Article: Surveillance life and the shaping of ‘genetically at risk’ chronicities in Denmark

By Saura Louise Heinsen, Ayo Wahlberg, and Helle Vendel Petersen

https://doi.org/10.1080/13648470.2021.1893654

Abstract: Today, in the field of hereditary colorectal cancer in Denmark, more than 40,000 identified healthy individuals with an increased risk of cancer are enrolled in a surveillance program aimed at preventing cancer form developing, with numbers still growing. What this group of healthy individuals has in common is lifelong regular interaction with a healthcare system that has been traditionally geared towards treating the acutely and chronically ill. In this article, we explore how people living with an inherited elevated risk of colorectal cancer orient themselves towards their families’ and their own predispositions as well as the lifelong surveillance trajectories that they have embarked upon– what we call surveillance life. Unlike prior critiques of predictive genetic testing as generative of ‘pre-patients’ or ‘pre-symtomatically ill’, we suggest that for those enrolled in lifelong surveillance programs in welfare state Denmark, the relevance of risk fluctuates according to certain moments in the life, e.g. at family reunions, when a close relative falls ill, in the time leading up to a surveillance colonoscopy or when enduring the procedures themselves. As such, rather than characterizing surveillance life in therms of living with chronic risk, we show how ‘genetically at risk’ chronicities take shape as persons come to terms with a disease that possibly awaits them leading them to calibrate familial bonds and responsibilities while leading lives punctuated by regular medical checkups.

Surveillance based medical care is a program where people determined by either their current health or genetic testing to be at elevated risk of disease undergo repeated, additional medical testing in order to catch disease in its early stages. They may also make certain lifestyle choices in the hopes of preventing disease entirely. Surveillance medicine has many supporters and many critics– supporters argue that it saves lives, while critics argue that it manufactures epidemics where they do not exist and causes unnecessary anxiety in patients.

This paper in particular pushes back against a criticism of surveillance testing which holds that all patients who are determined to be at risk immediately consider themselves to be ill or are overcome with concern over bodily deterioration. Rather, it argues that medical attentiveness is only heightened at certain moments, which include both key life events and routine medical checkups. Furthermore, patients of surveillance medicine are operating on a fundamentally different motivation than those who are chronically ill. Rather than participating in repeat doctor’s visits in order to live good lives in spite of disease, they are participating to stay healthy and avoid disease.

I think this paper provides a helpful middle ground for both critics and supporters of surveillance medicine, as it both acknowledges that patients outlooks and perspectives change when they learn of their “risk status” but also provides some evidence that this shift is not always big or traumatic, and the delineation in motivations to seek care between people who are ill and those who are at risk is important to discuss.

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The Undying

By Anne Boyer

The Undying is a cancer narrative in the form of creative nonfiction. The text has a dreamy quality, with vignettes from Boyer’s personal experiences interwoven with pieces of historical and biomedical information for context.

 Boyer deals heavily with paradoxical wellness, though from a slightly different angle. While most works on this site describe the pre-diagnosis states of either being anticipated patients or being ill without knowing it, Boyer deals with the dissonance of having been diagnosed, and knowing one is gravely ill, but still feeling alright.

She also deals with the tensions of prognosis, both in the instrumentalization of others’ lived experiences with cancer in order to generate statistical reports as well as her own difficulty in translating her symptoms into something easily digested by the medical system. Boyer also addresses the disconnect she feels between her prognosis and the direction her illness is taking, metaphorically linking it to the prophecies of ancient oracles rather than a scientifically backed prediction.

She also addresses the paradox of chemotherapy– though it is a cure for cancer, its side effects are grievous and sometimes deadly:

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Malignant

By Lochlann Jain

Jain’s book is a rich text for interrogating and defying narrative binaries of cancer.

Jain begins by describing, from their perspective as a patient, the discomforts of receiving a diagnosis and prognosis. They argue that the act of creating a prognosis (along with other forms of data production) instrumentalizes the experiences of those who have cancer before them, and flattens the complexities of their lives, their choices, and their deaths into a single, easily digested statistic.

They then discuss the problem of counterfactuals, an especially upsetting issue for cancer patients. Within our reality we have things that happened and things that didn’t happen, but many cancer patients are haunted by things that they COULD have done to prevent their situation. Jain’s experience with misdiagnosis leaves them troubled by counterfactuals– perhaps nothing would have changed with the course of their illness, and it shouldn’t matter anyway, but they are haunted by the question of whether they should have pushed harder or spoken better to get their doctor to listen to them.

They also address the tensions inherent in diagnosis and remission. We think of the middle of a cancer treatment as the most unpredictable– you don’t know how you’ll respond or if your getting better–  but as Jain points out, the initial and final stages of one’s cancer journey can be the most tenuous. First, pre-diagnosis, there’s a period where you are simultaneously in grave danger but perceive yourself as “well”. Similarly, remission is a stage where you are perceived as cured, but patients exist in a constant state of anxiety about cancer returning.

Finally, Jain themself identifies as gender nonbinary, and they describe the discomfort they felt with the hyper-visible and hyperfeminized world of breast cancer. They visit a “Look Better, Feel Better” event sponsored by makeup companies, where breast cancer patients are taught to apply makeup and reaffirm their femininity. Jain, who is not overly troubled (at least from the perspective of their gender identity) by the loss of their hair or by the idea of mastectomy finds themself feeling out of place.

In addition to these major themes, Jain also addresses issues of what is considered normal vs abnormal, the meanings embedded in cancer scars, and the hegemony of positive thinking.

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10 Years

by XKCD – Randall Munroe


This comic is the latest in an ongoing series in which the author chronicles his fiancé’s experience with illness and an uncertain remission. The parts of the comic in grey represent the previous iterations, titled Two Years and Seven Years. The comic deals with the tenuous temporalities of cancer by tracking the narrator’s wife through the timeline set out by her “survival chart”, and discussing their painful negotiations with the possibilities of the future. The comic also deals with the uncertainty of remission and the anxieties of relapse, particularly in the “seven years” section with the panel in which she insists the pain of a stubbed toe could be a sign a relapse. The comic’s humorous tone disguises the persistent anxiety felt by those in partial remission.

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Full comic shared under a Creative Commons Attribution-NonCommercial 2.5 License

Tammy’s Always Dying

Directed by Amy Jo Johnson

Watch Trailer Here

A dark comedy about a young woman caring for her alcoholic mother, Tammy, who has been diagnosed with terminal cancer. Despite the diagnosis and their appearance on a talk show to discuss her impending death, Tammy persistently refuses to actually die.

The film ends with her taking her own life as her daughter watches. This film represents multiple attempts by the characters to take control of the narrative of Tammy’s illness and impending death while navigating their relationships with each other. The ending, in which Tammy takes her own life, is therefore a radical act of self-reclamation which her daughter recognizes and accepts.

For most of the movie it seems to be a pretty typical cancer narrative, but by taking her life Tammy escapes the survivor/victim dichotomy by dying on her own terms. Tammy is also notably a… walking disaster. Even if she was miraculously cured of her cancer, she would never be a well or whole person.

This film is also notable because “black comedy” tone refuses and even mocks the traditional solemn and sanctified tone of cancer narratives. It attacks that form of narrative-making, and the impulse to capitalize off your cancer experience.

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