"In this penetrating analysis of the social attitudes toward various major illnesses - chiefly tuberculosis, the scourge of the 19th century, and cancer, the terror of our own - Susan Sontag demonstrates that "illness is not a metaphor" and shows why "the healthiest way of being ill is one purified of metaphoric thinking." Once tuberculosis was identified as a bacterial infection, it ceased to be a symbol of a romantic fading away or of a sensitive or artistic temperament, and it could be treated and cured. Similarly, we must today cease to think of cancer as a mark of doom, a punishment or a sign of a repressed personality, and recognize it for what it is: one disease among many and often receptive to treatment." -- from back cover.

In l978 Sontag wrote Illness As Metaphor. A cancer patient herself at the time, she shows how the metaphors and myths surrounding certain illnesses, especially cancer, add greatly to the suffering of the patients and often inhibit them from seeking proper treatment. By demystifying the fantasies surrounding cancer, Sontag shows cancer for what it is - just a disease. Cancer is not a curse, not a punishment, certainly not an embarrassment, and highly curable, if good treatment is found early enough. Almost a decade later, with the outbreak of a new, stigmatised disease replete with mystifications and punitive metaphors, Sontag wrote Aids and its Metaphors, extending the argument of the earlier book to the AIDS pandemic.

Memoirs about being sick are popular and everywhere and only ever contribute to pop narratives of illness as a single event or heroic struggle or journey. Visceral: Essays on Illness as Metaphor is not that. Visceral, to the extent that it is a memoir, is a record not of illness but of the research project being sick became. While rooted firmly in critical disability and queer practices, the use of personal narratives opens these approaches up to new ways of writing the body-ultimately a body that is at once theoretical and unavoidably physical. A body where everything is visceral, so theory must be too. From the gothic networks of healthcare bureaucracy and hospital philanthropy to the proliferation of wellness media, off-label usage of drugs, and running off to live a life with, these essays move fluidly through theoretical and physical anger, curiosity and surprise. Arguing for disability rights that attend to the theoretical as much as the physical, this is Illness Not As Metaphor, Being Sick and Time, and The Body in Actual Pain as one. A sick body of text that is-and is not-in direct correspondence to an actual sick body, Visceral is an unrelenting examination of chronic illness that turns towards the theoretical only to find itself in the realms of the biological and autobiographical: because how much theory can a body take?

A New York Times Editors' Choice; A Southern Living Best Book of 2018; An Amazon Editors' Best Book of 2018; A Refinery29 Best Book of 2018; A New York Post Most Unforgettable Book of 2018 "Fascinating." —Vogue “This is the story of a daughter and her mother. It’s also a memoir, a love story, and a tale of high-flying stunts . . . An adventure toward and through fear.” —Southern Living Tessa Fontaine’s astonishing memoir of pushing past fear, The Electric Woman, follows the author on a life-affirming journey of loss and self-discovery—through her time on the road with the last traveling American sideshow and her relationship with an adventurous, spirited mother. Turns out, one lesson applies to living through illness, keeping the show on the road, letting go of the person you love most, and eating fire: The trick is there is no trick. You eat fire by eating fire. Two journeys—a daughter’s and a mother’s—bear witness to this lesson in The Electric Woman. For three years Tessa Fontaine lived in a constant state of emergency as her mother battled stroke after stroke. But hospitals, wheelchairs, and loss of language couldn’t hold back such a woman; she and her husband would see Italy together, come what may. Thus Fontaine became free to follow her own piper, a literal giant inviting her to “come play” in the World of Wonders, America’s last traveling sideshow. How could she resist? Transformed into an escape artist, a snake charmer, and a high-voltage Electra, Fontaine witnessed the marvels of carnival life: intense camaraderie and heartbreak, the guilty thrill of hard-earned cash exchanged for a peek into the impossible, and, most marvelous of all, the stories carnival folks tell about themselves. Through these, Fontaine trained her body to ignore fear and learned how to keep her heart open in the face of loss. A story for anyone who has ever imagined running away with the circus, wanted to be someone else, or wanted a loved one to live forever, The Electric Woman is ultimately about death-defying acts of all kinds, especially that ever constant: good old-fashioned unconditional love.

One of the central metaphors in the Book of Hosea is the metaphor of illness and healing, which is explicitly or implicitly mentioned with frequency throughout the text. This book focuses on the social connotations of the metaphor of illness and healing in Hosea 5:8-6:3 and 7:1-7. It incorporates a theoretical analysis of metaphor into a sociological discussion about the social reality of eighth-century Israel and Judah as well as a comparative study of the concept of illness and healing in the ancient Near East and traditional East Asia (Korea). This book breaks new ground by exploring the crucial significance of the metaphor in the socio-economic context of eighth-century Israel and Judah.

Despite the currency of the notion of mental illness, there are those who take the radical line that it is a fabrication. This work takes the sceptical line seriously and puts forward a new view on mental illness and proposes a resolution of issues and disputes in the field.

Metaphors help us understand abstract concepts, emotions, and social relations through the concrete experience of our own bodies. Conceptual Metaphor Theory (CMT), which dominates the field of contemporary metaphor studies, is centered on this claim. According to this theory, correlations in the way the world is perceived in early childhood (e.g., happy/good is up, understanding is seeing) persist in our conceptual system, influencing our thoughts throughout life at a mostly unconscious level. What happens, though, when ordinary embodied experience is disrupted by illness? In this book, Elisabeth El Refaie explores how metaphors change according to our body's alteration due to disease. She analyzes visual metaphor in thirty-five graphic illness narratives (book-length stories about disease in the comics medium), re-examining embodiment in traditional CMT and proposing the notion of "dynamic embodiment." Building on recent strands of research within CMT and engaging relevant concepts from phenomenology, psychology, semiotics, and media studies, El Refaie demonstrates how the experience of our own bodies is constantly adjusting to changes in our individual states of health, socio-cultural practices, and the modes and media by which we communicate. This fundamentally interdisciplinary work also proposes a novel classification system of visual metaphor, based on a three-way distinction between pictorial, spatial, and stylistic metaphors. This approach will enable readers to advance knowledge and understanding of phenomena involved in shaping our everyday thoughts, interactions, and behavior.