Poetry and medicine have long been intimately linked. William Carlos Williams noted in a worn prescription pad that the ‘use of poetry is to vivify’. Poetry has a history of being used to define life in ways that medical language sometimes cannot. This chapter traces the intersection of poetry and medicine through the figure of the physician-poet, specifically in the eighteenth century. It explores how poetry has been used to question what medical theories mean for broader philosophical questions about the human body and the self. Through poetic works by Sir Richard Blackmore, Samuel Garth, John Arbuthnot, and John Armstrong, this chapter places Williams’s note on poetry’s vivifying quality in the history of physicians using poetry to explore and define aspects of life within the human body.

My hypothesis is that the beginning of the twenty-first century marked the emergence of a ’therapeutic’ way of writing and reading. Literature is viewed as a way of bringing literature and medicine closer together and extending a more general view on literary forms of attention and the ethics of care. With the example of French and Francophone literature, I suggest a relational turn defines the contemporary literature: literature is considered as a relationship – between the author and herself, between the author and her relatives, between the author and her readers, and between the readers themselves. Literature is a means of producing awareness and attention, that is to say, to point out, to make visible, to give importance to people or to situations that society and the economy do not make visible or invisible.

Focusing on illness narratives, this chapter analyses how patient-writers use language to translate the corporeal experience of illness and, in the process, how they express what it means to be ill. In line with the conceptual aims of the critical medical humanities, it does not simply examine the ways in which writing about illness serves as a response to the silencing effect a moment of diagnosis can produce; rather, it analyses the ways in which language is mobilized to communicate the embodied experience of being a patient. The chapter asks how writing about illness in pathographies allows patients to resist ceding control of their experience to the dominance of medical jargon, before analysing the extent to which reading narratives of illness can help patients to understand, and in turn find a linguistic framework to articulate, what it means to be ill.

This chapter examines how Bengali authors of the late nineteenth and early twentieth centuries use the mosquito to experiment with scale in fiction and poetry. Authors such as Rabindranāth Tagore, Trailokyanāth Mukhopadhyay, Annadāshankar Ray, and Tārāshankar Bandyopadhyāy question both Western medical perception and Western concepts of literary realism by stressing how malaria and mosquitoes escape neat categorizations of meaning. Furthermore, the mosquito in works of poetry and fantasy also shows the interconnection of medical, political, and environmental issues. This chapter uses postcolonial criticism, medical history, and methods drawn from the Health Humanities in order to engage the poetics and politics of Bengali literary interpretations of malaria. By so doing, it stresses the importance of non-Western perspectives to the study of literature and medicine, suggesting that scholarship engage the multiple medical value systems as well as literary traditions that reinterpret and subvert Western tenets of scientific thought.

This chapter examines the representation of illness and impairment in various works of fiction, poetry, and memoir to demonstrate the creative possibilities of disability. Where literary uses of disability have historically been thought to denote suffering, corruption, social failure, or inspirational and redemptive lessons aimed at non-disabled readers, recent scholarship has explored disability’s generative relation to structures of plot and to poetics as well as its epistemological effects, constituting new forms of knowledge. The chapter spotlights three texts that explicitly challenge tropes of deviance and lack and foreground bodymind anomalousness as the source of creative expression and knowing.

Focusing on Maylis de Kerangal’s 2014 novel, The Heart, this chapter explores the bioethical, temporal, and narrative implications of the reinvention of death as brain death and of the consequent development of organ transplantation therapies.

For nineteenth-century British novels, illness did not exist just within the individual body; illness occurred at the level of communities. Responding to and building upon contemporary medicine’s focus on the social contexts of disease, novels of this era enlarge their plot structures to include more characters, more relationships, and more scopes of action than existed in novels before this century. In nineteenth-century novels, the collective experience of illness can be as intimate as the bonds between a sufferer and a caregiver or as diffuse as a global pandemic. In any case, illness revealed one’s embeddedness in larger structures of meaning. The formal characteristics of Victorian novels offer ways for critical medical humanities today to envision the social ties involved in the illness experience.

What might the medical humanities be capable of doing?’ asked Viney, Callard, and Woods in their 2015 call for a critical medical humanities. This chapter endeavours to answer that question by investigating how ‘the literary’ is mobilized in health-focused projects whose commitment to interdisciplinary entanglement renders them exemplary of the field’s critical turn. We interviewed seven UK-based literary studies scholars about their work in two or more such projects in order to understand how ‘the literary’ (as discipline, approach, and praxis) features within project design and delivery, the roles taken up by the literary studies scholar, and the consequent effects on shared understandings about the functions of the literary text. One of the most striking findings of this exploratory study was the interviewees’ determination for the literary text to be considered in non-representational terms and concurrent commitment to championing novel articulations of the value and ‘use’ of literary endeavour.

Graphic Medicine enriches and expands the field of Medicine and Literature by providing an additional, visual, modality for understanding stories of illness and well-being. Combining words and pictures, the hybrid medium of comics engages both left and right hemispheres of the brain, which can lead to more immediate, intuitive, and complete comprehension for the reader/viewer than text alone. This essay briefly addresses the origins and commitments of Graphic Medicine and illuminates, through Visual Thinking Strategies, why and how comics are particularly effective in the domains of clinical medicine and medical ethics – that is, for healthcare providers and medical learners, and for patients as well.

Melancholy is an ‘epidemicall’ disease, Burton says, noting the multitude of causes which, along with human wickedness and inherent humoral imbalances, explain the extensive and increasing suffering he observes around him. His observations tell us little about seventeenth-century epidemiology, I argue. Moreover, the meanings accorded to seemingly familiar terms such as ‘disease’, ‘symptom’, and ‘epidemic’ rest on assumptions that leave them orthogonal to today’s standard etiological medical assumptions. Yet they find resonance within recent broad theorizing about the concept of disease, in public health emphases and alternative medicine, as well as in the larger health culture of our times.

Focusing on contemporary life writing of chronic pain, specifically lyric essays, this chapter explores the language of pain, refuting its untranslatability, and suggesting that creative forms and experimental expression are helping to develop language to meet experience. Recent illness narratives are building a common language with which to articulate their physical sensations, with Eula Biss’s ‘The Pain Scale’ (2005) encouraging a community of pain expression, and becoming a generative intertext. While pain sufferers reclaim their experiences, they are also reclaiming and renewing diagnostic vocabulary, for example through ‘subterfuge‘, which requires readers to better engage in attentive listening, with an ethical obligation not to overlook or mishear marginalized voices. Alongside Biss, this chapter explores the work of Amy Berkowitz, Molly McCully Brown, Anne Boyer, Sinéad Gleeson, Sonya Huber, and Lisa Olstein.

Looking at French writer Édouard Louis’s oeuvre – including En finir avec Eddy Bellegueule (The End of Eddy) (2014), Qui a tué mon père (Who Killed My Father) (2018), Changer: Méthode (Change: Method) (2021), Combat et Métamorphoses d’une femme (Battles and Metamorphoses of a Woman) (2021), and Dialogue sur l’art et la politique (Dialogue on Art and Politics) (2021) – this chapter analyses the relationship between (white) working-class/poor individuals and medicine, masculinity and care. This study sheds light on Louis’s strategy to deploy a ’democracy of care’ – that is, a type of social organization grounded in equality, more horizontal relations, and which values care (and care workers) over economic production – by using his artistic practice to draw attention to lived experiences of trauma, pain, silence, and social invisibilization. Further, it does not only appear that Louis’s writing about pain serves to reflect on France’s healthcare policies and inequalities, but also that power dynamics (such as patient-doctor) inform his writing practice.

In this chapter I shall explore the significance of the inner organs of the human and animal body as poetic expedient and literary motif in a number of examples from ancient literature, both medical and non-technical. The guts, in fact, variously described and conceptualized, play a variety of roles, concrete and symbolic: they evoke vulnerability, but also strength; nutrition, fullness, and security but also the perpetual state of neediness that qualifies human mortality. I explore, first, the ‘poetic belly’ with its emphasis on vulnerability, nutrition, and life; then, I turn to the natural-philosophical account of guts: nutrition and digestion are centred here, as well as the belly not so much as ensemble of discrete (organic) entities but primarily in terms of volumes – empty containers, ‘pouches’ variously connected. I finally look at the cosmic and cosmogonic extensions in the way the belly and its contents are understood in ancient literatures. With its connection with vitality and survival, the storage of resources and their consummation, then, the belly works thus as a meeting point between medical beliefs and larger culture.