Keynote Speech

Illness and Narrative
Arthur W. Frank(Department of Sociology, University of Calgary)

My work for the last fifteen years has been built on three simple ideas.
First, the suffering of physical disease is made worse by social attitudes
toward illness. Ill people are made doubly passive. They are treated as—and cometo think of themselves as—victims of disease, and they are dehumanized by the
medical treatments that are supposed to be caring for them. Of course not all
medical treatment is dehumanizing, but too much of it is. A few weeks
ago—August 16—the New York Times, the American newspaper that sets theagenda for other papers across North America, ran a front page story entitled, “In
the Hospital, a Degrading Shift from Person to Patient.” As a commentary to
numerous stories of how hospitals degrade patients, the article quotes extensively
from Erving Goffman’s sociological classic, Asylums. What is extraordinary is thatfieldwork Goffman did in the 1950s remains a relevant commentary to hospitals
half a century later. I will not retell stories of how hospitals dehumanize; I assume
such stories are familiar to all of you.
My second core idea is that if ill people are to hold onto their humanity,
they need to find a story that gives meaning to their suffering. I take the word
meaning from the classic work of Holocaust survivor and psychoanalyst Victor
Frankl, expressed in his book Man’s Search for Meaning. As Frankl observed his
fellow prisoners in Auschwitz and Dachau, he realized that those who survived had
been able to retain a sense of choice in how they responded to their circumstances.
Frankl writes: “everything can be taken from a man but one thing: the last of
human freedoms—to choose one’s attitude in any given set of circumstances, to－80－

choose one’s own way” (86). I would express Frankl’s insight in terms of stories.
The camp survivors chose to tell their own story about who they were and what
their suffering meant. They lived this story in their actions, and their actions—suchas sharing a crust of bread—became the story that sustained them. The lesson hereis that stories take care of people.
Let me pause here and tell you a story of my own that illustrates how
stories take care of people. In 1986 I was in chronic pain as a result of secondary
tumors that were filling my abdomen and wrapping around the renal artery. The
primary tumor was a testicular seminoma, and the physicians whom I was seeing
were missing that diagnosis. While they tried to figure out what was wrong with me,
I was in incredible pain, especially at night when I tried to lie down and that put
pressure on my kidneys and the tumors. Very late one night I was wandering about
our house, trying to make as little noise as possible so as not to wake my wife, but
in great pain compounded by exhaustion. Then I saw something so beautiful that it
lifted me out of my body. A large window was lightly frosted; outside it was a tree,
and beyond that was a streetlight. The streetlight created a reflection of the tree on
the window. In the frost, it looked like the finest etching. What made it especiallybeautiful was that I knew it was transient. As the temperature changed, the frost
would become thicker and then melt; this painting had to be seen right then,because it was going to disappear.
Two thoughts immediately came to me. The first was that if it had notbeen for the pain I was in, I would have missed that beautiful image. My pain
suddenly had purpose and meaning. Awful as that pain was, it had put me in a placethat I needed to be, because something that deserved to be seen could be seen only
by being exactly there, exactly then. The second thought was that all things aretransient, and transience is all right. If that image on the window would change andthen disappear, so could my life. As I thought this, my very real fears of bodily
destruction lessened. I became part of an order of things beyond myself, and what
was happening to me—my pain—mattered less.
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My pain was still real, and my body was still in trouble. But I had taken
one step toward regaining my humanity. In Victor Frankl’s terms, I had regainedsome capacity for choice: in my case, the choice to see beauty and to find in it arelationship to my own situation. Thus I return to my core idea: ill people needstories that take care of them. These stories need not be complex narratives; in mycase, an image on a window was sufficient. Stories restore people’s sense ofhumanity, purpose, and meaning.
My third core idea is that there is professional work to be done—in bothresearch and clinical practice—to give people a sense of the value of their own
stories, to teach front-line clinicians the importance of witnessing and validatingthese stories, and to make it an institutional priority that clinicians spend time
listening. Telling a story to yourself is a beginning, but for that story to have its
fullest effect, someone else needs to witness it. People need to hear themselves telltheir own stories, and this requires a listener. The listener becomes a witness when
she or he displays recognition of the story’s significance and value. To be a witness
is to show a storyteller that all the world depends on that story—just as my wholeworld depended on that window.
The professional’s task is not to tell people what stories ought to besignificant for them. People have to find their own stories; the stories they find forthemselves—as I found my story of the frosted window—are those that can takecare of them best. But what clinicians and researchers can do is to amplify andspread people’s stories. Professionals can connect people through their stories.
Researchers and clinicians can spread good stories, which can show people how
they might tell their own stories.
As professionals, we have an extraordinary privilege of being able to speak inpublic and publish. We can use this privilege to amplify voices that would nototherwise be heard, thus performing a public act of witness that can change theunderstanding of illness in a society. This change will not be rapid or widespread,but it will be real, nevertheless. The possibility of telling new stories can, I believe,－82－change the world. In fact, I think that new stories are the principle way in which theworld changes, for good and for bad.
Those are my three core ideas. First, that the physical suffering of diseaseis increased by the social suffering of turning ill people into dehumanized victims.
Second, that people need stories to regain their sense of humanity. And third, that
there is professional work not in analyzing ill people’s stories, but in demonstrating
their importance and amplifying their voices.
I want now to summarize how I approached this work during themid-1990s, especially in my second book, The Wounded Storyteller. After that, thefinal part of my talk will suggest my work in progress on what I call the dramas ofillness.
After I had written my first book, At the Will of the Body, which is myown story of my illnesses and has been translated into Japanese, I began to readmany other people’s stories of their illnesses, and a number of these books were
published in the early to mid 1990s. My main interest was in how I could help
clinicians appreciate the importance of ill people’s stories, and how I could help ill
people understand the ways their stories were shaped by the narrative conventionsof North American society. I believe that people tell their own stories, but people do
not make up, by themselves, how to tell these stories. We each speak our own
thoughts, but we speak in a syntax and vocabulary that language provides, and we
do not make this language up ourselves. Just as our self-expression is constrainedby syntax and vocabulary, so our storytelling ability is constrained by what
narrative templates a society makes available for us. Any culture, at any given time,
has a certain number of these narrative templates. To be able to tell a story—to get
the story told and make it intelligible to others—a speaker has to use one of theseavailable narrative templates.
What I tried to identify in The Wounded Storyteller were three corenarrative templates in which stories about illness can be told, or could be told in
North America in the 1990s. I emphasize that narrative templates are relevant in－83－

particular cultural locations, at particular times. Some narratives travelcross-culturally, but how people tell stories is specific to their cultural locations.
Thus, the narrative templates I located in my time and place—North America in the
1990s—will have to change when thinking about Japan today, and I leave to you
the work of describing the current templates for telling illness stories in Japan.
The first template sets out what I called restitution narratives. Thesestories idealize the goal of restoring people to life before illness. I first clearlyrecognized the restitution narrative when I happened to read a hospital advertisingbrochure that described six or seven patients who had received cancer treatment intheir hospital. Each patient’s story followed the same narrative: the person had been
living life full of activity; then she or he gets cancer and is treated in the hospital.
The stories all ended with the person now back to his or her original activities—thelife she or had before illness was restored after illness.
The restitution narrative is intelligible and has appeal because it contains
resonances—echoes—of some very old stories, especially the story of Job in the
Hebrew Bible. Job is a righteous man who is tested by God: he loses his family andhis wealth and suffers terrible disease. At the end, God restores to Job all that helost: his health, wealth, and family. That narrative of loss and restoration is familiar
and available, and contemporary medicine has picked it up as its preferred narrativeof illness. This is the story that cancer patients are encouraged to tell about
themselves; or to be more precise, restitution is the narrative template within which
individual stories are to be told.
Social pressures to tell restitution stories are very real. After I had
finished chemotherapy, people we knew would say to my wife: “He’s all rightnow,” not as a question, but a statement that she was expected to affirm. Her work
was to uphold their story that even terrible illnesses can end in restitution of life as
it had been. A significant part of the emotion work that ill people are expected to do
is to keep safe the worlds of healthy people who fear illness. That emotion work is
draining and oppressive to the ill and their families, because it often requires denial－84－

of the realities of their lives.
When medical workers become caught up in restitution stories, they can
imagine only new forms of treatment, even if those treatments are futile. Peoplecaught up in restitution become unable to see that they are failing to offer what
those who suffer truly need—care in the sense of comfort and recognition. During
the last decade there has been substantial change, with medical workers
increasingly willing to recognize futility and reject it. But many remain stuck in
restitution narratives. When treatment is rejected as futile, too many medical
workers find it difficult to express on-going care. They simply have no story thatguides their actions, once the restitution story can no longer be told.
My second narrative template is the chaos narrative. Chaos stories are
actually anti-narratives, in this sense. In a narrative, one thing leads to somethingthat follows from it; narratives progress, through time and space, from a beginning
to an ending. The literary scholar Frank Kermode wrote a well-known book called
The Sense of an Ending, and it is crucial to a narrative that the actions lead to somekind of resolution that provides the sense of an ending. In chaos narratives, one
thing happens after another, but nothing leads to anything else; there is no orderingof events, and that is what is chaotic. No ending, in the sense of a resolution, is insight.
In chaos narratives of illness, a new symptom appears or old symptoms
intensify, another member of the family becomes ill or injured, some property isdamaged, an insurance or welfare benefit is withdrawn—and, crucially, nothing canbe done to stop this progression of disasters. The person living the chaos narrativeis defeated by life, and as this person describes his or her life in chaos stories,
everyone around them comes to feel defeated. Persons caring for such patientscome to believe that if they spend too much time listening, they too will be pulled
into the chaos, because its pull is powerful. Thus people withdraw from the person
living and telling the chaos narrative, and those withdrawals become a further partof the chaos.
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I have no easy answer of how to respond to people living and tellingchaos stories. Two points seem important. The first is not to try to fix the chaos,although that will be the first reaction of most clinicians. Some people’s lives are
deeply chaotic and will not be fixed, at least quickly. The person living the chaos
story will see others’ attempts at fixing not as help but as their own self-protection
against what the clinicians find frightening. Thus the second important point ofresponse is for the clinician to show that she or he can stay in the room with thechaos and not be destroyed by it. The person living in chaos has a dark
fantasy—not without elements of reality—of their own destruction, and the first,
significant response of the clinician is to demonstrate that it is possible to enter thechaos and not be destroyed. The clinician can model the possibility of moving inand out of chaos and learning to reflect on it, rather than being immersed in it.
Chaos narratives present suffering as being without purpose or design; as
I said, they are stories without narrative structure. My third type of narrative, quests,
resonate with humanity’s oldest narrative structure, the heroic epic of call, descent,suffering, return, and at the end, some reward for suffering, either a material reward
or a spiritual one. My story of being in pain and then seeing the beautiful frosted
window was a quest narrative: the symptoms were the call; I descended into
sleeplessness; I suffered pain but that suffering had some turning point; in theinsights I felt on seeing the window, I began a return, and in the transformation of
my suffering a received a kind of reward.
People tell quest stories when they say that despite all the suffering, they
can appreciate what their disease has brought to their lives. More important, people
who have experienced some self-transformation through illness want to share thiswith others. Thus in quest narratives, illness and suffering becomes sources of
insight that the ill person understands the world as needing. The quest is to tell thehealthy world truths that can be learned only through illness. Almost all publishedillness narratives, and most of the stories that appear in newsletters of support
groups, are quest narratives. The reality of loss is not forgotten, but it becomes－86－secondary to what has been gained.
In quest narratives, the person expresses an inability to imagine his or her
life without having had the illness, although life after illness is anything but
restitution. The nature of the experience means that the person lives a new life, or
lives a new version of his or her old life. Again, the emphasis is on transformation,
growth, development, and how personal change can institute broader social change.
People telling quest stories have a mission, which is to tell the story, because thatstory can change the course of suffering for those who will come after. Unlike therestitution story that imagines doing away with suffering, the quest story works toaccept the inevitability of suffering. Telling quest stories helps others to move more
quickly to the insights that suffering can offer.
In the decade since I wrote The Wounded Storyteller, many researchersand clinicians have used these three narratives as a typology within which toorganize observations. In a recent issue of the journal Social Science & Medicine,the British researchers Brett Smith and Andrew Sparkes use these three narrative
types to understand the experiences of professional athletes whose careers areended by debilitating spinal cord injuries. Smith and Sparkes are especiallyinterested in the dynamics of hope among these men. Hope, they observe, is always
situated in a story about a possible future. Let me leave these applications of mythree narrative types, and turn now to the ideas I am currently developing about theinherent drama of illness.
I believe that in any serious illness, or trauma, or chronic condition, atleast five dramas are taking place. The study of these dramas is both clinical workand a research program, so I will focus on core questions that can be used to open
stories in which the drama can develop. Dramas are dramatic: something is at risk.
Both clinical and research questions not only ask about this drama, they claim thequestioner’s recognition of the drama and his or her participation in it. Thus thequestions must be asked with suspense based on intense caring about what will
happen to the hero of the story who is also the storyteller. That caring includes a－87－

willingness to imagine life as the storyteller depicts it, and the imagination of that
person’s life increases caring.
I. The drama of genesis.
I take the importance of genesis especially from sociologist Gareth
Williams’ classic study of the stories that people with advanced rheumatoid arthritis
told about how they believed their illness had originated. Genesis stories trace
illness or trauma to what someone did or what was done to them. Williams reports
how one person explained the genesis of her illness by telling a psychologicalnarrative that traced illness to her personality. Another constructed a theodicy inwhich God was testing her. A third told a political narrative about capitalist
exploitation in the form of his exposure to toxic chemicals in different work sites.
Each genesis creates its own tension of forces; the sufferer must align him- or
herself among these forces.
Both the research and clinical response to these stories is not theiradequacy as explanations of the person’s disease. Rather, the issue is how thesestories take care of the people who tell them; how the stories endow the ill person’slife with a sense of drama that makes that life a story worth living, despite all theways it is painful to live. Here is Victor Frankl’s sense of meaning: people cansurvive suffering when they have a sense of living out a story that is worth living;when, that is, they take seriously what is at stake in the clash of forces, and they see
themselves having a role in the outcome of this clash. The story—which represents
the forces at odds with each other—is the idiom in which the patient is doing thework of suffering.
Core questions to both patients and research participants:
・ How do you believe [this condition] began? What caused your disease?
・ How has that beginning made a difference in which ways you found to livewith [the condition]?
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・ How has that beginning made a difference in whether certain treatments
were more or less effective?
・ Where does that sense of a beginning lead you, as you think about yourfuture life with [this condition]? What tasks does that beginning set in place
for you?
In asking these and other questions, clinicians and researchers need toprepare for the questions by assuring the patient or participant that theclinician/researcher is not already committed to one particular explanation. Nor will
the first story that the patient/participant tells about genesis be their eventual story.
In illness stories as in all stories, there is uncertainty about where the story begins;most genesis stories lead back to preceding stories. As stories are told, one story
leads to anther, and the beginning place will probably change. That change does notreflect inaccuracy in the former story; stories co-evolve, and the objective is toobserve and participate in that evolution.
In the telling of genesis stories people are often best able to express twocentral features of suffering: resentments and tasks. Most suffering involves
resentments: against one’s heredity, or the environment, or working conditions, or
medicine, or God. I accept the Freudian view that resentments not expressed openly
will express themselves in displaced forms, including self-destructive acts. Genesis
stories also set in place the tasks that the person needs to undertake to repair someoriginal rift, or loss, or split that the genesis story describes. I find it more useful tothink of tasks than the more frequently invoked notion of hope. Tasks can be broken
down into small pieces, and stories about accomplishing those small pieces keeps
the bigger illness story fluid and flexible. Hope risks fixing the story on one desired
end-state that may or may not happen.

－89－II. The drama of emotion work.
I take the idea of “emotion work” from the seminal research ofsociologist Arlie Hochschild on jobs—from flight attendants to grocery checkout
clerks—that require a particular emotional self-presentation as part of the work.
Being a patient requires emotion work, because most patients—I would say all that
I have ever met—fear alienating clinicians who could impede their access to
medical resources, and they fear alienating friends, family, and work associatesfrom whom they need support. I have never spoken with a patient support group inwhich someone did not talk about this need to modulate emotional responses to fit
others’ expectations, with other group members assenting.
A great story of emotion work is told the set of notes left by the 19th
century French novelist Alphonse Daudet, who lived in extreme pain caused bytertiary syphilis. Daudet’s secretary describes him sitting in great pain one moment,
then on his feet and laughing when his wife enters the room, and collapsing backinto his chair when she leaves. “Suffering is nothing,” Daudet is quoted as saying,“It’s all a matter of preventing those you love from suffering” (x). That is the mostselfless side of emotion work, as opposed to the self-protective side.
Core questions:・ Who else is affected by your pain/disease?
・ Do you feel you protect them? Tell a story of that protection.
・ If you could, how would you like to be able to protect them?
・ Do you feel they are working to protect you?
・ And then the more difficult questions for clinicians to ask: What effort doesit cost you to be here, in this clinical setting, to be treated? What is the drainon your energies, being here?
These latter questions that reflect on the clinic itself have to be taken
slowly, as the patient feels safe telling the truth. Clinicians exploring this area will－90－

also be doing their own emotion work, and here, especially, the asymmetry of thestorytelling is consequential. The story is co-created, but it’s a story to take care of
the patient, at least primarily. The clinician may need someone else to witness thestories of his or her emotion work.

III. The drama of faith and desire.
Humans have the particular capacity to interpret suffering with anawareness of some purpose or dimension that transcends the self. How people
understand this self-transcendence and what language they express it in are as
variable as they are sensitive.
The core questions begin with exploring what language a person is
comfortable with: traditional religious terms, the “ultimate concern” described byexistential theologians, the “higher power” of recovery groups, or Western
adaptations of Eastern religions, for example, mindfulness. The choice of language
is crucial. One vocabulary will shut down conversation, and another can enable
stories to be told. Questions begin with this choice of language.
I pair faith and desire together because a core question might be: Whatpurposes give your life value? Or conversely, what values give you a sense of
purpose?
In some people’s story, values and purposes can be quite secular, yet be
upheld with a force that can be called faith. Another rheumatoid arthritis patientinterviewed by Gareth Williams, Mrs. Fields, organized her life around what
Williams calls her three virtues: maintaining a degree of physical independence,
financial solvency, and cleanliness in her person and her home. Those virtues gave
Mrs. Fields’ life meaning because they were expressions to relationships that took
her beyond herself. Her actions expressed her responsibility to, and need forrecognition from, her adult son and the visiting nurses who came to care for her.
Mrs. Fields’ virtues are utterly mundane, yet as she works daily and hourly to－91－

express them, they give her life transcendence in the sense of aspiring to sustain
something beyond her self.

IV. The drama of fear.
The pleasure of ghost stories lies in knowing we can walk back out ofthem. The claustrophobic suffering of disease and pain is their inescapability. The
dark side of stories is that they can entrap us in imaginations of what we find mostfrightening; our stories can impose a future horror on the present. Thus in the dramaof fear, it is often necessary to get out of stories that a person is telling him or
herself. But the paradox is: to get out of a story, it’s usually necessary to tell thatstory, giving fear its fullest expression. Again, people need to hear themselves
telling their own stories, but in this case, the objective is to get out of those stories,
or at least to move them from fantasies to realistic risk appraisals. Most often, a fear
has to be validated as truly fearful before a new future story can be told that diffusesthat fear. Here as elsewhere, the crucial clinical task is not to challenge the story but
to work with it, so that it can evolve into a new story.
Core questions:・ What about your present situation do you find most frightening?
・ What possible future frightens you?
・ What other illness stories have you heard that you found frightening?
・ Among those things about your life that you value most, what are you afraidof losing?
・ The limit of these questions is that the greatest fears are unspeakable;
repeated stories can move them toward articulation, giving them metaphoricform. In research interviewing, repeated interviews are certainly preferable,
so that changes in the story can be observed.

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V. The Drama of Self and Solidarity.
Core questions.
・ How has illness [pain] threatened the person whom you were; what aspectsof that person have been most affected?
・ After living with illness for [whatever period of time], what can you see orfeel today that was not part of your life before illness?
・ How has illness affected your relationships with others?
・ What relationships have been damaged or lost? What new relationships
have been formed, or what old relationships have expanded?
・ With which other people do you feel a new identification or solidarity? How
does that identification or solidarity affect your sense of who you are?
In these questions, the objectives of clinical work and research seem not
so different: both aspire to see others in their true form, which requires a
relationship of mutual assistance. Both clinical work and research interviewing arealso means through which ill people can come to see themselves in their true form.
A powerful metaphor of true forms occurs at the end of Margaret
Edson’s drama Wit, which was first a play and then a film. Wit is about the last year
in the life of a woman dying from ovarian cancer. At the moment of her death, thehero sheds the material trappings of illness. The stage directions read: “She walks
away from the scene, toward a little light. She is now attentive and eager, moving
slowly toward the light. She takes off her cap and lets it drop. She slips off herbracelet. She loosens the ties and the top gown slides to the floor. She lets thesecond gown fall. The instant she is naked, and beautiful, reaching for thelight—Lights out.” The constant aspiration of both ill people and medical workers
is to see each other, and see themselves, in that light while the illness is going on.
Research can amplify and spread stories in which people achieve some degree of
this vision of themselves and of each other.

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As a sort of conclusion, let me add five notes or caveats to the practice of
responding to illness as comprising these five dramas.
First, no drama precedes any other, so where to begin storytelling
involves making a judgment of where the patient or research participant is ready to
begin. If one beginning is not opening up stories, try somewhere else. All thedramas are taking place, but not all are ready for storytelling, and not all stories areready to be shared. And of course the five dramas I have suggested by no means
exhaust the scope of the stories that can be told and need to be told. This template is
nothing more than a beginning.
Second, these dramas are best explored over a period of time. To explore
more than one drama in one clinical encounter or research interview would beoverwhelming. The point is for stories to co-evolve.
Third, and relevant to clinical work, while some institutional
commitment of real time is required, much narrative work can be done duringotherwise unfocused moments of mundane medical care. Short bits of time arewhat matter, over an extended period. The real institutional commitment required
for this practice is to continuity of care. Narrative medicine depends on
relationships within which stories are co-created and co-evolve; the nature of
relationships is to require continuity. The payoff for this continuity will be multiple,
from less staff burnout to greater patient adherence. In the briefest terms: everyone
does better when they look forward to seeing each other, and people who areco-evolving a story want to know where that story goes next.
Fourth, as I said earlier, questions should be asked as openings to adrama, in which the clinician or researcher is playing a part. The best advice is: See
yourself not as the director of this drama, but as a player in it. Listen with suspense
based on imagination and caring.
Fifth and finally, questions must be asked recursively, as stories develop
and weave together. Recursive questioning means asking the same question again,
at a later time, with a recognition that now it is a different question—eliciting－94－

different stories—because the relationship has developed since the earlier asking of
the question.
The weave is complex in which one story leads to another, and one story
depends on another for its understanding. Narrative work understands that in someof life’s most important undertakings, you get where you’re going by returning,
repeatedly, to the beginning. In most myths and folk tales, the hero comes to realizethat she or he has never really left the starting place; thus T.S. Eliot’s great lines
about returning to where we began and knowing the place for the first time. In any
story that is well entered into, we find ourselves in a place we always have known,
but we are aware that we are knowing it for the first time.

Photo. Dr. Frank (left), Dr. Sato (center) and Ms. Mitachi (oral translator, right)－95－