Abstract

This article discusses the artist, filmmaker, and writer Lana Lin’s “revisioning” of Audre Lorde’s The Cancer Journals (1980) to consider how the poetic encounter between two artists from different generations exemplifies the relational praxis that Lorde pursued throughout her life. In revealing the ways in which Lorde opens acoustic sensory spaces for contemporary readers and listeners of her work, I specifically focus on the political and aesthetic dynamic of recitation in Lin’s experimental documentary The Cancer Journals Revisited (2018). I trace how recitation becomes a coalitional practice of feminist chorus through which readers and listeners embody the sonorous space they co-create through and with Lorde. The article further looks into the ways Lin pairs recitation performance with visceral images of body parts on the screen to argue that the film’s visuals dwell in and extend the form of the chorus; which is to say, the film expands the meaning and practice of chorus beyond the realm of the sonic. The bodies on the screen extend the chorus, immersing the audience in a participatory rethinking of the experience of cancer (particularly breast cancer) not merely as an individual misfortune or an aesthetic concern. In adjoining textual, visual, and acoustic elements, Lin’s film provides a powerful transformative sensory environment, reverberating through the reciters and the audience.