Download Bodies in a Broken World: Women Novelists of Color and the by Ann Folwell Stanford PDF

By Ann Folwell Stanford

During this multidisciplinary learn, Ann Folwell Stanford reads literature written through U.S. girls of colour to suggest a rethinking of recent scientific perform, arguing that non-public overall healthiness and social justice are inextricably associated. Drawing on feminist ethics to discover the paintings of 11 novelists, Stanford demanding situations medication to put itself extra deeply in the groups it serves, specially the terrible and marginalized. in spite of the fact that, she additionally argues that medication needs to realize its limits and subscribe to forces with the nonmedical group within the fight for social justice. In literary representations of actual and emotional states of sickness and wellbeing and fitness, Stanford identifies matters with regards to public health and wellbeing, clinical ethics, institutionalized racism, women's well-being, family abuse, and social justice which are vital to discussions approximately tips on how to increase healthiness and future health care. She argues that during both direct or oblique methods, the 11 novelists thought of push us to work out healthiness not just as a person but additionally as a posh community of person, institutional, and social adjustments within which wellbeing could be a probability for almost all instead of a privileged few.The novelists whose works are mentioned are Toni Cade Bambara, Paule Marshall, Gloria Naylor, Leslie Marmon Silko, Toni Morrison, Louise Erdrich, Sandra Cisneros, Bebe Moore Campbell, Sapphire, Ana Castillo, and Octavia Butler.

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Additional info for Bodies in a Broken World: Women Novelists of Color and the Politics of Medicine (Studies in Social Medicine)

Sample text

As she begins to see clearly the implications of her life with Eugene, the ‘‘poison of reality’’ begins ‘‘to spread through [Ciel’s] body like gangrene’’ (Brewster Place, 100) at the same time that she hears her toddler (‘‘the only thing [she had] ever loved without pain’’ [Brewster Place, 93]) scream— electrocuted—in the other room where she had stuck a fork into an outlet in pursuit of a cockroach. Embedded within the narrative of the disintegrating marriage (Eugene’s joblessness, Ciel’s abortion, their poverty), Serena’s death becomes more than an accident or even the result of neglect.

There is no escape: while worrying about the problems of her community one morning, Velma sees the mud mothers ‘‘almost come tumbling out of the mirror naked and tattooed with serrated teeth and hair alive, birds and insects peeping out at her from the mud-heavy hanks of the ancient mothers’ hair. And she [flees] feverish and agitated from the room’’ (Salt, 259). However, as she embarks on a journey of memory and recollection, Velma discovers that those mud mothers—rooted in African culture—call her to a deeper understanding of who she is within the social and historical community from which she comes.

There was a disturbing split second between someone talking to her and the words penetrating sufficiently to elicit a response’’ (Brewster Place, 95–96). These skewed perceptions recall Velma’s visions of the mud mothers and her rage, fear, and consequent desire to seal herself off inside a glass jar. They are also not unlike Avey’s shipboard hallucinations, dreams, and troubling physical sensations on board the Bianca Pride. For Ciel, Eugene’s announcement that he is leaving compounds the loss occasioned by the abortion.

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