Tag: medical system

Still waiting for knee surgery

I am not known for my patience. And I’ve been preparing for my long-awaited knee replacement surgery for nearly three years.

I’ve acquired all the necessary post-surgical equipment: expensive ice and compression machine, bath transfer bench, walker, crutches, cane, toilet riser, reacher, long-handled shoehorn, high density cushion, a chair with arms. I attended all the prehab and pre-surgery webinars, got my SPARC parking pass, watched all the recommended surgical and how-to videos (several times each), made a list of what to bring to the hospital and rescheduled a host of medical appointments and personal commitments. I even arranged to “foster” some of my furniture out to friends to clear the way for my anticipated post-surgical walker/crutches. I had meetings with the surgeon, pre-admission nurses, anesthesiologist, physiotherapists and an occupational therapist. I was more prepared for my surgery than Eisenhower was for D-Day. I repeat, I am not a patient woman.

Staff at Oasis (Osteoarthritis Service Integration System) and ASAP (Arthritis Surgical Assessment Program) are my new BFFs. They told me about assistlist.ca, a website that lists used medical equipment for sale. I learned that the Red Cross Health Equipment Loan program has become stricter about who it lends to. It used to be that everyone got their equipment there. Since COVID, anyone who wants to borrow from there has to sign a waiver explicitly disclosing their need for assistance. Luckily, I don’t need their services.

I’m armed with more resources than I know what to do with, so it just makes sense to share them. There are lots of medical supply stores, but the ones who have the greatest variety are Lancaster Medical on West Broadway and Macdonald’s Prescriptions (in the Fairmont building). Best place to buy high-density cushions (and any kind of foam) is Discount Foam on Fraser Street near 33rd. Need an ice/compression machine? Go to the source: ProCare Medical Inc. Just FYI, the Polar Care Wave machine combines the ice therapy and the compression that targets not only swelling but also pain. Apparently, it’s a must-have for knee replacement surgery.

If you have an extended medical plan, check to see what they cover, because this equipment can be expensive. Also check if they cover a private or semi-private hospital room. And don’t forget to get a doctor’s note indicating that you need this equipment for a knee or hip replacement, and include this with your extended health claim. My health carrier insisted that I buy from an actual medical supply store (not, say, Facebook Marketplace) and that the receipt indicate the source, and that my name be on the receipt. You might want to buy your equipment secondhand to save some money, but just remember that your extended health won’t cover it.

I learned that a high-density cushion, which I’ll need post-surgery, is not a benefit covered by my health plan. I also learned that, after knee replacement, all seating must be two inches higher than the top of my knee. That includes the toilet, the bed, all chairs and couches, and the car seat. Seriously, the logistics of preparing one’s home (and car) before surgery seem never-ending. Like making sure that everything you need on a daily basis is within counter-height reach. No squatting to get toilet paper out from under the sink – unless you have a reacher. No going to restaurants without your high-density cushion. No bending over to put on your socks. The list goes on. And on.

To say that I was ready for surgery would be this century’s understatement. Then I got COVID.

Don’t ask me how. It’s one of the world’s great mysteries. I am vaccinated five times. After intense speculation, the only culprits I can point to are either the physiotherapist appointment I had (both of us wearing KN-95 masks) or an elevator (me masked, of course).

It was a Friday morning and I just thought my allergies were acting up. Or maybe I’d been mouth-breathing at night – slight sore throat, stuffy nose, tired, a bit of a dry cough and a headache. Minor stuff. Until I did a COVID rapid home test. I tested positive. I immediately called the urgent care clinic and got a PCR test, phoned my gastroenterologist and proactively got a prescription for the antiviral medication Paxlovid, and waited. Less than 24 hours later, when positivity was confirmed, I started on the medication and was better in five days. My surgery was scheduled for four weeks later – and this was a problem, as I will explain.

I want to make one thing clear. I do not blame my orthopedic surgeon or the anesthesiologist for my knee replacement surgery being postponed three times. I do blame COVID. I do blame miscommunication. And I definitely blame an over-burdened healthcare system. Primarily, the latter.

My husband and I have been crazy cautious and isolating like nobody’s business during the pandemic. The wild card is that I’m immunocompromised, so I’m at higher risk for any kind of infection. But nobody has been more careful than us. In fact, I’m pretty sure I spent more money on KN-95 facemasks, latex gloves and hand sanitizer in the past two-and-a-half years than I have on clothing. By a long shot. Until this point, we went nowhere, saw no one and did nothing. But, as COVID eased up a bit during the summer, so did we. But incrementally. Literally by centimetres. I met a few friends for dinner outside. We traveled to Victoria for four days. Wild and crazy stuff by all accounts.

Having just been told for the third time that my surgery would be postponed, I was devastated. It had to do with a seven-week waiting period post-COVID before getting an anesthetic or surgery, because of the risk of blood clots and pneumonia. Immunocompromised … blah, blah, blah.

All this is to say that I should have listened to a wise woman long ago, who advised that I “get comfortable with uncertainty.” Umm, OK. How exactly do I do that? Apparently, you breathe. And wait. And breathe. And practise mindful meditation. Maybe get a little anxious. Breathe some more. Meditate. Eat. Maybe get a bit more anxious. Breathe. Wait some more. I’m now an expert breather.

The only thing that helps me is holding firm to my belief that nothing happens by accident. Everything happens for a reason. Usually one to which I am not privy. But still. Enter faith and trust – stage right, stage left, stage centre. That’s really my only life raft. Luckily, it’s sturdy and solid and mine for the taking. Anytime, anywhere. Now that’s what I need to practise. Oh yeah, and breathing. Meanwhile, I’ll continue cooking and eating. Stay tuned.

Shelley Civkin, aka the Accidental Balabusta, is a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review. She’s currently a freelance writer and volunteer.

The journey to healing

Katherine Matlashewski is creator, performer and co-producer of Disclosure, which “explores the struggles of a survivor searching for pathways toward healing in an adversarial medical system.” (photo from Disclosure Productions)

“Disclosure was inspired by a true story that focuses on the process of healing,” explained Katherine Matlashewski, creator, performer and co-producer of the production that will see several performances during the Vancouver Fringe Festival, Sept. 8-18.

“The way in which trauma affects the mind and body is complex and unique to each individual,” Matlashewski told the Independent. “Through movement, spoken word, soundscape and humour, Disclosure explores the struggles of a survivor searching for pathways toward healing in an adversarial medical system.”

An interdisciplinary artist, Matlashewski is a graduate of Studio 58. She has trained with Arts Umbrella and the Arts Club, and has performed with several companies, including Theatre Replacement, Metro Theatre, Stage 43 and Royal City Musical Theatre. The award-winning theatre artist is an instructor at Carousel Theatre for Young People and Arts Umbrella.

“Prior to attending Studio 58,” she said, “my training was based in movement and musical theatre. In musical theatre, when a character does not have the words to express themselves, they sing. When singing is not enough, they dance. I do not always have the words to describe how I am feeling, so I naturally turn to creating interdisciplinary works. While I was developing Disclosure, I realized that combining multiple disciplines could be utilized to convey what could not be communicated through text.”

Every Fringe performance of Disclosure will include a 10-minute post-show discussion facilitated by a representative from WAVAW Rape Crisis Centre.

The first iteration of the one-person show was presented at Studio 58 as part of Matlashewski’s graduation solo performance this past spring. “With the hopes of expanding Disclosure to a wider audience,” she said, “I applied for the 2022 Vancouver Fringe Festival. After my performance at Studio 58, I was approached by director Jane Heyman about developing my show further. After being selected as a Vancouver Fringe Festival lottery finalist, I reached out to Jane about directing the show for the Fringe and I was overjoyed when she accepted! I then began building a creative team of local emerging and early career artists.”

Heyman is also a member of the Jewish community, and she was already attached to the production when creative producer Natasha Zacher came on board.

“Katherine and I connected in May 2022, after Disclosure was accepted into the Vancouver Fringe Festival,” said Zacher. “However, we have known each other for a few years, since working alongside each other on a (very!) different Vancouver Fringe Festival show in 2015. Katherine reached my way as she knew a good deal about my professional journey, integrating work as an independent theatre-maker and a mental health clinician. We reconnected quickly on the premise and hopes for the production, and I was very glad to join the team.”

As a producer, Zacher said, “My primary focuses are on seeking funding for the show (grants, sponsorships, donations), creating and managing our budget, coordinating timelines for marketing and promotions initiatives for the show … contracting artists, liaising with the Vancouver Fringe team regarding production needs and, recently, developing and facilitating COVID-19 safety plans.”

Given the nature of the production, there are additional safety plans.

“It is important to take the time to create a safe, inclusive and accessible rehearsal and performance space,” said Matlashewski. “Part of my artistic practice is to create a ‘room agreement.’ This is a living document, written by the artists involved in the production. In our room agreement, we include boundaries and guidelines about how we will communicate and conduct ourselves in the rehearsal process. Something I value is taking the time to include a check in and out at the beginning and end of each rehearsal day.

“In addition,” she said, “to promote self-care, the artistic team has decided to stagger rehearsals, and also observe Shabbat by not rehearsing on Fridays.”

The seriousness of the material does not mean Disclosure is devoid of lighter moments.

“There are many ways to heal from trauma. Humour is one of them!” Matlashewski said. “Having witnessed and experienced generational trauma, I have come to understand that humour can help create distance from a difficult incident. In addition, sometimes humour is more palatable for an audience. For me, the journey to healing is like a rollercoaster. It is not linear in any way. Even in the most challenging of times, humour can facilitate healing.”

Disclosure will be presented at the NEST on Granville Island during the Fringe Festival. For anyone wanting to support the show, there is a GoFundMe campaign. “Funds raised will go directly to production costs and compensating the artists involved for their time, energy and expertise,” said Matlashewski.

Other ways to support the production include buying tickets to one of the shows (vancouverfringe.com/festival/disclosure), sharing the GoFundMe page link (gofund.me/43a8ae0d) with friends and following the production on Instagram (@disclosure.production).

“I am looking forward to seeing how the audience responds to the performance,” said Zacher. “I don’t have any expectations, and want to walk into the experience of getting the show on stage as an open book. I hope the audience feels empowered to take with them whatever supports them to feel seen and heard.”