{"id":3775,"date":"2024-02-01T10:00:51","date_gmt":"2024-02-01T09:00:51","guid":{"rendered":"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3775"},"modified":"2024-01-12T10:46:14","modified_gmt":"2024-01-12T09:46:14","slug":"the-idea-of-medicine-as-poetry-alan-bleakleys-keats-lexicon","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/medical-humanities\/2024\/02\/01\/the-idea-of-medicine-as-poetry-alan-bleakleys-keats-lexicon\/","title":{"rendered":"The Idea of Medicine as Poetry: Alan Bleakley\u2019s \u201cKeats\u2019 Lexicon\u201d"},"content":{"rendered":"<p><strong><em>The Bio-Illogical<\/em> (Liverpool: The Artel Press, 2023. ISBN 978-1739900335).<\/strong><br \/>\n<strong>Book Review by Dr. Shane Neilson<\/strong><\/p>\n<p>Alan Bleakley knows a thing or two about Keats. As an emeritus professor of medical education and medical humanities at Plymouth University Peninsula Medical School, one of his areas of scholarly interest has been increasing medical learners and practitioners\u2019 tolerance of ambiguity. He aims to dismantle biomedical imperatives around certainty by engaging with Keatsian negative capability.<a href=\"#_edn1\" name=\"_ednref1\"><sup>1<\/sup><\/a> Since he has written so extensively on Keats and encouraged the use of the poetic imagination in medicine, it is a treat to witness Bleakley use that same poetic imagination in a poem of his own, \u201cKeats\u2019 Lexicon.\u201d The poem also serves as a good introduction to Bleakley\u2019s recent poetry collection, <em>The Bio-Illogical<\/em>. \u201cKeats\u2019 Lexicon\u201d imagines Keats, at the end of his life, pondering the intersection of medical philosophy and poetry. My close reading of \u201cKeats\u2019 Lexicon\u201d uncovers the legacy linking two kindred spirits: Keats, the most significant physician-poet in Western history, and Bleakley, one of the most eminent health humanities theorists the field has known.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p><strong>Keats\u2019<\/strong> <strong>Lexicon<\/strong><\/p>\n<p>Keats (alone and fevered)<br \/>\nhis muscles growing hot<br \/>\nhis gums bleeding<\/p>\n<p>realises that poetry and medicine<br \/>\nshare the same grain<\/p>\n<p>with no wound to debride<br \/>\nKeats is soured in the broth of his own lungs<\/p>\n<p>a once-springy moss spotted scarlet<br \/>\neach spot an exclamation<\/p>\n<p>the terrain of pearled tissue<br \/>\nnow a miracle farm of miniscule blood-oranges<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p>Bleakley\u2019s first line fittingly invokes \u201cfever.\u201d As Bleakley knows, Keats contributed much to the hoard of medical metaphors concerning fever. The word appears twenty-one times in Keats\u2019s body of work and metaphorizes such qualities as love, passion, and poetic creativity itself.<a href=\"#_edn2\" name=\"_ednref2\"><sup>2<\/sup><\/a> Here, Bleakley applies the state to Keats in what might be thought of as a morbid poetic justice, depicting Keats at the end of his young life, dying of tuberculosis in Rome. Yet rather than follow Keats\u2019s tendency to metaphorize bodily fever as a tenor that describes an emotional state, Bleakley prefers to keep the fever more deeply embodied, describing its accompanying symptoms (\u201cmuscles growing hot\u201d and \u201cgums bleeding\u201d). I see Bleakley\u2019s Keats representing the body, even the palliative one near death, as a positive zone displaying life, reversing the medical tendency to consider the dying body as a negative state. Keats himself shared this tendency; metaphors of health outnumber metaphors of disease in his work.<a href=\"#_edn3\" name=\"_ednref3\"><sup>3<\/sup><\/a><\/p>\n<p>In the second stanza, Bleakley imagines Keats in a kind of fever dream, coming to understand that poetry and medicine, though not equivalent, share much in common. The realization comes in extremis, when Keats feels his bodily existence acutely and is not dwelling purely in the realm of poeticizing, a mode Keats rarely adopted (even the cerebral \u201cOde on a Grecian Urn\u201d metaphorizes passion in terms of fever: \u201ca burning forehead, and a parching tongue.\u201d) One might argue that, near death, beauty and truth matter, but so do the fact of the body and the pressing necessity of relief. As Housser has written in a study of <em>The Eve of St. Agnes<\/em>, Keats uses \u201cdeeply embodied language to capture and describe all the human senses, and through this language he defines his dominant ethos: beauty is truth, beauty is life, beauty is all.\u201d<a href=\"#_edn4\" name=\"_ednref4\"><sup>4<\/sup><\/a><\/p>\n<p>This depiction is in keeping with modes of embodiment found in disability poetics. Katerina Tsiokou explains that disability poetics abandons the Cartesian separation between body and mind and rejects the \u201cstructured, unified entity\u201d in favour of one \u201cthat accounts for the various parameters of the primacy of the body in the realm of consciousness.\u201d<a href=\"#_edn5\" name=\"_ednref5\"><sup>5<\/sup><\/a> Indeed, the poem manifests Keats\u2019s felt experience of fever in various bodily locations, each contributing to Bleakley\u2019s realization concerning the consubstantiality of medicine and poetry. <strong>\u00a0<\/strong><\/p>\n<p>But what does Bleakley really mean when he writes that \u201cpoetry and medicine\/shar[e] the same grain\u201d? Reviewing Bleakley\u2019s seminal text on medical metaphor, <em>Thinking with Metaphors in Medicine<\/em>, Anita Wohlmann observes that for him, \u201cpoetry and medicine both deal with the extraordinary, as well as with the confluence of multiple and sometimes contradictory meanings.\u201d<a href=\"#_edn6\" name=\"_ednref6\"><sup>6<\/sup><\/a> Like a doctor, \u201cthe poet is a diagnostician who treats culture\u2019s symptoms.\u201d<a href=\"#_edn7\" name=\"_ednref7\"><sup>7<\/sup><\/a> Yet Keats\u2019s diagnosis <em>is<\/em> certain. Bleakley does not need a <em>medical<\/em> version of negative capability (for the instrumental purpose of diagnosis). Instead, \u201cKeats\u2019 Lexicon\u201d shows that the relation between poetry and medicine exists in a space of craft where ambiguity finds its boundary in a practiced intelligibility. In poetry, Viktor Shklovsky famously called this space \u201cdefamilarization,\u201d and Bleakley\u2019s version of the concept deems it a \u201cstrangeness,\u201d one that healthcare workers \u201cnever knew they needed, for their own selves.\u201d<a href=\"#_edn8\" name=\"_ednref8\"><sup>8<\/sup><\/a> Such strangeness deforms language in order to call more attention to it; the denser the deformations, the closer the language approaches poetry. At the end of his life, Bleakley\u2019s imagined Keats does not determine a diagnosis, but renders his subjectivity through bodily metaphor, for there is no \u201cwound to debride,\u201d no biomedical intervention or action, but rather an engagement with the poetic imagination to reconsider and reconvene the self.<\/p>\n<p>In the tradition of biomedical quantification, I will carefully itemize Bleakley\u2019s series of metaphors in \u201cKeats\u2019 Lexicon.\u201d Densely deployed, the metaphors appear one per line: \u201csoured in the broth of his own lungs\u201d; \u201ca once-springy moss\u201d; \u201ceach spot an exclamation\u201d; \u201cterrain of pearled tissue\u201d; \u201cmiracle farm of miniscule blood-oranges.\u201d In each one, the body is tethered to a novel tenor: \u201clungs\u201d as a \u201cspringy moss\u201d reflect an ecological metaphor; lung tissue, or the multiple spots that are not deemed diseased but instead become exclamations, ask for interpretation, not only as a bodily act but as a demand for care; \u201cterrain\u201d and \u201cpearled,\u201d the former continuing the germinative, ecological meta-metaphor and the latter an actual pathological description of the border of gross anatomical specimens, both refer to the body once more (\u201ctissue\u201d); finally, the efflorescence of the body itself, its constitutive fruit, the \u201cblood oranges\u201d\u2014in another metaphorical flourish\u2014exist in the lungs\u2019 larger \u201cfarm.\u201d<\/p>\n<p>Bleakley\u2019s metaphors bring together poetry and biomedical discourse under the banner of close scrutiny: the body is seen according to the medical gaze described so well by Foucault, while also vivified with novel metaphors, so as to add\u2014as Keats himself did\u2014to the metaphor horde.<a href=\"#_edn9\" name=\"_ednref9\"><sup>9<\/sup><\/a> That the poem concludes not with a metaphor promising eternal life but rather with an insistence on mortality (the oranges are <em>blood<\/em> oranges, not fruit from the proverbial tree of life) is entirely in keeping with Keats\u2019s own vision, for Keats did not subscribe to Christianity and maintained a \u201cdeep and abiding skepticism about the possibility of knowing with certainty any kind of transcendent or higher reality.\u201d<a href=\"#_edn10\" name=\"_ednref10\"><sup>10<\/sup><\/a> The poem ends not with transcendence but with the body. \u201cKeats\u2019 Lexicon\u201d makes a corporeal poetry, and thereby enacts the idea of medicine as poetry, demonstrating the shared semiotics of both practices.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Shane Neilson is a poet, physician, and critic who lives in New Brunswick. He recently published the poetic nonfiction memoir\u00a0<\/em>Saving<em>\u00a0(<a href=\"https:\/\/greatplainspress.ca\/books\/saving-a-doctors-struggle-to-help-his-children\/\">Great Plains Publications<\/a>, 2023).<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"text-decoration: underline\"><strong>References<\/strong><\/span><\/p>\n<p><a href=\"#_ednref1\" name=\"_edn1\">[1]<\/a> Alan Bleakley and John Bligh, \u201cStudents Learning from Patients: Let\u2019s Get Real in Medical Education,\u201d <em>Advances in Health Sciences Education<\/em> 13, no. 1 (January 18, 2008): 103; Alan Bleakley, John Bligh, and Julie Browne, <em>Medical Education for the Future: Identity, Power and Location<\/em> (Dordrecht: Springer Netherlands, 2011), 115.<\/p>\n<p><a href=\"#_ednref2\" name=\"_edn2\">[2]<\/a> Yasir A. Al-Jumaili, \u201cMetaphors of Fever in the Poetry of John Keats: A Cognitive Approach,\u201d <em>Cogent Arts &amp; Humanities<\/em> 7, no. 1 (2020): 5. <a href=\"https:\/\/doi.org\/10.1080\/23311983.2020.1793445\">https:\/\/doi.org\/10.1080\/23311983.2020.1793445<\/a>.<\/p>\n<p><a href=\"#_ednref3\" name=\"_edn3\">[3]<\/a> Hermione de Almeida, <em>Romantic Medicine and John Keats<\/em> (Oxford: Oxford University Press, 1991)<\/p>\n<p><a href=\"#_ednref4\" name=\"_edn4\">[4]<\/a> Kathie Housser, \u201cSensuous Embodiment in <em>The Eve of St. Agnes<\/em>,\u201d <em>at the EDGE<\/em> 1 (2010) 115.<\/p>\n<p><a href=\"#_ednref5\" name=\"_edn5\">[5]<\/a> Tsiokou, Katerina, \u201cBody Politics and Disability: Negotiating Subjectivity and Embodiment in Disability Poetry,\u201d\u00a0<em>Journal of Literary &amp; Cultural Disability Studies<\/em>\u00a011, no. 2 (2017): 209\u201310. https:\/\/doi.org\/10.3828\/jlcds.2017.15<\/p>\n<p><a href=\"#_ednref6\" name=\"_edn6\">[6]<\/a> Anita Wohlmann, review of <em>Thinking with Metaphors in Medicine: The State of the Art<\/em>, by Alan Bleakley, <em>Literature and Medicine<\/em> 39, no. 1 (2021): 167.<\/p>\n<p><a href=\"#_ednref7\" name=\"_edn7\">[7]<\/a> Wohlmann, review of <em>Thinking with Metaphors in Medicine<\/em>, 167.<\/p>\n<p><a href=\"#_ednref8\" name=\"_edn8\">[8]<\/a> Peter Steiner, <em>Russian Formalism: A Metapoetics<\/em> (Ithaca, NY: Cornell University Press, 1984); Bleakley, Bligh, and Browne, <em>Medical Education for the Future<\/em>, 169).<\/p>\n<p><a href=\"#_ednref9\" name=\"_edn9\">[9]<\/a> Michel Foucault, <em>The Birth of the Clinic: An Archaeology of Medical Perception<\/em> (London: Routledge, 1976), 166.<\/p>\n<p><a href=\"#_ednref10\" name=\"_edn10\">[10]<\/a> Ronald Sharp, \u201c\u2018A Recourse Somewhat Human\u2019: Keats\u2019s Religion of Beauty,\u201d <em>The Kenyon Review<\/em> 1, no. 3 (1979): 5. http:\/\/www.jstor.org\/stable\/4335038.<!--TrendMD v2.4.8--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Bio-Illogical (Liverpool: The Artel Press, 2023. ISBN 978-1739900335). Book Review by Dr. Shane Neilson Alan Bleakley knows a thing or two about Keats. As an emeritus professor of medical education and medical humanities at Plymouth University Peninsula Medical School, one of his areas of scholarly interest has been increasing medical learners and practitioners\u2019 tolerance [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/2024\/02\/01\/the-idea-of-medicine-as-poetry-alan-bleakleys-keats-lexicon\/\">Read More&#8230;<\/a><\/p>\n","protected":false},"author":345,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2965],"tags":[15166],"class_list":["post-3775","post","type-post","status-publish","format-standard","hentry","category-book-reviews","tag-book-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Idea of Medicine as Poetry: Alan Bleakley\u2019s \u201cKeats\u2019 Lexicon\u201d - 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