From time to time, Susan Sontag wrote in Illness as Metaphor, a culture generates sentimental fantasies about one or another that reflect more than biology of disease, and more even than shared beliefs about bodies and minds (3). illness makes its way into literature in surprising ways-ways that show both what people want to think about how a affects them and what they most fear about it; ways, in fact, that reflect beliefs about relationship of affliction to essence of one's identity. Sontag's focus was tuberculosis and cancer, two illnesses, she said, poorly understood medically, and experienced as stealthily invasive; each arousing dread; each seen as an evil, invincible predator (6). Because these two diseases were for a long time thought incurable, they generated myths that gave them meaning beyond that of a physically destructive assault on body.Both tuberculosis and cancer were understood as diseases of passion: cancer emerged when strong feelings were repressed; tuberculosis, associated as it was with poverty, became known as artists' disease, a sign of acute sensitivity. The romantic view, Sontag noted, that illness exacerbates consciousness (35). In part, this romantic view transformed illness from a punishment to a form of self-expression; but it also served to place blame for on sufferer. modern diseases (once TB, now cancer), Sontag wrote, the romantic idea that expresses character is inevitably extended to assert that character causes disease-because it has not expressed itself. Passion moves inward, striking and blighting deepest cellular recesses (45). This psychologizing of physical illness substitutes for understanding its biology and, Sontag said, seems to provide control over experiences and events (like grave illnesses) over which people have in fact little or no control. Psychological understanding undermines 'reality' of a disease (45). However that psychological understanding is formulated also reflects a wider view of reality. Romanticizing tuberculosis justified bohemian desire to disengage from social obligations and responsibilities, to retreat-to island, to a magic mountain-and care only for oneself and one's frailties. Cancer reflected a paranoid view of a world troubled by invasive forces: pollutants, cigarette smoke, and deadly rays; and that view justified political isolation and xenophobia.Although both TB and cancer had for centuries made their way into fiction, at time she wrote, Sontag recognized another malady becoming endowed as the vehicle of 'spiritual' feelings and 'critical' discontent: that malady was insanity. With myriad social, environmental, familial, genetic, and biological causes, insanities of many kinds were both mysterious and seemingly intractable. Like TB and cancer, insanity eluded what Sontag called medicine's central premise... that all diseases can be cured (5). Writers such as psychiatrists R. D. Laing and Thomas Ssasz, novelist Ken Kesey, and poet and novelist Sylvia Plath gave mental illness aura of nonconformity, creativity, and even acute insight about social and political affairs. To behave irrationally, perhaps to hear voices, to walk, as it were, to a different drummer-these behaviors, according to Sontag, fed a secular myth of self-transcendence (35).Constructing a DiseaseRecently Alzheimer's Disease (AD) has made its way into popular and literary fiction, generating questions of how-and why-a particular etiology and biology are being transformed imaginatively. How does AD function in character and plot development? What themes does it help a writer to convey? How do fictionalized representations of AD, characterized by of loss of memory, awareness and self, function metaphorically to reveal culturally shared fears and desires?Technological advances in last thirty years have led to belief that through funding for research scientists can conquer all ailments. …
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