Word: hurewitz
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...death of Mike Hurewitz, after donating half his liver to his brother, raises a question: Does the relative of a dying family member feel pressure to become a living donor [MEDICINE, Jan. 28]? You had better believe it! And the pressure isn't at all subtle; it's called love. My son needs a liver, and if mine could save his life, the odds on my survival wouldn't matter to me. What, exactly, is unethical about being allowed to take such a risk? Don't fire fighters, cops and soldiers risk their lives every day to save people they...
Mike and Adam Hurewitz grew up together on Long Island, in the suburbs of New York City. They were very close, even for brothers. So when Adam's liver started failing, Mike offered to give him half of his. The operation saved Adam's life. But Mike, who went into the hospital in seemingly excellent health, developed a complication--perhaps a blood clot--and died last week...
...Mike Hurewitz's death has prompted a lot of soul searching in the transplant community. Was it a tragic fluke or a sign that transplant surgery has reached some kind of ethical limit? The Mount Sinai Medical Center, the New York City hospital where the complex double operation was performed, has put on hold its adult living-donor liver-transplant program, pending a review of Hurewitz's death. Mount Sinai has performed about 100 such operations in the past three years...
Miss Julie is a long one-act play revolving around a single crisis. During the festival of Midsummer Eve, when rules of social interaction are gleefully abandoned, the count's daughter Miss Julie (Patricia Goldman) flirts brazenly with her father's valet, Jean (Daniel Hurewitz), in front of Jean's fiancee, the cook Christine (Martha Lane Moore). It is not clear who is seducing whom, but Julie and Jean soon overcome their inhibitions, and when Christine falls asleep, the two find an excuse to flee to the bedroom. Immediately after, they realize that the ensuing scandal could destroy them both...
...evening watching two unappealing characters engage in a verbal slugfest? As in the plays of Tennessee Williams and Edward Albee (two acknowledged Strindberg emulators), the reason is that the struggle takes on an almost metaphysical significance--provided that the actors are in fighting shape. Fortunately, both Goldman and Hurewitz can cut the mustard, and they attack their roles (and each other) with relish...