In 2003, while in Poland promoting the Polish translation of her book Unquiet World: The Life of Geoffrey Count Potocki de Montalk, Stephanie de Montalk slipped in a hotel bathroom and injured her pelvis. This event goes unmentioned in the poem 'Warsaw', but the story of a later trip to France for surgery on the injury is told in the poems in part II of this book. Many of the other poems are concerned with the kinds of journey we make in imagination or memory.
In How Does It Hurt?, acclaimed poet and biographer Stephanie de Montalk tells the story of the chronic pain that has invaded her life for more than 10 years. She considers how her early experiences have been cast into fresh relief by what she has endured, then goes back in time to investigate the lives and works of three writers who also lived with and wrote about pain: "the consolator," English social theorist Harriet Martineau (1802–1876), "the vendor of happiness," French novelist Alphonse Daudet (1840–1897), and "the imago," Polish poet Aleksander Wat (1900–1967). Through these explorations de Montalk confronts the paradox of writing about suffering: where we can turn when the pain is beyond words? A unique blend of memoir, imaginative biography, and poetry, How Does It Hurt? is a groundbreaking contribution to the understanding of chronic pain and a spellbinding literary achievement.
Combining critical research with memoir, essay, poetry and creative biography, this insightful volume sensitively explores the lived experience of chronic pain. Confronting the language of pain and the paradox of writing about personal pain, Communicating Pain is a personal response to the avoidance, dismissal and isolation experienced by the author after developing intractable pelvic pain in 2003. The volume focuses on pain's infamous resistance to verbal expression, the sense of exile experienced by sufferers and the under-recognised distinction between acute and chronic pain. In doing so, it creates a platform upon which scholarly, imaginative and emotional quotients round out pain as the sum of physical actualities, mental challenges and psychosocial interactions. Additionally, this work creates a dialogue between medicine and literature. Considering the works of writers such as Harriet Martineau, Alphonse Daudet and Aleksander Wat, it enables a multi-genre narrative heightened by poetry, fictional storytelling and life-writing. Coupled with academic rigour, this insightful monograph constitutes a persuasive and unique exploration of pain and the communication of suffering. It will appeal to students and researchers interested in fields such as Medical Humanities, Autobiography Studies and Sociology of Health and Illness.
Poet, polemicist, pagan, and pretender to the throne of Poland, Count Geoffrey Potocki de Montalk was one of the glittering generation of New Zealand poets of the 1930s. His career took a strange turn after he was imprisoned for obscene libel. Following a celebrated trial in London, he became increasingly eccentric, dressing in mock-medieval garb, claiming the throne of Poland, and issuing a stream of poetry and pamphlets, before returning to New Zealand in the 1980s and 1990s. This is the first time his full story has been told and it will be relevant to those interested in the literature of obscenity, the history of censorship, and private press publishing in the 20th century.
In How Does It Hurt?, acclaimed poet and biographer Stephanie de Montalk tells the story of the chronic pain that has invaded her life for more than 10 years. She considers how her early experiences have been cast into fresh relief by what she has endured, then goes back in time to investigate the lives and works of three writers who also lived with and wrote about pain: "the consolator," English social theorist Harriet Martineau (1802–1876), "the vendor of happiness," French novelist Alphonse Daudet (1840–1897), and "the imago," Polish poet Aleksander Wat (1900–1967). Through these explorations de Montalk confronts the paradox of writing about suffering: where we can turn when the pain is beyond words? A unique blend of memoir, imaginative biography, and poetry, How Does It Hurt? is a groundbreaking contribution to the understanding of chronic pain and a spellbinding literary achievement.
1821. Alexander Pushkin is in exile in Bessarabia, Russia. Restless and depressed, he is spending a month in Odessa on leave. He recalls a visit, the previous year, to the palace of the Tatar khans where he saw a Fountain of Tears: a khan's monument to Maria Potocka, a Polish countess who died before he could persuade her to love him, and to the khan's own perpetual grief. Pushkin will soon immortalise Maria, the khan and the Fountain of Tears in his poema. The interwoven stories of the captive countess and the exiled poet take place on a day in Bakhchisary and Odessa respectively.
Poet, polemicist, pagan, and pretender to the throne of Poland, Count Geoffrey Potocki de Montalk was one of the glittering generation of New Zealand poets of the 1930s. His career took a strange turn after he was imprisoned for obscene libel. Following a celebrated trial in London, he became increasingly eccentric, dressing in mock-medieval garb, claiming the throne of Poland, and issuing a stream of poetry and pamphlets, before returning to New Zealand in the 1980s and 1990s. This is the first time his full story has been told and it will be relevant to those interested in the literature of obscenity, the history of censorship, and private press publishing in the 20th century.
Combining critical research with memoir, essay, poetry and creative biography, this insightful volume sensitively explores the lived experience of chronic pain. Confronting the language of pain and the paradox of writing about personal pain, Communicating Pain is a personal response to the avoidance, dismissal and isolation experienced by the author after developing intractable pelvic pain in 2003. The volume focuses on pain's infamous resistance to verbal expression, the sense of exile experienced by sufferers and the under-recognised distinction between acute and chronic pain. In doing so, it creates a platform upon which scholarly, imaginative and emotional quotients round out pain as the sum of physical actualities, mental challenges and psychosocial interactions. Additionally, this work creates a dialogue between medicine and literature. Considering the works of writers such as Harriet Martineau, Alphonse Daudet and Aleksander Wat, it enables a multi-genre narrative heightened by poetry, fictional storytelling and life-writing. Coupled with academic rigour, this insightful monograph constitutes a persuasive and unique exploration of pain and the communication of suffering. It will appeal to students and researchers interested in fields such as Medical Humanities, Autobiography Studies and Sociology of Health and Illness.
In 2003, while in Poland promoting the Polish translation of her book Unquiet World: The Life of Geoffrey Count Potocki de Montalk, Stephanie de Montalk slipped in a hotel bathroom and injured her pelvis. This event goes unmentioned in the poem 'Warsaw', but the story of a later trip to France for surgery on the injury is told in the poems in part II of this book. Many of the other poems are concerned with the kinds of journey we make in imagination or memory.
In these poems, Dr. Wang, an expert witness, presents testimony about the alchemy of everyday life with clarity and precision. The evidence is that, as long as the world is as round as an orange, ideas will form, words and stories will follow, and wonderful things will happen.
1821. Alexander Pushkin is in exile in Bessarabia, Russia. Restless and depressed, he is spending a month in Odessa on leave. He recalls a visit, the previous year, to the palace of the Tatar khans where he saw a Fountain of Tears: a khan's monument to Maria Potocka, a Polish countess who died before he could persuade her to love him, and to the khan's own perpetual grief. Pushkin will soon immortalise Maria, the khan and the Fountain of Tears in his poema. The interwoven stories of the captive countess and the exiled poet take place on a day in Bakhchisary and Odessa respectively.
In these poems, Dr. Wang, an expert witness, presents testimony about the alchemy of everyday life with clarity and precision. The evidence is that, as long as the world is as round as an orange, ideas will form, words and stories will follow, and wonderful things will happen.
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