Literature and Medicine II

Works Cited

Ahmed, Sara. Strange Encounters: Embodied Others in Post-Coloniality. London: Routledge, 2000.

Bell, Susan E. “Living with Breast Cancer in Text and Image: Making Art to Make Sense.” Qualitative Research in Psychology 3 (2006): 31-44.

Broyard, Anatole. Intoxicated by My Illness and Other Writings on Life and Death. New York: Fawcett Columbine, 1992.

Bury, Stephen. Artists’ Books: The Book as a Work of Art, 1963-1995. Aldershot: Scolar Press, 1995.

Campo, Rafael. The Desire to Heal: A Doctor’s Education in Empathy, Identity, and Poetry. New York: Norton, 1997.

---. What the Body Told. Durham: Duke UP, 1996.

Carrión, Ulises. “The New Art of Making Books.” Artists’ Books: A Critical Anthology and Sourcebook. Ed. Joan Lyons. Rochester, NY: Visual Studies Workshop Press Layton, 1985. 31-43.

Deshazer, Mary K. Fractured Borders: Reading Women’s Cancer Literature. Ann Arbor: U of Michigan P, 2005.

Diedrich, Lisa. Treatments: Language, Politics, and the Culture of Illness. Minneapolis: U of Minnesota P, 2007.

Drucker, Johanna. Figuring the Word: Essays on Books, Writing, and Visual Poetics. New York: Granary Books, 1998.

---. “The Artist’s Book as Idea and Form.” The Century of Artist’s Books. 1995. Granary Books. 15 May 2009 http://www.granarybooks.com/books/drucker2/ drucker2.html.

---. “Artists’ Books and the Cultural Status of the Book.” Journal of Communication 44. 1 (Winter 1994): 12-42.

Ehrenreich, Barbara. “Welcome to Cancerland.” Harper’s (Nov. 2001): 43–53.

Frank, W. Arthur. The Renewal of Generosity: Illness, Medicine, and How to Live. Chicago: U of Chicago P, 2004.

Hall, Martha A. Holding In, Holding On. Catalogue to accompany exhibition, Mortimer Rare Book Room, Smith College, Herlin Press, 2003.

---. I Make Books. Dir. Hollis Haywood and Kari Wagner. University of New England Media Services Department, 2003.

Higgins, Dick. “A Preface.” Artists’ Books: A Critical Anthology and Sourcebook. Ed. Joan Lyons. Rochester, NY: Visual Studies Workshop Press Layton, 1985. 11-12.

Hubert, Renée Riese, and Judd D. Hubert. The Cutting Edge of Reading: Artists’ Books. New York: Granary Books, 1999.

Lippard, Lucy R. “Conspicuous Consumption: New Artists’ Books.” Artists’ Books: A Critical Anthology and Sourcebook. Ed. Joan Lyons. Rochester, NY: Visual Studies Workshop Press Layton, 1985. 49-57.

McCarney, Scott L. “Artist’s Statement.” Memory Loss. Queensland Digital Library, 15 May 2009 http://www.slq.qld.gov.au/coll/austart/ab.

Miller, Nancy K. “Reviewing Eve.” Regarding Sedgwick: Essays on Queer Culture and Critical Theory. Ed. Stephen M. Barber and David L. Clark. New York: Routledge, 2002. 217-25.

Mitchell, Breon. “The Secret Life of the Book: The Livre d’ artiste and the Act of Reading.” Conjunctions: Verbal-Visual Relations. Ed. Laurie Edson. San Diego: San Diego UP, 1996. 161-67.

Oliver, Kelly. Witnessing: Beyond Recognition. Minneapolis: University of Minnesota Press, 2001.

Plesch, Véronique. “From Image to Word: The Books of Lucie Lambert.” Orientations: Space/Time/Image/Word. Word & Image Interactions 5. Ed. Claus Clüver, Véronique Plesch, and Leo Hoek. Amsterdam: Rodopi, 2005. 215-28.

Radley, Alan, and Susan E. Bell. “Artworks, Collective Experience and Claims for Social Justice: The Case of Women Living with Breast Cancer.” Sociology of Health & Illness 29.3 (2007): 366-90.

Rice, Shelley. “Artists’ Books as Visual Literature.” Artists’ Books: A Critical Anthology and Sourcebook. Ed. Joan Lyons. Rochester, NY: Visual Studies Workshop Press Layton, 1985. 59-85.

Rimmon-Kenan, Shlomith. “What Can Narrative Theory Learn from Illness Narratives?” Literature and Medicine 25.2 (Fall 2006): 241-54.

Scannell, Kate. Death of the Good Doctor: Lessons from the Heart of the AIDS Epidemic. San Francisco, CA: Cleis Press, 1999.

 

Tanner, Laura E. Lost Bodies: Inhabiting the Borders of Life and Death. Ithaca and London: Cornell UP, 2006.

 

Notes

• 1) Images of Hall’s books can be seen at http://www.smith.edu/news/2004-05/MarthaHall.html.
• 2) All pages of quoted excerpts from Hall’s books, Hall’s artist’s statement, and Letha E. Mills’ foreword refer to the exhibition catalogue Holding In, Holding On (2003).
• 3) See Hubert and Hubert for examples of artists’ books that have been used in this way, particularly pages 123-47.
• 4) A recent book on five genres of cancer literature by women is Deshazer’s Fractured Borders.
• 5) Information on the “Martha A. Hall Collection, 1998-2003” at the University of New England can be found at http://www.une.edu/mwwc/research/hallm.asp. I am grateful to Cully Gurley, curator of Maine Women Writers Collection, for her help and for giving me permission to use the film I Make Books in my research.
• 6) Other artists’ books by women explore bodily emissions and traces left by the body. The most well known, perhaps, is Emissions (1992), a collaboration between Susan Johanknecht and Katharine Meynell.
• 7) The fact that Hall does not deal with the invisibilities which, for instance, Audre Lorde, a black, lesbian woman with breast cancer addresses in The Cancer Journals (1980), is inevitable given the position from which she speaks: that of a middle-class white heterosexual woman, who has better access to health care and treatment than, for example, women from poor backgrounds.
• 8) Stephen Bury suggests that one of the reasons why artists’ books are particularly attractive to women is because these systems are still male-dominated (22).