Sara Wasson
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Writing wounds
in Transplantation Gothic
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This coda considers a woodcut from Andreas Vesalius’s De Humani Corpus Fabrica (1543) depicting a flayed human body in motion. The image distils a preoccupation that has run throughout Transplantation Gothic: a focus on bodies opened, their incisions not closed, yet life ongoing. This book is concerned with bodies wounded in ways that are not yet finished. It respects stories that do not end or stories that do not end neatly: the wounds of donors that spread to include intangible wounds like reduced earning capacity, pain or stigma, and recipient wounds that keep the body open for more changes – immunosuppressant pharmacology, the medical gaze, and interventions. This book is concerned with extended durations of time and affect, the slow violence of long legacies of health inequality and the long aftermath of care.

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Transplantation Gothic

Tissue transfer in literature, film, and medicine


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