Abstract

Informed by medical science and biotechnology, Karoline Georges’s novel Under the Stone offers a reflection on suffering bodies and imagines responses to an overwhelming sense of fear and passivity that embodied trauma and the world’s many crises can create. In line with the editors’ reclaiming of the milieu for the medical humanities, I draw on Deleuze and Guattari’s geophilosophy and Sara Ahmed’s notions of stranger and encounter for reading the novel’s spatialization of oppressive power dynamics and its imagination of subversive emergence. I also complicate the literary text’s discourse on space and body by relying on wonder studies to examine further its alternative forms of careful attunement enacted through the protagonist’s affective and disembodied awakening, the latter fueled by his escape from “the incessant movement of automatic components that delineat[e] [his] presence in the world” (Georges 2016, 61). Happening from and because of the Tower’s milieu, this escape becomes a mitigating force to physical, affective, and social struggles. I thus contend that Georges’s text provides thought-provoking material about the functions and effects of art for addressing the dangers and promises of bioethics, body sovereignty, and life protection.