Uncanny assemblage and embodied scripts in tissue recipient horror
in Transplantation Gothic
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This chapter examines texts which imagine dead donor transfer tissue changing recipients. ‘Possession’ transfer Gothic is influenced by contemporaneous discourses of race, class and gender, but what also emerges is the sense of all human tissue as uncanny, including the recipient’s own pre-transplant’s body. Each text in this chapter resists the trend in transplant commentary to downplay any sense of the received tissue as alien or to elide recipients’ imaginative work or distress. The concepts of intercorporeality (Catherine Waldby), ‘absolute hospitality’ (Jacques Derrida) and ‘assemblage’ (Gilles Deleuze) offer a repertoire of strange relationalities between recipient and donor. I consider works from the pre-transplantation era including Frank Kinsella’s The Degeneration of Dorothy (1899), Arthur Cheney Train’s Mortmain (1907), Maurice Renard’s Les mains d’Orlac (1920), Robert Wiene’s film Orlacs Hände (1924) and Georges Franju’s film Les yeux sans visage / Eyes Without a Face (1958), and compare these with postmillennial representations of recipient experience of surgery and aftermath, autobiographical essays by Jean-Luc Nancy (2000) and Francisco Varela (2001) and Claire Denis’s film L’intrus (2004). In the latter works, Gothic tropes and intertextualities may express recipient acceptance of the fractures and contingencies of the post-transplant body, unsettling the language of either ‘possession’ or ‘self-possession’.

Transplantation Gothic

Tissue transfer in literature, film, and medicine


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