46 pages 1 hour read

The Cancer Journals

Nonfiction | Autobiography / Memoir | Adult | Published in 1980

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Chapters 2-3Chapter Summaries & Analyses

Chapter 2 Summary: “Breast Cancer: A Black Lesbian Feminist Experience”

Lorde starts this chapter with a series of journal entries from March to December 1978. In October, Lorde writes about the pain she feels and how she tears up, though she’s not sure what she’s sad about—her lost breast or herself? Maybe she is wondering how she can meet this personal tragedy with grace. What she does know is that she’s tired. She wants to feel like herself again. Part of her thinks it’s all a dream and that she’ll soon wake up.

In an entry written the following month she transcribes a short dialogue with an unnamed woman. The woman asks how she spends her time. Reading, mostly, Lorde answers. This isn’t true. Lorde cannot tell the woman that she usually stares at blank walls. One day, when she discovered that she had the energy and desire to masturbate, she did this for hours. The pleasure was “a welcome relief to the long coldness” (23).

When Lorde shifts back to the essay form, she tells the reader that she must do her work alone. For months, she has wanted to write a piece about cancer and how it has affected her life and consciousness “as a woman, a Black lesbian feminist mother lover poet” (24). She knows that women are not usually allowed to express what they need, how they feel, or what their lives mean.

Lorde recounts the pain of her mastectomy which was “at least as sharp as the pain of separating from [her] mother” (24). However, having experienced that pain once before, she knows that she can endure it again. A year earlier, she had been told that there was an 80 percent chance that she had breast cancer, though her first biopsy was negative. Still, the possibility of having cancer resulted in a confrontation with her mortality. The fear that she overcame in the three weeks since her biopsy made her more determined to speak, while feeling freer to do so. She also felt that she could finally enjoy her life on her own terms. Accepting death empowered Lorde and gave her new energies.

In September 1978, Lorde returned to the hospital for a second breast biopsy. When feeling this second lump, Lorde was unfazed, having been through the process before. However, this time, the lump was malignant. She awakened in the recovery room feeling colder than she had ever felt in her life. She was horrified and in pain. She wanted to leave the room and warm herself. She screamed and complained about the cold and asked for extra blankets, but none came. The nurses became annoyed.

Frances arrived at her door “like a great sunflower” (25). When Lorde woke again from anesthesia, Frances took Lorde’s hand in her own and bent her face over Lorde’s. Lorde asks Frances if the lump is malignant, and Frances confirms that it is. Lorde grapples with her diagnosis. She wonders what she will do and if there are any other women like her who have been in this situation. She cannot think of anyone. She realizes that she’s on her own.

Lorde decided that she would have surgery if it were necessary. She had wanted “a two-stage operation […] separating the biopsy from the mastectomy” (26). Lorde revisited the decision while spending much of her time reading. Her women friends—including Blanche Cook, Clare Coss, Adrienne Rich, and Michelle Cliff—arrived at Beth Israel Hospital to visit Lorde. Lorde’s daughter, Beth, cried when Lorde explained that she would have a mastectomy, revealing her sentimental attachment to her mother’s breasts. Adrienne comforted Beth and explained how their experiences were different. Adrienne, Blanche, and Clare managed various errands for Lorde and Frances, in addition to keeping their children company. Lorde’s sister Helen made chicken soup and dumplings, while another friend, Bernice, gathered information about those who offered alternative treatments for cancer. During the three days between the biopsy and the mastectomy, many good wishes poured in by door, mail, and telephone.

Lorde considered alternatives to standard medicine, including changes to her diet and vitamin therapy. She remained in a state of disbelief about her condition. She regarded the problem intellectually, wondering what the wisest approach would be to “a diagnosis of breast cancer and a history of cystic mastitis” (27). In other instances, Lorde felt “overwhelmed by pain and fury,” and inadequate in response to the choices she had to make (28).

On Wednesday, Lorde told Frances that she would have a mastectomy. Frances became teary. She later told Lorde that she had been afraid that Lorde would refuse to have surgery and had prepared herself for the possibility of Lorde choosing an alternative treatment. She felt, however, that surgery was the wisest decision. The malignant cells in Lorde’s right breast were “encased in a fatty cyst,” and the cancer would kill her if she did not act quickly (28). She avoided radiation and chemotherapy because, based on what she had read, the treatments in themselves were carcinogenic. The efficacy of the experimental treatments remained unproven. Then again, the alternative therapies might soon become validated. This led Lorde to wonder if she was losing her breast in vain.

During the three days between the biopsy and the mastectomy Lorde became “positively possessed by a rage to live” (29). She wondered if she would sustain that determination after she was discharged from the hospital. She wondered if she would ever be discharged. She was afraid of undergoing anesthesia again. She was also afraid of her lack of control over the situation. She wondered if it was too late to halt the spread of the cancer. She wondered if the pain might overwhelm her.

A year earlier, while waiting for the results from her first biopsy, Lorde felt angry with her right breast. She got the idea that it had, in some way, betrayed her. The day before her mastectomy, September 21, 1978, she wrote in her journal. Lorde describes feeling less angry at her breast and prepared to lose it, as it has become a choice between her breast and her life. She recalls feeling relieved by the results of the first biopsy, as it gave her an extra year “to learn to love [herself] in a different way” (30). Besides, she reasons, her life is worth far more than the sensual pleasures that her breast offered.

The thought of sensual pleasure leads Lorde back into the essay form and her recollection of her former lover, Eudora Garrett—the first woman to whom she had ever made love. Garrett had also had a mastectomy. Lorde dreamt of Garrett that night, and imagined that they were holding hands. The next day, she wrote a journal entry about the memory, wondering, as if speaking to Garrett, what Lorde had offered her former lover in Mexico so many years ago. She wonders if Garrett knows how much Lorde loved her. Eudora, she recalls, never talked about dying. She spoke only about her work.

While in a haze induced by tranquilizers and marijuana, Lorde thinks about Frances holding her hand and the sight of her face, which seems to her like a sunflower. Lorde recalls “screaming and cursing with pain in the recovery room” while “a disgusted nurse” gave her a shot and asked her to be quiet (31). Lorde told the nurse that she had a right to scream. At 5:00 AM, another nurse rubbed Lorde’s back and helped her up to use the toilet because Lorde could not use the bedpan. She then made Lorde tea and fruit juice to help with Lorde’s thirst. Lorde’s pain subsided greatly. Still, her arm and shoulder were numb. She had a wide Ace bandage wrapped around her chest. Two plastic tubes emerged from under the bandage and drained into a hemovac, or a small plastic bottle. Lorde acknowledged that she was alive, drank her tea slowly, and returned to bed.

Lorde awoke again around 7:30 AM. Frances was near her door, but Lorde couldn’t see her through the sides of her hospital bed. She did her best to raise her body up and look at the person she most wanted to see. During the first couple of days after her surgery, Lorde slept and spent her time with other women. Occasionally, Lorde would touch “the flattish mound of bandages on the right side of [her] chest” and remind herself that her right breast was gone (31). If she was alone, she would shed a few tears over her loss. Still, however, she had “no real emotional contact yet with the reality of the loss” (31). She was emotionally anesthetized. When she looked at herself in the mirror, she noticed little change due to the thickness of the bandages.

On the third day, the pain returned. In some moments, the muscles in her back and shoulder felt as if they were being pulled apart. In other instances, she felt a stabbing sensation in her chest. Her phantom breast felt as if it were being pressed in a vise. As the pain worsened, Lorde became angry because she had never been warned about how severe it would be. However, in a way, the physical pain also became a source of power, as it distracted her from her feelings of loss.

For two weeks, Lorde experienced many changes. She felt groundswell of love and support from the women around her—a tide of positive energies during a period when she wanted only negative silence to complement the pain within. Frances was there, as well as Lorde’s many female friends. Lorde knows that, had it not been for the women in her life, she would have died long ago. She also recognizes the love that she received from women she did not even know and even credits the memories of women she did not like—a nun, her high school principal, and a boss.

When Lorde returned home on the fifth day after her surgery, she spent most of her days reading, wandering between rooms, staring at blank walls, or lying outside in the sun with her eyes closed. When she could, she masturbated. She recalls an interim period, between her mastectomy and coming to terms emotionally with having cancer, when she began to think about what these events would mean in her life. She often felt, during that period, that she could not think clearly. Some of this was due to shock, the rest was the result of anesthesia. In the hospital, Lorde did not take the sleeping pills that were offered to her, unwilling to numb herself. She insists that “many patterns and networks are started for women after breast surgery” that encourage them to deny the reality of their bodies, pressuring them to “reject the adventure and exploration of [their] own experiences,” however painful and difficult they might be (34).

On her second day in the hospital, Lorde had been crying. The head nurse sent in another patient who had undergone a mastectomy a week earlier and was about to be discharged. The woman “was a smallbodied [sic] feisty redhead in a pink robe with a flower in her hair” (34). Lorde thinks about her “permanent and inexplicable weakness for women with flowers in their hair” (34). The woman was around Lorde’s age and had adult children who wanted her at home. Lorde knew instinctively that the woman’s children were sons. The woman patted Lorde’s hand and gestured at their respective bandages. She told Lorde not to feel bad, joking that their breasts weren’t much good anyway.

The following day, a woman from Reach for Recovery arrived “with a very upbeat message” and a parcel containing “a soft sleep-bra and a wad of lambswool pressed into a pale pink breast-shaped pad” (34). The woman proudly told Lorde that she was 56 years old. While handing Lorde the prosthesis, the woman insisted that other people will never know the difference between the enhancement and Lorde’s actual breast and that Lorde herself would never know the difference. Lorde bristled at the latter statement, knowing that she would know the difference between her lost breast and the material. The woman then opened her jacket and showed off her bust in a tight sweater. Lorde thought that both woman’s breasts looked unreal. She then looked away and wondered if there were any Black lesbian feminists in Reach for Recovery. She wanted very much to talk to women about her experience, what she could expect, and how they were managing. She also knew that she needed to talk to women who had endured her experience while also sharing some of her “major concerns and beliefs and visions” (35). This woman from Reach for Recovery was not in that category.

The Reach for Recovery woman continued to talk to Lorde, telling her that the mastectomy wouldn’t interfere with her love life. She asked if Lorde was married. Lorde answered that she was no longer married and avoided admitting that she was a lesbian. The woman noted that, in the six years since her operation, she had married and buried her second husband. She also mentioned her habit of carrying “an extra form just in case,” preferably a silicone one (35). She also offered to give Lorde the phone numbers to some of the higher-quality salons. Privately, Lorde wondered what making love to Frances would be like now and if her partner would still be attracted to her. The thought makes her feel her first “groundswell of sadness” (35).

Before leaving, the woman from Reach for Recovery gave Lorde a book of exercises that turned out to be helpful. She also showed Lorde how to perform the exercises. She noted that the woman’s hair “smelled a little like sun” (35). Lorde thought it a shame that such a spunky woman wasn’t a lesbian. She figured men “had gotten to her too early” (35). Lorde also noticed how the woman’s naturally gray hair was heavily teased and dyed blond. The woman assured Lorde that her organization was always on hand to help. After she left the room, Lorde examined the packet that she left behind. There was a bra, which was similar to the one that Lorde was already wearing. When Lorde announced her size—38D—the woman left behind a 40C.

Lorde stood in front of the mirror in her room and stuffed the lambswool into her bra where her right breast had been. The prosthetic looked awkward and lifeless. It was also the wrong color. She pulled it out and let her pajama top settle over the flatness on her chest. She thought of how strange she looked with one breast but, somehow, she also seemed so much more herself than she looked with the lambswool. She realized that she had either to love her body with its one breast or become “forever alien to [her]self” (36). Lorde then climbed back into bed and cried herself to sleep. It was 2:30 PM.

On Lorde’s fourth day in the hospital, her doctor told her that she could go home the following day, as her lymph nodes showed no sign that the cancer had spread. When she looked down at the surgical area while her doctor changed the dressing, she had expected her wound “to look like the ravaged and pitted battlefield of some major catastrophic war” (36). Instead, all she saw was her soft brown skin, puffy from the middle of her chest to her armpit, and “closed by black sutures and two metal clamps” (36).

Lorde cried several times that day—first, because her chest hurt and she could not sleep, then because she felt like someone was stepping on her breast “with hobnailed boots” (37). Though she was eager to go home, she also knew that she would miss the hospital room’s protective environment and its capacity to numb her. When she left, Lorde would have to feel again. She would also have to account for the new changes and demands on her life. For example, she would have to reassess her willingness to admit new people into her life. She would also have to reconsider the presences of those who were already there. She thought about the family she had created among her women friends, which was “fundamentally supportive of a life force within [her]” (38).

Lorde quotes writer Carlos Castaneda when she mentions living with death as one’s guide—that is, maintaining a sharp awareness of all the possibility that existed within a chance or a moment. For Lorde, it means balancing her desires with what is already accessible to her. It also means learning to say what she needs to without concern for being “understood, tolerated, correct or heard” (39). Being factually correct is less important to her, too, as she knows that the world will not care much if she makes a mistake.

After leaving the hospital, it was difficult not to feel like an outcast. People avoided her, while others expected her to be nearly saintly. Then, there was still the pressure to wear a prosthesis, which Lorde felt again while she was dressing to leave the hospital. The head nurse entered her room and asked Frances why Lorde wasn’t wearing it. Frances told the nurse that Lorde didn’t want to. The nurse told Frances that she simply wasn’t persistent enough. Giving Lorde a no-nonsense look, the nurse put it on Lorde, who was too tired to resist.

At home, Lorde wept continuously. She then masturbated “endlessly and repetitively” (39). She still wanted to talk to a lesbian who had had a mastectomy—“to share dykeinsight, so to speak” (39). She made a call and her friends, Sonny and Karyn, arrived. They shared their stories and fears “across age and color and place and difference” (40). Sonny advised Lorde to rest, saying that she isn’t really as strong as she may feel. Sonny talked about going to an educational conference three weeks after her surgery, which was probably not a good idea. Still, Lorde understood the need to work and, three weeks later, decided that she, too, needed to go to Houston to give a reading, despite how weak she felt.

Lorde thinks, too, of the gratitude she feels toward Li’l Sister and the visit when they “shared perfunctory remarks and inquiries about each other’s children” followed by “pre- and post-mastectomy experiences” (40). They did everything, Lorde recalls, but show each other their scars. Li’l Sister then told Lorde how nice it was to meet her before prompting her brother, Henry, to take her back home to Philadelphia. After they left, Lorde had the feeling that Li’l Sister had never talked to anyone about mastectomy before, though she acknowledges that she could have been wrong.

Lorde found that she could only sleep for several hours per night because of pain. In a journal entry for October 5, 1978, Lorde writes about needing to aerate her grief. She knows that she can learn something that she can then share. She expresses sorrow for the women who mourn their physical loss alone and “do not move into the whole terrible meaning of mortality as both weapon and power” (42). Lorde wonders, when we accept the fact that we will die, how can anyone have power over us?

Lorde returns to essay form and notes that she is writing in a new year, in which she is still trying to understand the events from her recent past. She writes to understand who she was and was becoming during that time. She is creating artifacts, preserving them for future scrutiny while also trying to free herself of them.

Lorde starts another journal entry for February 20, 1979. She finds herself overwhelmed by fears and worries for her health. She looks at her yellowing complexion, a problem she had a year earlier, and wonders if her cancer is returning. She resents how she expends time and energy on these concerns.

Chapter 3 Summary: “Breast Cancer: Power Vs. Prosthesis”

After discovering the malignant lump in her breast, Lorde went through “many stages of pain, despair, fury, sadness and growth” (44). She passed through these periods, believing she had no choice. In other instances, she felt that she could choose to be passive or oblivious, but she did not want these options.

For both Lorde and many other women, there is a feeling of wanting to return to life before the mastectomy, of not wanting to find out what enlightenment might wait at the center of the new experience. This regressive urge, Lorde notes, is encouraged by the post-surgical counseling that many women receive. This explains the framing of breast cancer as “a cosmetic problem” (44). The American Cancer Society’s Reach for Recovery program underscores “this false and dangerous nostalgia” (44). Lorde’s own concerns after her surgery had nothing to do with what man she could get, if a man would find her attractive, or whether her children would be embarrassed for their friends to see her. Lorde’s concerns were about her survival and how a shortened life might affect her work and other priorities. She wondered, too, if the cancer could have been prevented, and if she would be able to maintain control over a life that she had long taken for granted.

Lorde did not think that anyone would love her less with one breast, though she did wonder if they would be able to love the new person that she had become. In other words, her concerns were very different from those expressed by the Reach for Recovery volunteer but no less critical or important. Still, Lorde’s attempt to examine what the experiences of breast cancer and mastectomy meant for her were ignored by the volunteer, who encouraged Lorde to look on the bright side. Lorde felt outraged and insulted by her advice, and even more isolated than before.

Lorde enumerates the negative effects of encouraging women to focus on their appearances at the expense of getting them to reclaim themselves and their body-images. The first problem is that the advice focuses women on the past instead of the future. Lorde believes that post-mastectomy women must “[come] to terms with the changed planes” of their bodies (45). When these new planes are hidden under prostheses, women must secretly mourn the loss of their breasts, “as if it were the result of some crime of which [they] were guilty” (45). Secondly, this advice encourages women to focus upon the mastectomy as a cosmetic event, overlooking nutrition and mental health, which may help prevent the recurrence of cancer.

Lorde wants every woman “to live a considered life” (46). As women become more alert to the conditions of their lives, they become less willing to accept “external and destructive controls” over their identities and existences (46). She wants women to challenge the structures that support the Cancer Establishment. She wonders why the American Cancer Society has not publicized information about the connections between breast cancer and ingesting animal fat. She cites a 1978 issue of the British Journal of Cancer that shows “links between animal fat, hormone production and breast cancer” (46).

Ten days after her mastectomy, Lorde went to the doctor to have her stitches removed. This was her first trip anywhere since returning home from the hospital, so she was looking forward to the visit. A friend had washed her hair. Her new gray hairs shone in the sun. She wore “an African kentecloth [sic] tunic and new leather boots” (46). She knew she looked good, “with that brave new-born security of a beautiful woman having come through a very hard time and being very glad to be alive” (46). The doctor’s nurse, a woman around Lorde’s age who had been supportive in the past, called Lorde into the examining room. While walking there, she asked Lorde how she was feeling. Lorde acknowledged that she felt good and hoped the nurse would comment, too, on how good Lorde looked. Instead, the nurse mentioned that Lorde wasn’t wearing the lambswool prosthesis. Lorde said that the puff didn’t feel right. The nurse looked at Lorde disapprovingly and said, even if it didn’t look quite right, it was still better than nothing. After the stitches were removed, the nurse continued, Lorde could be fitted for a real form. The nurse insisted that Lorde would feel better if she wore the prosthesis. Besides, the nurse said, it was bad for the morale of the office if she showed up without wearing it. Lorde was shocked and outraged. This was, however, only the first “assault on [her] right to define and claim [her] own body” (47).

Lorde thinks of others who have lost parts of their body without being coerced into wearing prosthetic devices. There was Moishe Dayan, the prime minister of Israel, who showed up in public with only an eyepatch over the place where his eye had been. No one pushed him to get a glass eye or told him that he was bad for the morale of his office. The world, instead, recognized him as a warrior who had honorably lost a piece of himself. If someone cringed at Dayan’s eye, the consensus was that this was their problem, not his.

Lorde insists that women who survive breast cancer are also warriors. In fact, they must continue fighting. For Lorde, her scars reminded her that she was at war against “radiation, animal fat, air pollution, McDonald’s hamburgers and Red Dye No. 2” (47). She refused to hide her scars or have them trivialized. Instead, she wanted to look starkly at her mortality. She wanted to rethink the texture of her life and “its priorities and commitments,” as well as any alterations she might need to make (48). She also wants to live within her difference without prostheses. To speak about the scourge of breast cancer, Lorde asserts, women who have had mastectomies must become visible to each other. Otherwise, the silences and invisibilities between them will persist and continue to render them powerless. When one is surrounded all day by women with two breasts, it is hard to remember that one does not suffer one’s condition alone.

During the time in which Lorde wrote this essay, breast cancer was on the rise among women in the United States. Only half of the women who were diagnosed lived after three years. This percentage dropped to thirty percent when women were Black, poor, or marginalized in some other way. These statistics reaffirm the importance of early detection and treatment. However, Lorde insists that American women must also “become free enough from social stereotypes concerning their appearance to realize that losing a breast is infinitely preferable to losing one’s life” (48).

While breast self-examination cannot reduce the incidence of breast cancer, it can reduce the rate of mortality, as most women find lumps on their own. Then, after surgery, women must become aware of “the possibility of bilateral recurrence,” or the chance of developing cancer in the other breast (49).

Women between the ages of 40 and 55 are likeliest to develop breast cancer. These are the years in which the media portrays women as “fading and desexualized figures” (49). Conversely, Lorde regards herself as someone who is ascending to the height of her powers. She feels freer from the fears and constraints of her youth, and now knows how to value her own beauty and perceptions. During this period of growth and self-assertion, the experience of breast cancer could become “fuel for a more dynamic and focussed [sic] existence” (49). However, society tries to protect itself against self-actualized women and, therefore, tries to divert the sharing of knowledge about the experience of breast cancer. 

The attitudes toward prostheses, Lorde asserts, are reflections of society’s general attitude toward women. Women have been conditioned to think about how they look and feel to others, rather than examining how they feel to themselves. There are also persistent media images that recreate women as “decorative machines of consumer function, constantly doing battle with rampant decay” (50). There is incessant pressure to whiten one’s teeth, color gray hair, and iron out wrinkles. When Lorde mourned her right breast, it was not its appearance that she missed, “but the feeling and fact” (50). Yet, in a society that values superficial appearance above all else, being one-breasted is an atrocity, bizarre, even a threat to morale.

To remain available to herself and to contemplate the challenges that exist all around, Lorde decides that she must think about what her body means to her. Women have been taught to respond with guilt to any aspect of their own oppression. She mentions how the rape victim is accused of tempting the rapist. The wife who suffers from domestic violence is accused of angering her husband. Prostheses, she insists, must not be chosen “to regain acceptance or protect the sensibilities of others” (51).

Every woman, Lorde writes, has the right to define her own desires and to make her own choices. The choice to wear a prosthesis, however, is usually foisted onto women. Some complain that it’s too difficult to fight pressure from the fashion industry. Yet, being one-breasted does not mean that one cannot be chic. It would, in some instances, mean getting the fashion industry to recognize the needs of post-mastectomy women, just as the industry came to recognize the needs of pregnant women and maternity fashion became a flourishing and profitable field.

Women who have had mastectomies have also reported losing jobs and promotions. Their wearing of prostheses had no apparent impact on these decisions. To suggest prosthesis as a solution to the problem of employment is like telling Black people that the way to fight racism is to pretend to be white. Discrimination can only be addressed openly by women who refuse to be cowed or relegated to an inferior position because they have only one breast.

Those who do have prostheses or have chosen them have faced other challenges. Lorde mentions a New York Times report from December 28, 1978 in which a Manhattan producer of breast forms, Apres Body Replacement, was under investigation for cheating women who had ordered artificial breasts. Women had paid up to $600 for forms that were cast from their own bodies, though they either never saw the completed product or received prostheses that did not adhere to their bodies, rendering the forms useless. The next step for such women is to get breast reconstruction from a plastic surgeon, which, in 1978, cost between $1,500 and $3,000. Some surgeons, such as R.K. Snyderman, M.D., recommended that women who undergo this procedure also have the other breast removed to ensure symmetry, even when there is no clinical reason to remove the other breast. Lorde also quotes Stephen Gallegher [sic], M.D. who mentioned that the aim was to ensure that women looked natural when they wore clothes. Lorde accuses the doctors of using “the language of sexist pigs” (53).

Meanwhile, the American Cancer Society, Lorde notes, did nothing to tell women about the possible dangers of reconstructive surgery. Plastic surgeons insist that reconstruction offers women a better quality of life, while Lorde knows that the improved life will come not from wearing a normal bra but from a woman accepting “her living and dying and her own personal power” (54).

On an episode of CBS Evening News that aired in October 1978, one doctor spoke out and mentioned the possibility that silicone breast implants could be carcinogenic. Still, he also spoke of women’s appearances as though this was as significant as their lives. He expressed sympathy for a woman who had to choose between her femininity and her existence. On the other hand, Dr. Peter Pressman, a noted breast cancer surgeon at Beth Israel Hospital in New York City, has made several important points about breast implants and breast cancer. First, he notes that, at the time, there were no large-scale studies about the link between reconstruction and the recurrence of breast cancer. Secondly, Pressman notes that the surgery required to insert a prosthesis could “stir up cancer cells which might otherwise remain dormant” (54). Thirdly, the implant can mask a recurrent tumor.

Lorde believes that the American medical establishment is averse to releasing information that could threaten its interests. More reliable information is likely found in women’s magazines and from alternative presses. Much of the secrecy, Lorde asserts, has been engineered by the American Cancer Society (ACS), which had become the major voice in the “Cancer Establishment.” When Lorde wrote this essay, the ACS was “the largest philanthropic institution in the United States and the world’s largest nonreligious charity” (55). By 1977, the ACS had $176 million in funds, though only 15 percent of its budget went to helping cancer patients. Moreover, the ACS is skeptical of holistic approaches to treating cancer. It has also focused on treatment rather than prevention and only upon the most standard of treatments. Of the 194 members on its governing board, as of 1978, only one was a labor representative, only one was Black, and women were absent.

The ACS was established to promote new research into the causes of cancer and its cure. However, it has spent much of its budget on suppressing new research ideas, despite the interesting research that has come from other countries. In Europe, there have been valuable experiments with immunotherapy, diet, and treatments with hormones and enzymes. With breast cancer on the rise, Lorde urges women to gather information from alternative sources. After all, conventional therapies have not reduced mortality rates. Lorde accuses the ACS and its partner, the National Cancer Institute, of being indifferent—even hostile—to the idea of environmental causes of cancer and of the need for better regulation and methods of prevention.

In the medical literature of Lorde’s time, there was increasing evidence that “breast cancer is a chronic and systemic disease” (56). Post-mastectomy women, she insists, must be aware that they are likeliest to develop cancer elsewhere in the body. Every woman, Lorde advises, has a “militant responsibility to involve herself actively with her own health” (56). Women owe themselves access to all the information they need to remain vigilant, and they must have access to this information before they need to use it.

Lorde writes: “[It is] physically important for me to be loving my life rather than to be mourning my breast” (56). She believes that this love, in addition to the love she received from other women, helped her recover from her mastectomy. However, she draws a distinction between this process of self-affirmation and the kind of optimism the Reach for Recovery volunteer advocated. Looking on the bright side is a superficial “euphemism used for obscuring certain realities of life,” particularly those that could harm the status quo (56). A week before writing this essay, Lorde read a letter from a doctor published in a medical magazine in which the doctor claimed that “no truly happy person ever gets cancer” (56). For a moment, this letter made Lorde feel guilty. Then, she realized that the idea that a cancer patient should feel guilty is monstrous. It also allows all of us to avoid fixing the problems that may give us cancer, such as polluted air and water. Happiness alone cannot protect us, Lorde insists, from the ravages of profit-madness.

Lorde enumerates some of the problems of her time—female-genital mutilation, the police killing Black boys with impunity, and the persistent problem of homelessness. She wonders how one can be happy when the news does not bother to mention the daily murders of women, the cuts to special education programs, the unfair tax burdens levied on the poor, and “900 people commit[ting] mass suicide rather than face life in america [sic]” (57). Even the happiest person in the nation is breathing in auto exhaust, second-hand smoke, drinking potentially harmful water, and eating tainted food. The idea that happiness will protect us from these dangers is a lie circulated by those who are working to destroy us. Then, there is the knowledge, held by any woman of color over the age of 15, that “our daily lives are stitched with violence and hatred” (57).

Lorde notes it took time before she could look lovingly at her body after her mastectomy. She wrote in her journal about how there are some things that she would not sacrifice her life to maintain. If this were not true, she never would have gotten the surgery. She has learned that she must keep her priorities clear. She wonders if the cancer has given her a “chance to live and speak those things [she] really [does] believe” (58). She wonders, though, if she will ever be strong enough again to open her mouth and not hear a cry of pain escape.

When she began writing this essay, Lorde recalls that she had reviewed the books she read in the hospital while she was deciding to have her mastectomy. She saw pictures of women with a single breast and mastectomy scars. She shrank from these pictures before her surgery. Now, those images do not seem at all frightening. Sometimes, she writes, she misses her right breast. Similarly, she also misses being 32 years old. At the same time, she knows that she has gained from the loss that she mourns. Her feeling of sensual loss has also waned. After all, she has realized that her sexual desire is still within her. Lorde knows that she never would have chosen the path on which she was set, however, she is glad to be who and where she is.

Chapters 2-3 Analysis

The title of the second chapter—"Breast Cancer: A Black Lesbian Feminist Experience”—situates Lorde’s experience of breast cancer within her marginalized identities. Lorde takes the reader through the waves of emotion that she experiences after her diagnosis, including her initial disbelief in response to the diagnosis and her depression, as demonstrated by her frequently staring at blank walls. She expresses her need to write about her experiences as a form of resistance against the social pressure on women to submerge their feelings around breast cancer and mastectomy and to resist women’s complicity in perpetuating the delusion that cancer doesn’t impact their identities.

Lorde’s feelings are palpable in the second chapter and reinforced by the nurses’ indifference to her pain. Their attitude contrasts with Frances’s warm presence. A sense of coldness returns, however, when Lorde searches her mind for role models (that is, other Black lesbian women who have endured breast cancer). Writing The Cancer Journals is an effort to write herself and other women who have had her experience into a history from which they have been excluded.

Ironically, cancer connects Lorde to other women, even those whom she didn’t like, because she recognizes that they are all vulnerable to breast cancer. She casually mentions her women friends to the reader, using their first names, as if to include us in her intimate world. She mentions Blanche Wiesen Cook, who is currently a professor of history and women’s studies. Cook is also the author of the three-volume definitive biography of Eleanor Roosevelt. Cook’s partner for over half a century is Clare Coss, who is also mentioned. Coss is a playwright, psychotherapist, and activist who edited an anthology of lesbian love poems entitled The Arc of Love (1996).

Coss and Cook shared Lorde’s commitment to activism. Both were anti-war activists during the Vietnam War and gay liberation movement activists. This connection to queer women overlaps in some ways with Lorde’s sentimental attachment to her breasts (an attachment which her daughter, Beth, also shares). Lorde wonders if she was truly mourning some loss of self or solely her breast or both. She connects the problem to that of maternal separation as the breasts are so integral to maternal identity.

Lorde also illustrates her internal strife (and concern from Frances) regarding alternative therapy. Lorde refuses chemotherapy for fear that the treatments to repair the cancerous body will cause a recurrence of the illness (for similar reasons she also rejects breast reconstruction). Meanwhile, Lorde’s anger with her right breast results in her nearly personifying it as an agent of destruction. Her memories of her first female lover Eudora Garrett, which are juxtaposed with these feelings, remind her that she needn’t have both of her breasts to engage in sensual pleasure; Garrett prioritized her work, not her appearance. Thus, Lorde finds a role model in her former lover.

Women Lorde encounters in the hospital serve as foils for her lesbian feminist friends. Lorde intuits that these women’s lives are centered on men in a way that hers is not. The only men mentioned in the text are the reconstructive surgeons whom Lorde believes facilitate women’s disconnection from their bodies and their true experiences with breast cancer and mastectomy. The feisty redhead and Reach for Recovery volunteer both show up in Lorde’s room to help cheer her up. The redhead offers humor, but Lorde notices she diminishes her own needs in favor of those around her, like many women in recovery. The volunteer assumes that Lorde is heterosexual and concerned with how men will view her after her surgery. Despite her best intentions to help Lorde feel better, she is oblivious to the world in which Lorde exists. Both women are around Lorde’s age and both have a spunk that the author recognizes and admires. Lorde notes that the redhead’s hair smells like the sun, which connects her, slightly, to the sunflower simile that Lorde uses to describe Frances’s presence. However, both women have also bent themselves toward convention and (like the photographed women in the art gallery exhibition that Lorde mentions in the introduction) they have contorted themselves into objects for heterosexual male consumption, whether those men are their sons or their life partners. Lorde is led to believe that her appearance is more important than her personal comfort.

Lorde’s allusion to Carlos Castaneda, who began writing in the late 1960s, aligns with her similar dissatisfaction with the Western worldview, particularly regarding medicine. Ironically, Castaneda died of liver cancer six years after Lorde in 1998. During his lifetime, Castaneda contemplated mysticism in his work and the benefits of psychedelic experimentation. Like Lorde, Castaneda tapped into Indigenous traditions for personal development and treatment (records later revealed that Castaneda, who was slippery about his origins, was born in Peru).

Lorde finds comfort in another lesbian couple, Sonny and Karyn. Sonny Wainwright was the author of Stage V: A Journal Through Illness (1984). Wainwright wrote about her bout with breast cancer, which later returned and killed her in the 1980s. Karyn London was Wainwright’s lover at the time in which Lorde chronicles her experiences with illness and recovery. London, like Wainwright and Lorde, was a lesbian activist. The women provide the “dykeinsight” that Lorde craves. Wainwright, particularly, can identify with Lorde’s experiences with breast cancer, while also understanding her both her exhaustion and her compulsion to continue working. Their experiences, however, are still markedly different due to race. Wainwright was white, but the reader can infer that she and Lorde spent time speaking through their differences to share their experiences.

The conversation with Sonny and Karyn is juxtaposed with the conversation that Lorde has with Li’l Sister, another Black woman and mother. Despite having never met, there is great warmth, understanding, and openness between Lorde and Li’l Sister. Their conversations empower Lorde to discuss breast cancer further with other women and to encourage the discussion to continue without her. She also becomes fortified in her resistance to all social pressure to regress and behave as though she has not been changed by breast cancer. After recovering from the grief of losing her breast, Lorde decides that she can accept her changed body and what it means for her existence as a Black lesbian feminist.

Before undergoing this transformation, Lorde, like many women, internalizes guilt over the loss of her breast. She recognizes the shame that some women feel over being unable to hold onto both of their breasts. She challenges this guilt by focusing attention outward on the nutritional and environmental factors that can cause cancer. Lorde mentions Red Dye No. 2, or amaranth. Red Dye No. 2 was one of the first food dyes to become legal. In 1976, it was found to have caused cancer in female rats when consumed in high doses. However, the evidence that it caused cancer in humans was inconclusive. In 2010, the European Food Safety Authority declared the dye harmless. In the U.S. and Canada, Red Dye No. 2 was replaced by Red Dye No. 40, which the European Union has recognized as potentially harmful. There was such a scare around Red Dye No. 2 that red M&M candies were discontinued for a decade.

Lorde’s experiences with breast cancer and mastectomy are key to her self-actualization. She becomes determined to use her ordeal with her body as a source of personal and social exploration—that is, to consider the ways in which she and other women can reassess and reframe their respective contexts and, hopefully, form a more cohesive community. Lorde likens many post-mastectomy women’s focus on their looks with society’s overall equation of women’s appearance with their social value. This view perpetuates the dehumanization and objectification of women, forcing their participation in a commercial industry that profits off their low self-esteem. Lorde reminds women, using the example of the fashion industry’s belated response to the needs of pregnant women, that they have the commercial power to adjust the industry to their needs.

Drs. Reuven K. Snyderman and Stephen Gallagher are the rare male figures in The Cancer Journal. Snyderman, who was a plastic surgeon, died in 2004. He practiced at Princeton Medical Center and Memorial Sloan-Kettering Cancer Center and was chief of Comprehensive Breast Cancer Services at Robert Wood Johnson Medical School. Lorde alludes to Snyderman’s advocacy for prophylactic mastectomy, or the removal of both breasts for women at high risk of developing breast cancer. Snyderman penned the essay, “Is there a place for the prophylactic mastectomy?: An editorial,” for the December 1984 issue of the medical journal Aesthetic Plastic Surgery. Lorde may overlook or misunderstand Snyderman’s concern about bilateral recurrence—a problem that she herself mentions in the text—and emphasizes, instead, the plastic surgery industry’s supposedly greater interest in encouraging women to surgically remove healthy breasts to get implanted ones. Gallagher edited Early Breast Cancer: Detection and Treatment (1975), a text to which the American Cancer Society contributed.

Lorde points to the American Cancer Society and Drs. Snyderman and Gallagher to suggest that the medical industry may be more interested in profits than in effective and healthier treatments for cancer patients. She also levies criticism against the pressing optimism on women who are recovering from breast cancer. The emphasis on the importance of a positive attitude encourages women to ignore their authentic feelings and the real factors that contribute to cancer risks. As Lorde notes, the emphasis on always looking on the bright side forces women to embrace a position of passivity and obliviousness that Lorde eschews in favor of activism.

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