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Meghan O'Rourke

Meghan O'Rourke Books

Poet

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“I heard a lot about the idea of dying "with dignity" while my mother was sick. It was only near her very end that I gave much thought to what this idea meant. I didn't actually feel it was undignified for my mother's body to fail--that was the human condition. Having to help my mother on and off the toilet was difficult, but it was natural. The real indignity, it seemed, was dying where no one cared for you the way your family did, dying where it was hard for your whole family to be with you and where excessive measures might be taken to keep you alive past a moment that called for letting go. I didn't want that for my mother. I wanted her to be able to go home. I didn't want to pretend she wasn't going to die.”

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Book:The Long Goodbye
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“I think: it's the holidays. There are parties. I'm young. I've spent the past two years going to oncologists. I'm going to put on my party shoes. And I do go to one party, and I leave when people start to dance around a pole. Later I start dating the man whose party it was, and he remembers being glad I came, and casually tells me how he flirted his head off that night. I'm not in your country, I think. I haven't lived in your country for a while.”

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Book:The Long Goodbye
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“The medical uncertainty compounds patients' own uncertainty. Because my unwellness did not take the form of a disease I understood, with a clear-cut list of symptoms and a course of treatment, even I at times interpreted it as a series of signs about my very existence. Initially, the illness seemed to be a condition that signified something deeply wrong with me⁠—illness as a kind of semaphore. Without answers, at my most desperate, I came to feel (in some unarticulated way) that if I could just tell the right story about what was happening, I could make myself better. If only I could figure out what the story was, like the child in a fantasy novel who must discover her secret name, I could become myself again. It took years before I realized that the illness was not just my own; the silence around suffering was our society's pathology.”

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Book:The Invisible Kingdom: Reimagining Chronic Illness
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“In the months that followed my mother's death, I managed to look like a normal person. I walked the street; I answered my phone; I brushed my teeth; most of the time. But I was not OK. I was in grief. Nothing seemed important. Daily tasks were exhausting. Dishes piled in the sink, knives crusted with strawberry jam. At one point I did not wash my hair for ten days. I felt that I had abruptly arrived at a terrible, insistent truth about the impermanence of everyday.”

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Book:The Long Goodbye
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“The actual encounter was always confusing, eleven minutes of liminal contact in which I tried to conduct myself in a way that would make the doctor like me, in the hope they would take some true interest in my plight. But their day was full of tests to order, bureaucracy to cut through, an education that taught them not to say, "I don't know what's wrong with you." And so we stood together in a tiny antiseptic room, the doctor and patient, a world apart.”

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Book:The Invisible Kingdom: Reimagining Chronic Illness
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“Autoimmunity is internalized by patients as an opportunity for the ultimate self-management project. But in fact it is a manifestation of a flawed collective project. If it is an indictment of anything, it is an indictment not of our personhood but of our impulse to see social problems as being about our personhood, instead of a consequence of our collective shortcomings as co-citizens of this place and time.”

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Book:The Invisible Kingdom: Reimagining Chronic Illness
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“With ferocity and extraordinary craft, Lizzie Harris has made a book of poems that resonates far beyond the personal stories it tells. Stop Wanting reveals, in every lyric, its author's profound metaphorical gifts. In its ironies and intensities, it brings to mind a writer like the young Sylvia Plath, though what is startling about Harris' s work is the way it combines those gifts with a muted, deft self-awareness. Most of all, these are wonderfully shaped, powerful, and surprising poems-a startling debut.”

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Author:Meghan O'Rourke
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“One of the difficulties with grief research is that it risks making certain kinds of grief seem normal and others abnormal - and of course having a sense of the contours of grief is, I think, truly useful, one has to remember it's not a science, it's an individual reckoning, which science is just trying to help us describe.”

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Author:Meghan O'Rourke
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“While I did a lot of research, I ended up feeling that the best way to write about grief was to describe it from the inside out - the show the strange intensities that come along with it, the peculiar thoughts, the longing for that past - all the strange moments of thinking you glimpse the dead person on the street, or in your dreams.”

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Author:Meghan O'Rourke
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