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someone writing on a notepad with a stetescope in front of them
Most doctors have discovered computers, but some still depend on people being able to read their handwriting. (Image: Getty Images)

SocietyJanuary 12, 2019

Inventing illness? What it’s like when your GP won’t believe you’re in pain

someone writing on a notepad with a stetescope in front of them
Most doctors have discovered computers, but some still depend on people being able to read their handwriting. (Image: Getty Images)

Hannah Gibson has been living with chronic illness for most of her life. So why does she still struggle to get medical professionals to take her condition seriously?

Before I found my current GP, I always had the urge to censor myself went I went to the doctor. To make my story palatable, less daunting. To put the doctor at ease. This was the result of 22 years of learning the culture of biomedicine, gaining an understanding of the kinds of illness or presentation of symptoms many doctors (note, not all) prefer to hear about. I don’t make up symptoms; any time I have come to a doctor’s door I have genuinely needed help. Which makes it all the more painful when a doctor’s eyes glaze over as they mentally clock out, wishing they had a different version of sickness in front of them. I can see when they get excited at the prospect of seeing something unique, and I even see their frustration when they can’t diagnose me easily.

I think my shame around medical professionals began in a doctor’s office at age 10, where I went for help for the severe fatigue, pain, migraines, constant nausea and vision impairment – among other things – that I was experiencing. I always blame my need to say ‘sorry’ on being Scottish, on being brought up by an Irish Catholic family. ‘I was born feeling shame,’ I joke to friends. But I think it began in that doctor’s office. After testing for things that I did not have, he told me if I just ‘pulled my socks up’ I’d be fine. I genuinely felt incredibly ill and my mother, a nurse, was concerned. I just sat there, confused and feeling like I should apologise for taking up the doctor’s time with my complaints.

I have medical conditions that are identifiable by Western scientific testing measures. And I appreciate the influence these tests have (or perhaps I’m infuriated – there’s a thin line between love and hate) more than other people because I also have medical conditions that do not fit into nicely square boxes that can be labelled ‘simple’, or even ‘legitimate’.

I call a ‘condition of legitimacy’ one which is treated as if the complaint is not the patient’s fault. When you present with a condition of legitimacy there’s more empathy, more recognition, more respect.

The opposite happens when a doctor is presented with a condition that is not common or easily figured out, or has yet to have scientific explanations (think of all the conditions that have only become legitimised relatively recently, once they were identified – like multiple sclerosis or epilepsy). Too often, the problem is treated as if it is the patient’s fault. At first attempts might be made to find the cause or provide relief, but if the patient does not respond – or is termed ‘a mystery’– the medical profession’s interest levels tend to lessen.

Recently there has been a jump in stories of New Zealanders with complex chronic conditions like Ehlers-Dahnos, fibromyalgia, chronic fatigue syndrome/ME and endometriosis who are being treated like their symptoms are fictitious. The word ‘psychosomatic’ is bandied around, a triumphant cry that doctors use when they mistake a complex case as something that is ‘an invention’, ‘attention-seeking’ or ‘laziness’, simply because it doesn’t fit into the neat categories that biomedicine holds so dear. I know doctors want to be able to diagnose problems, but I worry that too often when things are challenging they brush people off.

But calling someone living with chronic fatigue syndrome, fibromyalgia, dysautonomia, and other complex conditions ‘inventive’ or ‘factitious’ doesn’t actually make the problem go away. The pain stays; the fatigue too. And the frustration and feeling of being utterly alone increases, because many of us are brought up to believe in our doctors. I know it’s a big ask – but please, doctors, treat our suffering with more respect.

Trust me, there is little worse than sitting in a space where others devalue your experience and suffering. For Māori, the value of an experience is judged differently to that of Pākehā. I count myself lucky that I am not Māori and dealing with disability. Older people are sometimes trusted less because of their age. There are countless women  – both friends and those I’ve met in my research – who have been belittled when they go to the doctor with abdominal pain. And as for those who live with mental illness, we read of so many people falling through the cracks.

I know there are amazing doctors out there. Some of them listen, and are dedicated to trying to figure out what is wrong. And when they can’t, they keep going. They empathise. They care. And it is these moments that have the power to make patients feel heard and valued. For me, being heard – really heard – has had as much of a positive impact on me as getting the actual diagnoses. I know this because the times when some specialist has made particularly distressing comments that belittle me or my body, I have struggled with feeling unworthy of medical care.

If I could speak directly to all doctors, I’d beg them: Please see each patient as a human being who is there for your help, who might be suffering – and understand that what you say will impact on whether they come back, whether they tell their family to come back. Don’t think about the colour of someone’s skin before you even ask what their ailment is. Don’t look at a long list of symptoms as something suspicious or too difficult to address. Don’t dismiss older patients who require your attention and respect. Be the point in a person’s journey where they are cared for and valued, regardless of the symptoms you are presented with.

Yes doctors are most likely overworked. Yes they probably have too much paperwork. Yes, it’s bloody challenging. But doctors choose this profession, and are in a privileged position – I want them to be empathetic rather than superior. And when they don’t know something, I want them to be honest and seek the answer.

Medical professionals would do well to realise that patients are trying to take control of their health journeys. They want to know more about their bodies and what it means – so, doctors, if it seems like a patient knows too much about their problem, please don’t belittle them. Knowledge is not just there for you to share.

And if you are one of the good doctors, thank you. But you need to help to effect change too. By working with other doctors, specialists, nurses and counsellors, you can encourage the medical profession to move forward, becoming a better ally for patients – no matter their symptoms.

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AucklandJanuary 11, 2019

The Spinoff Reviews New Zealand #79: How good is Aladdin?!

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We review the entire country and culture of New Zealand, one thing at a time. Today, the glitzy premiere of Aladdin at Auckland’s Civic Theatre. 

Sam Brooks, culture editor

The musical Aladdin fixes the main problem with the film Aladdin: not enough Genie.

What’s even better is that it does it right from the top. The first thing we see isn’t a flying carpet or even the title character, it’s a comedic monologue from Genie, followed up by a new, improved, considerably less racist version of ‘Arabian Nights’, lead by Genie himself. People love Aladdin for two reasons: ‘A Whole New World’ (which I, personally, unpopularly, think is a slack-jawed, immobile dump of a ballad) and Genie, who is to Aladdin what the Emcee is to Cabaret.

It’s the right choice, but it’s not an easy thing to put on whoever has to play the harem-panted, no-haired mystical creature. It’s hard enough being in the shadow of Robin Williams’ Genie, which is rightly one of the most acclaimed voice performances of all time, but the musical adds a second, arguably more challenging, level of difficulty: it’s a really, really, demanding role, by far the hardest one in the show. There’s a seven minute extended version of ‘Friend Like Me’ and there’s a lot of choreography and laugh lines.

Whoever does this has to do all of it while giving the audience enough of the Genie they paid to see, while doing enough new things so that it doesn’t read like a scanned-and-photocopied version of Robin Williams’ performance. It’s essentially the Lear or the Blanche DuBois of modern musical theatre – if you can even do the thing, you’re a winner. Which is a long walk to get to this point: Gareth Jacob absolutely kills it as Genie. He’s doing everything that the role requires, all while layering some subtle queerness and hurt into the rare moments of quiet that Aladdin has. Buy it, take two wines into the show, laugh your ass off at him.

They might as well rename the show Genie, honestly.

(Oh also, someone around my seat, and definitely not me, had some wet eyes during ‘Proud of Your Boy’, by far the best new song of the show that someone around my bank account purchased on iTunes immediately upon getting home.)

Alex Casey, staff writer

Unbeeliieeeeeevable siiiiiiiiiiiights (Suzanne Paul, Colin Mathura-Jeffree) and indescribable feeeeeeeeeeeeeelings (gasping at a confetti explosion because I thought it was a bomb), the opulent premiere of Aladdin was truly one of the most exciting nights of my life. I can’t stress enough how no single part of this show is anything less than spectacular – apart from the fact that it ends and you have to crawl home to your non-twinkly life where NOBODY seems to know the verses of ‘Prince Ali’. It’s a hard gig singing both parts of ‘A Whole New World’, but needs must when your partner refuses to don harem pants and take on the role of Aladdin.

The glittering sets are phenomenal, the Genie is a comedy icon and Jafar is weirdly scary yet hot? Even the bloody CURTAIN is enchanted (changes colour), and I genuinely believe the entire show contains more magic than your average Spark Arena outing with Dynamo. Put it this way, I’ve spent a lot of time this morning on weird Broadway Reddit trying to figure out how they did all the things that made me want to hurl with childlike wonder. The only logical conclusion I can make after seeing Aladdin is that magic is real. If you don’t want to pay to see that, then I can do nothing for you.

Don Rowe, staff writer

I don’t know much about the theatre and I don’t pretend to – but neither do kids. With that in mind, I’m confident in putting my name to the fact that Aladdin objectively kicks ass and is indeed fun for the whole family. While there may not be a real live monkey in a hat, there’s just about everything else. The costumes are incredible, the sets surprisingly intricate, and the GENIE BY CHRIST THE GENIE. I’ve read a few Twitter threads about how seeing cartoon Jafar tie up cartoon Jasmin sparked more than a few people’s interest in kink, and in the light of day I can state that after last night I might be into sequins now.

Shave my head and paint me gold, I’m moving to Agrabah.