Eula Biss’ Immunity: A question of relation

By Laura Katherine Smith

BissWhile doing research for the then upcoming international conference hosted by the KU Leuven: Immunity and Modernity: Picturing Threat and Protection (May 2015), I picked up the book On Immunity: An Inoculation (2014). I thought that Eula Biss’ book might offer a straight forward, medical or law-based analysis that would help me to pin down or to grasp an answer to the question: just what is immunity? Biss’ book did not provide such a ready-made definition of immunity but rather, and to my benefit as a reader, documented a journey of discovery that outlines and embraces the complexity of this concept. Eula Biss, author of On Immunity: An Inoculation, is a senior lecturer in the Department of English at Northwestern University.

The book opens with an image of the myth of Achilles, “whose mother tried to make him immortal” (3). Through such stories of myth and fate, Biss shares her earliest memories with the reader; encounters with what she would later come to recognize as related to the question of immunity. These often cautionary tales were passed from parents to child. The stories, including Grimm’s Fairy Tales, remained in latent consciousness as Biss returned to explore the limits and possibilities of immunity as an adult. The author notes, “I do not remember the brutality for which those tales are famous as vividly as I remember their magic. (…) But it did not escape my notice, as a child, that the parents in those tales have a maddening habit of getting tricked into making bad gambles with their children’s lives” (4). The author’s struggle for clarity with regards to this concept is coloured by her own experience as the daughter of a doctor, as a nonfiction writer and as a mother. The book’s dedication reads: “to other mothers, with gratitude to mine”.

In addition to what Sarah Manguso defines as Biss’ ‘self-documentation’, the reader feels herself well informed by the obvious paramount research that has gone into Biss’ investigation of immunity (Manguso defines this extensive research practice as Biss’ ‘world-documentation’). The collected fragments for this project are drawn from medical journals and articles, nonfiction and fiction books, newspaper clippings, world events, politics, history, poetry, science and myth in an exhaustive effort to come to terms with this concept. Biss’ methodology creates an historical tapestry; stories and voices of Christopher Columbus, Karl Marx, George Orwell, John Keats, Søren Kierkegaard, and Rainer Maria Rilke are woven amidst various scholars, including Susan Sontag and Donna Haraway, as well as historians of immunology and other scientists. Data from the American Medical Association, the Centre for Disease Control and Prevention, and the World Health Organization entwine with these stories and voices. References to Alice in Wonderland and, in particular, Bram Stoker’s Dracula, reinforce this tapestry. Biss takes the reader back to the first vaccinations in the eighteenth century that were performed by farmers and involved transferring the pus of infected cows (cowpox) into humans – the author notes that this experiment was successful in the protection against smallpox. Themes and topics of vaccination, fearfulness, paranoia, germ theory, herd immunity, banking immunity, and governmental and pharmaceutical corruption fill out the context upon which we imagine our own and each other’s immunity.

To describe Biss’ book as ‘straight forward’ would be, on the one hand, to highlight the ease with which this book is read – the reader can immediately relate to its reminiscences of personal familial experience concerning, for example, childhood illness, debates about vaccination, and the confusion of frenzied consumerism – its trends and paralysing choices when it comes to ‘knowing what is best for our children’. However, overall, and to her credit, Biss takes the reader on an anything but ‘straight forward’ journey. With the author as guide, the reader discovers that this concept bends, twists, and metamorphoses as metaphor and imagination grip and drive perception and experience.

This book identifies that immunity turns around the central question of self and other. As a new, and she admits ‘fearful’ mother, Biss tries, through the collection and analysis of information, to find the best strategies of protection for her newborn son. Through this investigation, however, the blurring of lines – between imagined and physical self and other, individual and community – becomes evident and Biss posits that humans are not and cannot be immune to life since we are bound to the very elements that we perceive as threatening. We are ‘always already’ both threatened and dangerous it turns out although continuously, “we imagine our bodies as isolated homesteads that we tend either well or badly” (21). George Lakoff and Mark Johnson’s book, Metaphors We Live By (1980), is directly put to use here as Biss demonstrates that metaphor shapes the way we perceive ourselves and the world.

Rather than pinning down a static answer to ‘what is immunity?’, I have instead obtained, through Biss’ book, a much richer understanding of the nature of immunity. Rather than a definition of immunity that closes a conversation, Biss’ book creates fertile links that spark further thought – a meditation on the concept without beginning or end. A metamorphic image of immunity, gleaned from Biss’s book, proved a solid foundation for my further research – not despite but because of its malleability in confronting the question: just what is immunity? The image of immunity that Biss paints is one of relation, a continual negotiation, breakdown, and/or redefinition across and between self-other. Biss’ complex constellation, wherein all of life is implicated in the consideration of immunity, inevitably demonstrates that with protection comes vulnerability and vice versa.

Highly recommended reading for research and/or general interest.

Blogging the Narrative of Culture, Media and the Arts

By Anneleen Masschelein

Tom Gauld

Image courtesy of Tom Gauld.

The blog “Cultural Studies Leuven, Blogging Since 1425”, hosted by the staff of the Institute for Cultural Studies in Leuven, aims to share interesting publications and events, and give insight into our research and the best work of our students. The research of ICS Leuven can be placed on three, interrelated axes: ‘cultural theory and concepts’, ‘applied narrative’ and ‘media, art and technology’. Interdisciplinarity is of course crucial to the concept of Cultural Studies and we enjoy collaborating with colleagues from other disciplines, departments and institutions. However, these three strands, we believe, do summarize our shared project and can help make our identity as a group visible. Last but certainly not least, these three thematic focus points are not purely research-oriented but they all have practical ramifications in various events that will be organized in the coming year.

Cultural theory and concepts encompasses research on important cultural theorists and ideas that belong to the canon of cultural studies, ranging from the theorists associated with the Birmingham Centre of Contemporary Culture Studies, like Stuart Hall or Angela McRobbie, to important thinkers about culture now (Meghan Morris, Andrew Ross, Lauren Berlant, Pierre Bourdieu and Gisèle Sapiro, …) and in the past (Walter Benjamin, Jean Baudrillard, Theodor Adorno …). We also focus on certain concepts that are topical in cultural studies today: precarity, postfeminism, vernacular, identity, creative industries, amateur/professional, immunity, biopolitics and social choreography… Apart from traditional research, it is our aim to invite some of these theorists to Leuven and interview them for our blog. We will signal interesting events and there will be screenings of documentaries (or other public performances like plays or blogs…) related to theorists, theories and concepts.

Applied Narrative concerns all kinds of storytelling that are a bit outside or beside the focus of traditional narratology, i.e., the analysis of literature and film. More particularly, we study serial storytelling in quality television series, the culture of handbooks or How-To-Books for various literary genres, graphic novels and photonovels and photo narratives, illness narratives, and storytelling and new media. But also the question of dance and notation, archives and narrative and semiotic structures in culture can be seen as part of this focus. We not only study all these types of narrative, but we are also actively involved with different organizations that host events on new forms of storytelling – the Are You Series festival at Bozar or Passa Porta, a Brussels-based literary organization – and many of us enjoy working and experimenting with new narrative forms.

Media, Art and Performance is a label that groups together all work on the intersection between art, culture and technology on the one hand: the representation and social construction of technology, but also new cultural and artistic forms that stretch the limits of technologies. On the other hand, it also has to do with our mediatized society in which the distinctions between real and fiction, between authentic and fake, between live and staged have become highly complex and often problematic. This is perhaps most clear in the domain of performance in the broadest sense of the term – ranging from “art” to performing and staging the self and biopolitics – that holds up a mirror to society and ourselves and shows how the human body is always already mediatized and permeated by technology and by politics. Many of the concrete projects that staff members are involved with can be placed under this aegis. There are the collaborations of ICS with FabLab Leuven: Ex Vitro, an artist in residence program that will result in an artistic walk in the “science quarter” of Leuven, a Hackathon where hackers will remix photographic heritage, and a city quest using augmented reality that we elaborate with the city archives of Leuven. The new course on the theory and analysis of contemporary dance in collaboration with STUK will bring together various choreographers and dramaturgs in public debates. And there are several events coming up, such as an exhibition on interwar typography around the “Arts et métiers graphiques” magazine in October (University Library Leuven, opening Oct. 21st),  and a conference on ‘Photography Performing Humor’ in November (LUCA School of Arts Brussels, November 24th-25th).

As pointed out above, the three focus points intersect in interesting ways. Moreover, we are all cultural and intellectual omnivores who are basically interested in everything. So while we will try to consistently highlight our three research tracks in the blogposts, we also keep an eye open for everything interesting, especially when it comes from our students, who, in the course of their time with us, constantly feed us with new impulses and ideas.