Explores the wounded body in literature from Homer to Toni Morrison, examining how it functions archetypally as both a cultural metaphor and a poetic image.

Updated second edition: “A bold and imaginative book which moves our thinking about narratives of illness in new directions.” —Sociology of Heath and Illness Since it was first published in 1995, The Wounded Storyteller has occupied a unique place in the body of work on illness. A collective portrait of a so-called “remission society” of those who suffer from illness or disability, as well as a cogent analysis of their stories within a larger framework of narrative theory, Arthur W. Frank’s book has reached a large and diverse readership including the ill, medical professionals, and scholars of literary theory. Drawing on the work of such authors as Oliver Sacks, Anatole Broyard, Norman Cousins, and Audre Lorde, as well as from people he met during the years he spent among different illness groups, Frank recounts a stirring collection of illness stories, ranging from the well-known—Gilda Radner’s battle with ovarian cancer—to the private testimonials of people with cancer, chronic fatigue syndrome, and disabilities. Their stories are more than accounts of personal suffering: They abound with moral choices and point to a social ethic. In this new edition Frank adds a preface describing the personal and cultural times when the first edition was written. His new afterword extends the book’s argument significantly, discussing storytelling and experience, other modes of illness narration, and a version of hope that is both realistic and aspirational. Reflecting on his own life during the creation of the first edition and the conclusions of the book itself, he reminds us of the power of storytelling as way to understand our own suffering. “Arthur W. Frank’s second edition of The Wounded Storyteller provides instructions for use of this now-classic text in the study of illness narratives.” —Rita Charon, author of Narrative Medicine “Frank sees the value of illness narratives not so much in solving clinical conundrums as in addressing the question of how to live a good life.” —Christianity Today

First published in 1989, Dan Allender's The Wounded Heart has helped hundreds of thousands of people come to terms with sexual abuse in their past. Now, more than twenty-five years later, Allender has written a brand-new book on the subject that takes into account recent discoveries about the lasting physical, emotional, relational, and spiritual ramifications of sexual abuse. With great compassion Allender offers hope for victims of rape, date rape, incest, molestation, sexting, sexual bullying, unwanted advances, pornography, and more, exposing the raw wounds that are left behind and clearing the path toward wholeness and healing. Never minimizing victims' pain or offering pat spiritual answers that don't truly address the problem, he instead calls evil evil and lights the way to renewed joy. Counselors, pastors, and friends of those who have suffered sexual harm will find in this book the deep spiritual guidance they need to effectively minister to the sexually broken around them. Victims themselves will find here a sympathetic friend to walk alongside them on the road to healing.

This edited collection explores the image of the wound as a ‘cultural symptom’ and a literary-visual trope at the core of representations of a new concept of selfhood in Early Modern Italian and English cultures, as expressed in the two complementary poles of poetry and theatre. The semantic field of the wounded body concerns both the image of the wound as a traumatic event, which leaves a mark on someone’s body and soul (and prompts one to investigate its causes and potential solutions), and the motif of the scar, which draws attention to the fact that time has passed and urges those who look at it to engage in an introspective and analytical process. By studying and describing the transmission of this metaphoric paradigm through the literary tradition, the contributors show how the image of the bodily wound—from Petrarch’s representation of the Self to the overt crisis that affects the heroes and the poetic worlds created by Ariosto and Tasso, Spenser and Shakespeare—could respond to the emergence of Modernity as a new cultural feature.

Learning from the Wounded: The Civil War and the Rise of American Medical Science

Many Guatemalans speak of Mayan indigenous organizing as "a finger in the wound." Diane Nelson explores the implications of this painfully graphic metaphor in her far-reaching study of the civil war and its aftermath. Why use a body metaphor? What body is wounded, and how does it react to apparent further torture? If this is the condition of the body politic, how do human bodies relate to it—those literally wounded in thirty-five years of war and those locked in the equivocal embrace of sexual conquest, domestic labor, mestizaje, and social change movements? Supported by three and a half years of fieldwork since 1985, Nelson addresses these questions—along with the jokes, ambivalences, and structures of desire that surround them—in both concrete and theoretical terms. She explores the relations among Mayan cultural rights activists, ladino (nonindigenous) Guatemalans, the state as a site of struggle, and transnational forces including Nobel Peace Prizes, UN Conventions, neo-liberal economics, global TV, and gringo anthropologists. Along with indigenous claims and their effect on current attempts at reconstituting civilian authority after decades of military rule, Nelson investigates the notion of Quincentennial Guatemala, which has given focus to the overarching question of Mayan—and Guatemalan—identity. Her work draws from political economy, cultural studies, and psychoanalysis, and has special relevance to ongoing discussions of power, hegemony, and the production of subject positions, as well as gender issues and histories of violence as they relate to postcolonial nation-state formation.