By Mary K. DeShazer
Girls were writing approximately melanoma for many years, yet because the early Nineteen Nineties, the physique of literature on melanoma has elevated exponentially as transforming into numbers of girls face the searing realities of the sickness and provides testimony to its ravages and revelations.Fractured Borders: studying Women's melanoma Literature surveys a variety of modern writing approximately breast, uterine, and ovarian melanoma, together with works by means of Marilyn Hacker, Margaret Edson, Carole Maso, Audre Lorde, Eve Sedgwick, Mahasweta Devi, Lucille Clifton, Alicia Ostriker, Jayne Anne Phillips, Terry Tempest Williams, and Jeanette Winterson, between many others. DeShazer's readings convey insights from physique conception, functionality thought, feminist literary feedback, French feminisms, and incapacity reviews to undergo on those works, shining new mild on a literary topic that's enticing increasingly more writers."An very important and important ebook that would entice humans in quite a few fields and walks of existence, together with students, academics, and somebody drawn to this subject."--Suzanne Poirier, college of Illinois at Chicago"A ebook on a well timed and significant subject, properly written past scholarly limitations and crossing many theoretical and disciplinary lines."--Patricia Moran, collage of California, Davis
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Additional resources for Fractured Borders: Reading Women's Cancer Literature
Example text
Still, the novelist's representation of the Princess's resistance to invasive technology reveals the protagonist's confident subjectivity; after all, it is not her leaky body that appalls her but the procedure that exacerbates the excessive bleeding. FRACTURED BORDERS If leaky cancerous bodies sometimes mortify the women who inhabit them, on what basis can Shildrick argue that "instability, multiplicity, the incalculable, and above all leakiness" constitute the core of a "postmod ern feminist ethic" ?
Life, it turns out, was not what it seemed. The present is not the imagined future it once was . . Given the demands of this new bod ily evidence, I found myself inventing stories about myself. . The body tells a new story and so demands a reinterpretation of recent life history" ( 5). In a series of jolting questions she acknowledges both the trauma of bodily betrayal and the potential for self-invention: "Can the self be reinvented to cope with the shock? What kind of person does not know they have cancer?
For Audre Lorde, who died of metastasized cancer in I992, the assumptions that underlie the dominant representation of postmastec tomy breasts in The First Look-that reconstruction is desirable, safe, economically viable, and liberating-would probably be troubling. Writing in The Cancer Journals in I 9 8o, when reconstructive surgeries often caused irreparable damage to women's breast tissue and sometimes produced serious infections or even new cancers, Lorde concludes that "when other one-breasted women hide behind the mask of prosthesis or the dangerous fantasy of reconstruction, I find little support in the broader female environment for my rej ection of what feels like a cos metic sham" ( I 6) .
