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This book explores how the cultural process of making any disease a "plague" results in discrimination against certain groups, as it has for those with AIDS in America. Gina M. Bright here captures the discrimination produced by plague-making in her analysis and her portraits of the people she has cared for with AIDS over the past quarter-century.
This book explores how the cultural process of making any disease a "plague" results in discrimination against certain groups, as it has for those with AIDS in America. Gina M. Bright here captures the discrimination produced by plague-making in her analysis and her portraits of the people she has cared for with AIDS over the past quarter-century.
“Randy Shilts and Laurie Garrett told the story of the HIV/AIDS epidemic through the late 1980s and the early 1990s, respectively. Now journalist-historian-activist Emily Bass tells the story of US engagement in HIV/AIDS control in sub-Saharan Africa. There is far to go on the path, but Bass tells us how far we’ve come.” —Sten H. Vermund, professor and dean, Yale School of Public Health With his 2003 announcement of a program known as PEPFAR, George W. Bush launched an astonishingly successful American war against a global pandemic. PEPFAR played a key role in slashing HIV cases and AIDS deaths in sub-Saharan Africa, leading to the brink of epidemic control. Resilient in the face of flatlined funding and political headwinds, PEPFAR is America’s singular example of how to fight long-term plague—and win. To End a Plague is not merely the definitive history of this extraordinary program; it traces the lives of the activists who first impelled President Bush to take action, and later sought to prevent AIDS deaths at the whims of American politics. Moving from raucous street protests to the marbled halls of Washington and the clinics and homes where Ugandan people living with HIV fight to survive, it reveals an America that was once capable of real and meaningful change—and illuminates imperatives for future pandemic wars. Exhaustively researched and vividly written, this is the true story of an American moonshot.
Now an award-winning documentary feature film The search for a “patient zero”—popularly understood to be the first person infected in an epidemic—has been key to media coverage of major infectious disease outbreaks for more than three decades. Yet the term itself did not exist before the emergence of the HIV/AIDS epidemic in the 1980s. How did this idea so swiftly come to exert such a strong grip on the scientific, media, and popular consciousness? In Patient Zero, Richard A. McKay interprets a wealth of archival sources and interviews to demonstrate how this seemingly new concept drew upon centuries-old ideas—and fears—about contagion and social disorder. McKay presents a carefully documented and sensitively written account of the life of Gaétan Dugas, a gay man whose skin cancer diagnosis in 1980 took on very different meanings as the HIV/AIDS epidemic developed—and who received widespread posthumous infamy when he was incorrectly identified as patient zero of the North American outbreak. McKay shows how investigators from the US Centers for Disease Control inadvertently created the term amid their early research into the emerging health crisis; how an ambitious journalist dramatically amplified the idea in his determination to reframe national debates about AIDS; and how many individuals grappled with the notion of patient zero—adopting, challenging and redirecting its powerful meanings—as they tried to make sense of and respond to the first fifteen years of an unfolding epidemic. With important insights for our interconnected age, Patient Zero untangles the complex process by which individuals and groups create meaning and allocate blame when faced with new disease threats. What McKay gives us here is myth-smashing revisionist history at its best.
An investigative account of the medical, sexual, and scientific questions surrounding the spread of AIDS across the country.
'Extraordinary' Ai Weiwei 'Brilliant' Simon Schama Fear has long been a driving force - perhaps the driving force - of world history: a coercive tool of power and a catalyst for radical change. Here, Robert Peckham traces its transformative role over a millennium, from fears of famine and war to anxieties over God, disease, technology and financial crises. In a landmark global history that ranges from the Black Death to the terror of the French Revolution, the AIDS pandemic to climate change, Peckham reveals how fear made us who we are, and how understanding it can equip us to face the future.
Four decades have passed since reports of a mysterious “gay cancer” first appeared in US newspapers. In the ensuing years, the pandemic that would come to be called AIDS changed the world in innumerable ways. It also gave rise to one of the late twentieth century’s largest health-based empowerment movements. Scholars across diverse traditions have documented the rise of the AIDS activist movement, chronicling the impassioned echoes of protestors who took to the streets to demand “drugs into bodies.” And yet not all activism creates echoes. Included among the ranks of 1980s and 1990s-era AIDS activists were individuals whose expressions of empowerment differed markedly from those demanding open access to mainstream pharmaceutical agents. Largely forgotten today, this activist tradition was comprised of individuals who embraced unorthodox approaches for conceptualizing and treating their condition. Rejecting biomedical expertise, they shared alternative clinical paradigms, created underground networks for distributing unorthodox nostrums, and endorsed etiological models that challenged the association between HIV and AIDS. The theatre of their protests was not the streets of New York City’s Greenwich Village but rather their bodies. And their language was not the riotous chants of public demonstration but the often-invisible embrace of contrarian systems for defining and treating their disease. The Sounds of Furious Living seeks to understand the AIDS activist tradition, identifying the historical currents out of which it arose. Embracing a patient-centered, social historical lens, it traces historic shifts in popular understanding of health and perceptions of biomedicine through the nineteenth and twentieth centuries to explain the lasting appeal of unorthodox health activism into the modern era. In asking how unorthodox health activism flourished during the twentieth century’s last major pandemic, Kelly also seeks to inform our understanding of resistance to biomedical authority in the setting of the twenty-first century’s first major pandemic: COVID-19. As a deeply researched portrait of distrust and disenchantment, The Sounds of Furious Living helps explain the persistence of movements that challenge biomedicine’s authority well into a century marked by biomedical innovation, while simultaneously posing important questions regarding the meaning and metrics of patient empowerment in clinical practice.
This book examines the recent trend in global cinema to feature infectious disease. As the global crisis of the COVID-19 pandemic materialised the anxieties and discourses of world risk that had long been portrayed in popular media, the book provides a novel definition of the epidemic film genre and offers a systematic look into the narrative and stylistic conventions that characterise it. Epidemic Cinema traces the evolution of the genre from its early cinematic origins to establish the founding principles of a genre standing at the crossroads between science-fiction and horror. It draws on close textual analysis to show how the pandemic reified one of the central predicaments of epidemic narratives: the constant tension existing between free-floating phenomena and the impulse to control and resist such phenomena, ultimately epitomised by the trope of the border. Showing how infectious diseases offer a rich allegorical frame which cinema uses to articulate timely anxieties of growingly invisible and deterritorialised risks, the author presents the prevalence of contagion in popular culture as a symptom of this growingly viral and virus-ridden context, both in its most literal and metaphorical sense. This insightful study will interest students and scholars of film studies, global cinema, science-fiction, horror, popular culture and genre theory.
The AIDS Quilt will be on display in June 2021 for the 40th anniversary of the first cases, but it will be its last appearance as ordered by the heavy hand of the President of the United States. Nine nurses who worked with AIDS patients during the early years of the pandemic travel to Washington, D.C. to see the Quilt. While there, they are called upon by the National Health Center to care for patients with a new, unknown infectious disease and racist views, and they are asked to find the clues to its cause so that a VIP patient can be cured. But the nurses discover that even more challenging than this difficult assignment are the memories they begin to share from their painful AIDS nursing past. The Charon Club, a fictional chronicle of AIDS nurses' memories and experiences, set in the midst of an emerging infectious disease in the eastern United States in 2021, was written by a nurse who worked on an AIDS unit in New York City during the darkest years of the pandemic. It is the first AIDS novel solely devoted to the work of nurses.
Finally, several contributors provide a sampling of international perspectives on the impact of AIDS in other nations. When AIDS was first recognized in 1981, most experts believed that it was a plague, a virulent unexpected disease. They thought AIDS, as a plague, would resemble the great epidemics of the past; it would be devastating but would soon subside, perhaps never to return. The media as well as many policy makers accepted this historical analogy. Much of the response to AIDS in the United States and abroad during the first five years of the epidemic assumed that it could be addressed by severe emergency measures that would reassure a frightened population while signaling social concern for the sufferers and those at risk of contracting the disease. By the middle 1980s, however, it became increasingly clear that AIDS was a chronic infection, not a classic plague.