By Mary K. DeShazer
Whereas breast melanoma keeps to impact the lives of hundreds of thousands, modern writers and artists have replied to the ravages of the disorder in inventive expression. Mary ok. DeShazer’s ebook appears to be like particularly at breast melanoma memoirs and photographic narratives, a class she refers to as mammographies, signifying either the imaging expertise during which such a lot Western ladies become aware of they've got this affliction and the documentary imperatives that force their written and visible money owed of it. Mammographies argues that breast melanoma narratives of the previous ten years fluctuate from their predecessors of their daring deal with of formerly ignored issues resembling the hyperlink among melanoma and environmental cancer causing agents, the ethics and efficacy of genetic checking out and prophylactic mastectomy, and the moving politics of prosthesis and reconstruction.
Mammographies is precise between stories of latest disorder narratives in its specific concentrate on breast melanoma, its research of either memoirs and photographic texts, its consciousness to hybrid and collaborative narratives, and its emphasis on ecological, genetic, transnational, queer, and anti-pink discourses. DeShazer’s methodology—best characterised as literary serious, feminist, and interdisciplinary—includes particular interpretation of the narrative suggestions, thematic contours, and visible imagery of a variety of modern breast melanoma memoirs and photographic anthologies. the writer explores the ways that the narratives represent a particular testimonial and memorial culture, a declare supported by means of shut readings and theoretical research that demonstrates how those narratives query hegemonic cultural discourses, empower reader-viewers as empathic witnesses, and supply communal websites for mourning, resisting, and remembering.
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Extra resources for Mammographies: The Cultural Discourses of Breast Cancer Narratives
Although autothanatography might initially seem to be a subgenre of illness narratives, all memoirs and photographs are haunted by mortality. Susanna Egan, a feminist theorist of autothanatography, makes this point in Mirror Talk: Genres of Crisis in Contemporary Autobiography: “The spectre of death hovers over all autobiography, usually unnamed, providing serious impetus to the activity of setting the record straight, clearing old scores, avoiding misinterpretation, taking control of the absolutely uncontrollable— the ‘end of the story’” (196).
Avrahami notes in The Invading Body that reading or viewing an illness photo-narrative involves a collaborative process whereby cultural discourses intersect with a narrator’s recollected representations of her corporeal experience to produce a contract between the autobiographi- Postmillennial Breast Cancer Photo-narratives 39 cal subject, discursive and provisional, and the reader-witness, who responds with some degree of “moral and rhetorical complicity” (20). The Summer of Her Baldness and Lynn Front to Back illustrate this ethical imperative well.
Thus Lord subtly disrupts any facile desire on the part of viewers for a restitutive narrative from baldness to hair restoration. The photographs that precede each chapter of The Summer of Her Baldness inscribe hospital treatment rooms and corridors as alienating Postmillennial Breast Cancer Photo-narratives 25 Untitled (detail). Courtesy of Catherine Lord. technologized landscapes, occasionally mediated by a vase of flowers or a nurse’s desk covered with computers, calendars, and framed family photographs.
Mammographies: The Cultural Discourses of Breast Cancer Narratives by Mary K. DeShazer