Since it was first published in 1995, The Wounded Storyteller has occupied a unique place in the body of work on illness. Both the collective portrait of a so-called “remission society” of those who suffer from some type of illness or disability and a cogent analysis of their stories within a larger framework of narrative theory, Arthur W. Frank’s book has reached a large and diverse readership including the ill, medical professionals, and scholars of literary theory.

Drawing on the work of authors such as Oliver Sacks, Anatole Broyard, Norman Cousins, and Audre Lorde, as well as from people he met during the years he spent among different illness groups, Frank recounts a stirring collection of illness stories, ranging from the well-known—Gilda Radner’s battle with ovarian cancer—to the private testimonials of people with cancer, chronic fatigue syndrome, and disabilities. Their stories are more than accounts of personal suffering: they abound with moral choices and point to a social ethic.

In this new edition Frank adds a preface describing the personal and cultural times when the first edition was written. His new afterword extends the book’s argument significantly, writing about storytelling and experience, other modes of illness narration, and a version of hope that is both realistic and aspirational. Reflecting on both his own life during the creation of the first edition and the conclusions of the book itself, Frank reminds us of the power of storytelling as way to understanding our own suffering.

Brooklyn-based poet Asiya Wadud's fifth collection of poetry, Mandible, Wishbone, Solvent, engages migration, climate change, race, sexuality, and art-though not necessarily in that order-with a dynamic urgency and graceful restraint held in balance by a deep literary investment in the historical aesthetics of abstraction.

Punctuated by images of Wadud's own original art, the poems and prose of Mandible, Wishbone, Solvent offer an indirect meditation of the concepts of the drift ("Embedded in the act of drift can be the prior commitment or desire against drifting") and the isthmus ("An isthmus is a passageway, a threshold, underbrush, thicket, and deliverance"). Wadud constructs a latticework through which language circulates and creates new patterns that probe the natural world's edges, fissures, gaps, and seams. Further, the lyric poems suggest a relationship between speaker and environment that yearns to invert or dissolve the subject-object divide, creating instead an isthmus that joins and allows a drifting between them.

Charged by the Venetian Inquisition with the conscious and cynical feigning of holiness, Cecelia Ferrazzi (1609-1684) requested and obtained the unprecedented opportunity to defend herself through a presentation of her life story. Ferrazzi’s unique inquisitorial autobiography and the transcripts of her preceding testimony, expertly transcribed and eloquently translated into English, allow us to enter an unfamiliar sector of the past and hear ’another voice’—that of a humble Venetian woman who had extraordinary experiences and exhibited exceptional courage.

Born in 1609 into an artisan family, Cecilia Ferrazzi wanted to become a nun. When her parents’ death in the plague of 1630 made it financially impossible for her to enter the convent, she refused to marry and as a single laywoman set out in pursuit of holiness. Eventually she improvised a vocation: running houses of refuge for “girls in danger,” young women at risk of being lured into prostitution.

Ferrazzi’s frequent visions persuaded her, as well as some clerics and acquaintances among the Venetian elite, that she was on the right track. The socially valuable service she was providing enhanced this impresssion. Not everyone, however, was convinced that she was a genuine favorite of God. In 1664 she was denounced to the Inquisition. 

The Inquisition convicted Ferrazzi of the pretense of sanctity. Yet her autobiographical act permits us to see in vivid detail both the opportunities and the obstacles presented to seventeenth-century women.

In Archive Fever, Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology, fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling.

Ghost Image is made up of sixty-three short essays--meditations, memories, fantasies, and stories bordering on prose poems--and not a single image. Hervé Guibert's brief, literary rumination on photography was written in response to Roland Barthes's Camera Lucida, but its deeply personal contents go far beyond that canonical text. Some essays talk of Guibert's parents and friends, some describe old family photographs and films, and spinning through them all are reflections on remembrance, narcissism, seduction, deception, death, and the phantom images that have been missed.

Both a memoir and an exploration of the artistic process, Ghost Image not only reveals Guibert's particular experience as a gay artist captivated by the transience and physicality of his media and his life, but also his thoughts on the more technical aspects of his vocation. In one essay, Guibert searches through a cardboard box of family portraits for clues--answers, or even questions--about the lives of his parents and more distant relatives. Rifling through vacation snapshots and the autographed images of long-forgotten film stars, Guibert muses, "I don't even recognize the faces, except occasionally that of an aunt or great-aunt, or the thin, fair face of my mother as a young girl." In other essays, he explains how he composes his photographs, and how--in writing--he seeks to escape and correct the inherent limits of his technique, to preserve those images lost to his technical failings as a photographer.
With strains of Jean Genet and recurring themes that speak to the work of contemporary artists across a range of media, Guibert's Ghost Image is a beautifully written, melancholic ode to existence and art forms both fleeting and powerful--a unique memoir at the nexus of family, memory, desire, and photography.

Hervé Guibert (1955-91) was born and worked in Paris. A noted photographer, he also contributed articles on culture to the French newspaper Le Monde and wrote works of fiction and books on photography.

Celebrated as a courtesan and poet, and as a woman of great intelligence and wit, Tullia d'Aragona (1510-56) entered the debate about the morality of love that engaged the best and most famous male intellects of sixteenth-century Italy. First published in Venice in 1547, but never before published in English, "Dialogue on the Infinity of Love" casts a woman rather than a man as the main disputant on the ethics of love.

Sexually liberated and financially independent, Tullia d'Aragona dared to argue that the only moral form of love between woman and man is one that recognizes both the sensual and the spiritual needs of humankind. Declaring sexual drives to be fundamentally irrepressible and blameless, she challenged the Platonic and religious orthodoxy of her time, which condemned all forms of sensual experience, denied the rationality of women, and relegated femininity to the realm of physicality and sin.

Human beings, she argued, consist of body and soul, sense and intellect, and honorable love must be based on this real nature. By exposing the intrinsic misogyny of prevailing theories of love, Aragona vindicates all women, proposing a morality of love that restores them to intellectual and sexual parity with men. Through Aragona's sharp reasoning, her sense of irony and humor, and her renowned linguistic skill, a rare picture unfolds of an intelligent and thoughtful woman fighting sixteenth-century stereotypes of women and sexuality.