheeled through those doors covered in tubes and wires, they will never realise their dreams or become the people they imagined. 

When a call comes in and Kate knows she has to respond to a major crash scene, she has an overwhelming sense of trepidation. Many things run through her mind What steps will 1 take when I get there How many patients will there be Will the 

Eliminating Serious Injury and Death from Road Transport 

Kate muses that we, as humans, are eternal optimists. It takes a long time for a family to come to a true understanding that someone we love is gone, or that they are 

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Kate Chopin was a nineteenth-century American writer whose stories appeared in such magazines as The Atlantic Monthly, Century, and Saturday Evening Post. She published two collections of short stories and two novels one of her novels, The Awakening (1899), was considered so shocking in its story of a married woman who desired a life of her own that it was removed from some library shelves. The Story of an Hour was first published in 1894. 

In Kate Chopin s 1894 story "The Story of an Hour" a young wife grieves over news of her husband s accidental death but soon discovers herself elated at the prospect of a life under her own control. The story ends tragically when the husband s sudden reappearance causes her weak heart to fail—not from joy—but from the devastating realization that her newfound freedom is lost. To help readers understand Mrs. Mallard s all-too-brief transformation to a hopeful "free" woman, Chopin contrasts images of illness and lifelessness with positive images of vitality and victory. 

Biographer John Pearson (The Life of Ian Fleming, 1966) discovers that Janies Bond is a real person. After sifting through much red tape, he finally meets the semi-retired Bond, who tells him his life story. [Note Kate Westbrook (2005) claims that James Bond was a made-up name. This fact may have been suppressed for seciuity reasons.]... 

When we think of victims of road trauma, we tend to think of people like Jan and Noel, or Sam, or Abbey, people who (as we saw in Chapter 2) have been injured in crashes and who bear the physical and mental scars of their trauma. What we tend to overlook is that many more people are affected by each and every crash. In addition to family and friends, there are the unsung people who respond to road crashes, who are tasked with the job of telling parents that their child will never come home, or who try in vain to keep someone alive despite horrific injuries. For many emergency service personnel, despite it being part of the daily routine in their working life, they are deeply affected. Here are Richard and Kate s stories. 

Apart from telling deeply moving personal stories at each and every public opportunity, we must combat the blame the victim mindset. This can best be done by using the personal stories of blameless victims like Noel, Sam, and Abbey and the frontline folk like Richard and Kate. We must work with the media to ensure coverage of these cases, particularly the follow-up describing the long-term impacts. We must emphasise the personal impacts of the road trauma. 

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