Effective doctor patient relationships are predicated on doctors' relational engagement and affective/holistic communication with the patients. On the contrary, the contemporary healthcare and patient-clinician communication are at odds with the desirable professional goals, often resulting in dehumanization and demoralization of patients. Besides denigrating the moral agency of a patient such apathetic interactions and unprofessional approach also affect the treatment and well-being of the sufferer. Foregrounding multifaceted doctor-patient relationships, graphic pathographies are a significant cultural resource which recreate the embodied moment of (...) clinical encounters as they also lay bare qualitative tensions between patient' illness experience with doctor's professional understanding of the same. Taking these cues, the present article drawing theoretical postulates of Rita Charon, Deborah Lupton, and Havi Carel close reads Peter Dunlap-Shohl's My Degeneration: A Journey Through Parkinson's, Brian Fies' Mom's Cancer, and Stan Mack's Janet & Me: An Illustrated Story of Love and Loss to investigate the nature of doctor-patient relationship vis-à-vis communication and the implications of bad doctoring/communicative practices on patient identity and emotions. Furthermore, the article also examines the aesthetic and functional role of comics in bringing into relief the graphically mediated doctor-patient relationship. (shrink)

Comics has always had a critical engagement with socio-political and cultural issues and hence evolved into a medium with a subversive power to challenge the status quo. Staying true to the criticality of the medium, graphic medicine critiques the exploitative and unethical practices in the field of healthcare, thereby creating a critical consciousness in the reader. In close reading select graphic pathographies such as Gabby Schulz's Sick, Emily Steinberg's Broken Eggs, Ellen Forney's Marbles: Mania, Depression, Michelangelo & Me and Marisa (...) Marchetto's Cancer Vixen, the present article delineates how graphic medicine interrogates the larger than life forces in the field of healthcare. Drawing specific instances from the aforementioned graphic texts, the essay demonstrates that graphic medicine scrutinizes the political economy of health under capitalism. In so doing, the article illustrates how the pharmaceutical corporations, insurance companies, medical technology, and healthcare corporations marketize and commoditize health in the neoliberal era. Finally, the article attempts to theorize how graphic pathographies, mediating subjective experiences, generate a new critical literacy through the conflation of the personal and the political in the verbovisual medium of comics. (shrink)

Abstractabstract:Assistive care technologies, developed to replace, support, or extend human capabilities and to address the surging demands of care, have been gaining prominence recently. The current trend summons a posthuman approach through decentering the privileged role of humans in several spaces of caregiving, such as hospitals and eldercare homes. The existence of these cutting-edge assistive technologies, exciting as they are, hints at a possible future when the distinction between humans and technology will be blurred, thus transforming care relations. However, these (...) technological advances carry equal promises and dangers. While care robots may reduce the burden of caregiving, they also threaten to minimize human contact with vulnerable populations. This critical assessment reviews technological advances in care and close-reads several single-panel cartoons to theorize the impact of technologies on caring relations. The article also examines the neoliberal underpinnings of such technologies and the moral dangers of their unreflective use. (shrink)

Graphic medicine, an interdisciplinary field situated at the crossroads of comics and healthcare, operates as a medium through which the intricate nature of experiences with illness can be articulated, challenging orthodox medical dogmatism in an engaging and accessible way. Combining the affordances of comics and the narrative power of storytelling, graphic medicine elucidates the socio-cultural stigmatization of dementia influenced by a multitude of discourses. Diverging from existing discourses that depict individuals with Alzheimer’s disease (AD) as zombies, brain-dead, or empty shells, (...) graphic memoirs reconstruct these reductive notions and represent them as imaginative, productive, and perceptive. Taking these cues, the present paper close reads some sections of Dana Walrath’s (2016) Aliceheimer’s: Alzheimer’s Through the Looking Glass in order to demonstrate how graphic medicine reconceptualizes the preeminent hallucinatory experiences of her AD-afflicted mother, Alice, as visions. Walrath deploys collage art to epitomize Alice’s ordeal with AD. In particular, Walrath deploys thought-provoking fragments from Lewis Caroll’s Alice in Wonderland, strategically to proximate Alice’s experiences with AD and tackle the problem of dementia and sociality. Additionally, the paper explores how the text fosters interdependence, respect, and trust to recognize and restore Alice’s personhood. The paper concludes by discussing how Aliceheimer’s operates as an alternative paradigm beyond the confines of biomedical and cultural models of dementia through the use of lexical puissance. (shrink)

ABSTRACT:Datafication has allowed us to quantify every facet of the corona-virus pandemic. A significant quantity of data sets on infection and recovery rates, mortality, comorbidities, the intensity of symptoms, region-by-region statistics, vaccination, and virus variants, among other things, has been made publicly available. However, these data sets relentlessly reduce human beings to mere numbers and graph points. The present study employs a close reading of comic panels to demonstrate how graphic medicine uses data to critique, supplement, and expose its lacunae. (...) The article draws from graphic medical narratives and panels such as Andy Warner's "The Nib Bureau of Statistics" (2020), Sarah Firth's "State of Emergency" (2021), and Randall Munroe's "Statistics" (2020). Though data visualizations and comics are both graphical representations, their treatment of COVID-19-related issues is radically different. Graphic medicine "re-draws" data visualizations through imitation, subversion, and displacement to showcase multiple temporalities, marginal agencies, and the affective nature of human existence. Furthermore, the humanistic intervention of graphic medicine deftly reclaims individual lives and attendant stories in a world dominated by technologically mediated data. This essay does not dismiss the performative force of data; instead, it insists on humanizing and contextualizing a sensitive presentation of data to convey our entangled existence and collective states. (shrink)

Ever since the global spread of the COVID-19 pandemic in 2020, East Asians across the globe have been ostracized, othered, pathologized, and subjected to numerous anti-Asian hate crimes. Despite contemporary China’s rapid modernization, the country is still perceived as an Oriental and primitive site. Taking these cues, the current article aims to investigate the Sinophobic attitudes in the wake of COVID-19 through a detailed analysis of sequential comics and cartoons by artists of East Asian descent, such as Laura Gao and (...) Lisa Wool-Rim Sjöblom. Drawing theoretical insights from Alexandre White’s “epidemic orientalism” and Priscilla Wald’s “medicalized nativism,” this essay investigates how these chosen comics function as counternarratives through first-person storytelling. In so doing, these comics, while reinstating the dignity of East Asians, also challenge and resist the naturalized methods of seeing that justify violence and dehumanization. The article further argues that Sinophobia and anti-Asian hate crimes are motivated as much by the origins of COVID-19 in China as by the political, economic, and technological variables that have shaped modern China. (shrink)

In a heart-wrenching TEDx Beacon Street talk entitled "A Journey Through Infertility: Over Terror's Edge", Camille Preston narrates her traumatic journey through infertility. Although she is now the mother of a child, Preston's characterization of infertility as "over terror's edge" and as "a journey" finds a graphic expression in Paula Knight's The Facts of Life, Emily Steinberg's Broken Eggs, and Phoebe Potts's Good Eggs. Unlike Preston, these authors do not give birth to a child; however, they authentically portray the tribulations (...) of infertility in their respective graphic memoirs. While Knight's memoir chronicles her traumatic experience of being an infertile woman in a society that... (shrink)

The conspicuous absence of personal articulations of miscarriage in mainstream discourses attests to the stigmatised nature of the experience. Notably, there exists a growing body of infertility comics which foreground the authors’ lived realities of miscarriage. In a close reading of select graphic memoirs such as Jenell Johnson’s Present/perfect, Paula Knight’s The Facts of Life, Phoebe Potts’ Good Eggs, and Diane Noomin’s Baby Talk, this article examines how the authors use comics to foreground their predicament. In so doing, the essay (...) argues that these narratives attempt to accord a cultural legitimacy to the hitherto silenced experiential realities of miscarriage. (shrink)

In a revealing TEDxKC talk entitled "How My Mind Came Back to Life—And No One Knew", Martin Pistorius, author of Ghost Boy, shares his harrowing experience of living in a vegetative state with a locked-in syndrome for two long years. When his consciousness returned, Pistorius reflects on how he was unable to communicate the news of his recovery. Using his augmented and alternative communication device, Pistorius observes, "Your personality appears to vanish into a heavy fog and all of your emotions (...) and desires are constricted, stifled and muted within you. … It's a very dark place to find yourself because in a sense, you have vanished."Pistorius's speech is a commentary on voice and identity, and... (shrink)