Intertexual Reading of When Breath Become Air

When Breath Becomes Air by Paul Kalanithi, an Indian-American neurosurgeon and writer, is the subject of this research paper, which attempts an intertextual reading. Julia Kristeva invented the term intertextuality, which refers to the presence of one or more texts within a text.

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A Postmodernist Intertextual Reading of Kalanithi’s When Breath Becomes Air
Dr. Ayesha Ashraf
Assistant Professor, Department of English Language and Literature, University
of Jhang
[e-mail]
Prof. Dr. Munawar Iqbal Ahmad
Chair English Department, Air University, Islamabad
Dr. Saba Zaidi
Assistant Professor, Department of English Language and Literature, SBK
Women’s university Quetta
Abstract
The present research paper attempts an intertextual reading of When Breath
becomes Air by Paul Kalanithi, an Indian-American neurosurgeon and a writer.
The term intertextuality was originally coined by Julia Kristeva and it refers to the
presence of one or more text/s within a text. It rejects the idea of the closure of
meaning and it demonstrates the dialogic state of a text. The current research
study is significant as it aims to provide a better understanding of the
interdisciplinary connection of fiction with that of any non-fiction text. It further
highlights that the use of allusions, reminiscences, aphorisms, and quotations, and
aphorisms in the novels that call for many interpretations. The current study has
applies the theoretical perspective of postmodern historiographic metafiction
proposed by Linda Hutcheon in her book Poetic’s of Postmodernism: History,
Theory, Fiction (2003). This research uses intertextuality as a tool to analyze the

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1. Introduction
Postmodernism, at present, represents the contemporary world with all its characteristics and its
influence on an individual’s life. There are many theorists namely Linda Hutcheon, Jurgen
Habermas, Ihab Hassan, Jean-Francois Lyotard, Fredric Jameson and Jean Baudrillard who have
proposed their understanding of postmodernism. Though, their attempts could not define the
movement in an absolute way as this trend is still in practice and ongoing, hence, it is always
vulnerable to change. Lyotard in his The Postmodern Condition states that it is not a new
movement rather it emerged after modernism as a consequence of materialistic progress and
scientific advancements. He refers to postmodernism as a movement that shows an ‘incredulity
towards metanarrativs’ ( ⅹⅹⅳ ), as it challenges the existing perceptions and thought patterns
which are based on claims of objectivity and truth. The philosophical theory of postmodernism
involves a plurality of forms/styles, pastiche, uncertainty, rootlessness of belief systems,
skepticism towards universal truth values and knowledge. The emphasis is more on subject then
content, illusion then reality and fragmentation then continuation. Another renowned postmodern
Canadian theorist named Linda Hutcheon was born in 1947. Currently, she is serving as a
professor of English in University of Toronto. Her famous books include A Poetics of
Postmodernism, A Theory of Adaptation, History, Theory, Fiction, Narcissistic Narrative,
Irony’s Edge, and A Theory of Parody. She in her book Poetic’s of Postmodernism: History,
Theory, Fiction coins the term ‘historiographic metafiction’ for those novels which reconstruct
and retell past by fusing fiction and reality through discursive strategies. “She further asserts that
fiction and history are not fixed products but, in fact, both are in a continuous process of making.
She calls such postmodern mixture of fiction and history as historiographic metafiction that
combines the ‘constructedness’ and ‘story-telling’ together” (Ashraf & Farooq 395).
Intertextuality highlights the inter-connectedness of various texts and it refers to the process, in
which, the reception and interpretation of a given text depends upon the reader’s knowledge of
other texts. Graham Allen describes intertextuality, “Texts, whether they are literary or non-
literary, as viewed by modern theorists, as lacking in any kind of independent meaning. They are
what theorists now call intertextual” (1). It reveals that no single text can have an independent
and separate identity rather every text takes a bit from the other texts and, in this way, it also

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presents itself to be taken in future. The present research study analyzes the memoir When
Breath Becomes Air as an embodiment of intertextuality that serves as a bridge to connect non-
fiction with literature. Paul Sudhir Arul Kalanithi was born on April 1st 1977, and he died at
young age of 36 years on March 9 th, 2015 due to fatal lung cancer. He was an Indian-American
neurosurgeon and also a graduate in English literature and a writer. His book entitled When
Breath Becomes Air is a memoir that is based on the narration of all the significant events
happened in his life and it also records his illness and his struggle to the battling stage IV
metastatic lung cancer. This book was posthumously published in 2016. “In 2016, this novel sold
a million copies and was placed second among Amazon’s best sellers, after “Harry Potter and the
Cursed Child” (Gamerman 2016). It remained on The New York Times Non-Fiction Best Seller
list for several weeks.
2. Literature Review
A research study entitled “Perspectives on Postmodernism and Historical Fiction” states that,
“Ihab Hassan browses history looking for mentions of this term and finds it used for the first
time in 1934 by Federico de Onís in his Antología de la poesía española e hispanoamericana”
(233). The principal significance of postmodernism lies in the idea that it unites various art
systems, or assimilates their features to create new genres, ideas and tendencies in literature. The
postmodern literature combines all features of aesthetical systems such as ancient and modern
art, West and East tradition, and mass and elite class. It transforms the conception of author-
reader idea as now the author becomes the observer and his aim is not to dictate his values to his
reader, and he also sketches a different hero now. The hero, in postmodernist literature, doesn’t
demonstrate a perfect behavior while the boundaries among rules, values, imagination and reality
get blurred. Through the use of intertextuality, the reader participates in an intertextual dialogue
with the text that requires his active intellectual and imaginative understanding to discover the
ties of one text with the other texts. The reader’s intertextual interaction leads to the
transformation of triangle i.e. the text, the author and the reader. R. Barthes defines:
Every text is an intertext; other texts are present in it at various levels in more or less
recognizable forms: the texts of preceding cultures and the texts of the surrounding
culture. Each text is a new fabric woven from old quotes. Fragments of cultural codes,
formulas, rhythmic structures, fragments of social idioms, etc.—all of them are absorbed

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by the text and mixed in it, because the language exists prior to and around the text. As a
prerequisite for any text, intertextuality cannot be reduced to the problem of sources and
influences; it is a common field of anonymous formulas, the origin of which is rarely to
be found, unconscious or automatic citations given without the quotation marks (p. 78).
H.Abrams and Geoffrey Galt Harpham in A Glossary of Literary Terms define, “The term
intertextuality, popularized especially by Julia Kristeva, is used to signify the multiple ways in
which any one literary text is in fact made up of other texts, by means of its open or convert
citations and allusions” (401). Julia Kristeva, a French linguist, coined this term ‘intertextuality’
in her essay “Word, Dialogue and Novel” in 1966 and according to her any text can be seen with
reference to two axes: a horizontal axis and a vertical one. The horizontal axis relates the actual
writer to the reader while the vertical axis relates the text to other texts. As the word written, in
any text, not only belong to the writing subject but also the addressee, similarly any given text
belongs to both the author and the reader. There are few other theorists like Mikhail Bakhtin and
Roland Barthe who also have contributed in the development of this concept of intertextuality.
Some other theorists such as Kjersti Flottum, Oswald Ducrot and Henning Nolk associate it with
the technique of polyphony as a text, through intertextuality, generates many voices. In fact, the
meaningful collection and arrangement of words in any given text give way to the “transposition
of one (or several) sign system(s) into another” (Kristeva 59-60). A text cannot exist in complete
isolation from other texts, images, words, code, model or fragment and intertextuality prevails
almost in every genre. Most magazines or newspapers contain cartoons or pictures, similarly
texts on the computer also show combination of various graphics, texts, film, audio and video
chat and motion pictures. There are some theorists like Michael Riffaterre who consider that
intertextuality is significant to “fill out the text’s gaps”(57). Intertextuality creates an atmosphere
for meaning-making on an individual level that denies the received interpretations and the
common understanding of the text. In fact, “When exposed to fiction, we undergo a literary
experience in which we are given opportunities to interpret the content” (Mackey np).
Intertextual references can be intended as well as unintended as Lodge claims that, “Some
theorists believe that intertextuality is the very condition of literature, that all texts are woven
from the tissues of other texts whether their authors know it or not” (98–99). As mentioned that

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the term ‘intertextuality’ is used differently in different contexts but in this research study, the
actual Kristevian understanding of intertextuality is applied. This study attempts to find the
artistic use of intertextuality in the sense conveyed by Lowell Edmunds in Intertextuality and the
Reading of Roman Poetry, he comments, “The various ways in which one text can signal its
relation to another came to be seen not in static terms of imitation and influence but as artistic
devices that have the same status as figures of speech or anything else in the poet’s stylistics
repertory” (1).
The researchers Triyoga and Apriyana, in their study presented in a conference, discuss the
positive and negative manifestation of death as depicted in the novel When Breath Becomes Air
from a psychological perspective. The researchers analyze the main character in terms of his
positive and negative reception of death and it demonstrates that he always has a passion to find
the meaning of life. They assert, “The novel suggests that death happens to all human beings in
the world. There is no exception and no one can avoid death. Kalanithi knows that fighting death
is a losing battle and that death always wins upon the war with humans” (183). According to the
researchers, the negative attitudes towards death are fear and hopelessness while positive
attitudes are continuous determination and hard work to fulfill the dream. Similarly Martin in his
review of When Breath Becomes Air highlights that Kalanithi was diagnosed with lung cancer
that completely transformed his personality. After the diagnosis, he became the patient and faced
same existential crisis but tried to face the hard phase of his life. He comments, “His love for
books and language only grew as he completed his BA and MA at Stanford. Kalanithi was
unsatisfied with the answers he’d amassed regarding life and death. He believed the answer
rested at the intersection of morality, literature, philosophy, and biology” (120-121). Similarly,
Nesby and Johansen analyze Kalanithi’s When Breath Becomes Air from the perspective of
significance of illness stories and their impact on human mind. The researchers have evaluated
the novel through the theoretical approach of Rita Felski’s The Uses of Literature to explore the
four defined objectives i.e. recognition, enchantment, knowledge and shock. They assert:
We soon also found that recognition, enchantment, knowledge and shock were concepts
that were relevant used in connection with Kalanithi´s own experience of becoming ill

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and being a patient. The concepts, therefore, seem most useful for reflections on both the
reader’s response and the author drives of the pathography genre” (189).
3. Research Methodology
The present study is descriptive and qualitative. The data comprises of Breath Becomes Air, a
memoir of Paul Kalanithi’s life and his strong struggle against cancer. Julia Kristeva’s
intertextuality has been used as a research method that focuses on the extracts taken from other
works that transform, develop, affirm or negate the story of the memoir. She “insists that a
text...cannot exist as a hermetic or self-sufficient whole, and so does not function as a closed
system” (1). This research uses the theoretical framework of Historiographic Metafiction,
proposed by Linda Hutcheon who challenges the coherent and traditional representation of
history and narrative. She in Historiographic Metafiction: Parody and the Intertextuality of
History states, “In reality facts exist in discontinuity, as: In fact, that teller—of story or history—
also constructs those very facts by giving a particular meaning to events. Facts do not speak for
themselves in either form of narrative: the tellers speak for them, making” (73). This research is
organized and carried systematically through divisions i.e. introduction, literature review,
analysis and discussion, conclusion, findings and works cited. The primary data used in this
study is When Breath Becomes Air while secondary data comprises of various books, research
journals, theses, and articles.
4. Research Questions
On the basis of research objectives, this study investigates the following questions:
1. How does When Breath Becomes Air utilize the phenomenon of intertextuality to facilitate
the connection between an autobiographical memoir and various existing historical,
cultural and literary texts?
2. How does the intertextual form of the selected memoir exhibit postmodern characteristics
of uncertainty, fragmentation and pastiche?
5. Analysis and Discussion
Paul Kalanithi, in his novel, incorporates various intertextual references while narrating the story
about his life, illness, struggle to fight the disease, and family life etc. A reader may recognize

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various generic traits and differences in his memoir which are extracted sometimes from poetry,
fiction or non-fiction. In fact, this reflection ascertains the universality of texts and their
influential presence in the life human beings in general and of the writer in particular. Through
intertextuality, a text shows affiliation towards other texts in various ways such as a total
transformation might occur due to parody of an existing text. The other way transforms a text
completely to re-write the story in a new way. The memoir represents the following postmodern
characteristics with the help of intertextual references that are taken from various works of
different genres.
5.1. Uncertainty about Life
Through intertextual reference of Samuel Beckett’s Waiting For Godot, Kalanithi expresses his
profound distrust on the concepts of life and death. The text writes, “Birth and death had been
merely abstract concepts. Maybe Beckett’s Pozzo is right. Maybe life is merely an “instant,” too
brief to consider” (66). He loses reliability on life because of an incident that happens in hospital
that a twin pair of babies dies in less than twenty-four hours’ time. When Kalanithi hears this
news he gets shocked, “In that moment, I could only think of Samuel Beckett, that one day we
were born, one day we shall die, the same day, the same second” (65). In this way, he agrees to
Beckett’s representation of life’s philosophy that is based on uncertainty and waiting for some
help i.e. God/Godot. E. A. Tsurganova comments on the same connection between one text to
that of a prior one as he asserts: “Intertextuality means the “intertextual interaction, correlation
with other specific text where each text is seen as the result of assimilation and transformation of
another text, as a part of the “cultural text” (qtd by Dzhundubayeva, 297).
Similarly, the memoir refers to plurality of ideas through connecting with fictional and non-
fictional texts. For instance, it refers to Shep Nuland’s How We Die who happens to be Kalanithi
and Lucy (Kalanithi’s wife) teacher in the Yale School of Medicine. Kalanithi writes, “Few
books I had read so directly and wholly addressed that fundamental fact of existence: all
organisms, whether goldfish or grandchild, die” (52). By remembering past texts, Kalanithi
provides his own commentary on the text while leaving no room for verification and this
approach coincides with Huthceon’s theory of metafiction i.e. fiction within fiction. Saeed and
Zain quote:

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Hutcheon (2004) contends that historiographic metafiction is one of the postmodern
perspectives to study such works in which historical setting, accounts and voices are
presented in such a far-fetched and fictional way that nothing can be extracted as absolute
or final truth except for the infinite voice of fiction, that is, metafiction. (np)
He seems so impressed with Nuland’s description of mortality of life with reference to his
grandmother’s illness and “in particular the description of his grandmother’s illness, and how
that one passage so perfectly illuminated the ways in which the personal, medical, and spiritual
all intermingled”(52). Finally, her fatal heart failure made Nuland remember Thomas Browne’s
Religio Medici (The Religion of a Doctor). It is a spiritual and psychological self-portrait that
reflects upon the Christian tenants of Faith, Hope and Charity, the existence of hell,
the Judgment, and the resurrection. Kalanithi quotes from How We Die, “With what strife and
pains we come into the world we know not, but it is commonly no easy matter to get out of it”
(53). Later, by giving intertextual reference, he modifies the same thought as proposed by
Darwin and Nietzshe about the constant determination and struggle to face the hardships of life.
Unfortunately, very soon the fear of death occupies his nerves again, and for that he gets solace
from reading English literature. “I began reading literature again: Solzhenitsyn’s Cancer Ward,
B.S Johnson’s The Unfortunates, Tolstoy’s Ivan Ilyich, Nagel’s Mind and Cosmos, Woolf,
Kafka, Montaigne, Frost, Greville, memoirs of cancer patients—anything by anyone who had
ever written about mortality” (148). He metaphorically compares his own life with T.S Eliot’s
The Waste Land to express his utter hopelessness about any resurrection. In this way, by
referring, relating and connecting two texts together demonstrate a dialogical process, “Literary
texts, in this dialogic process can question, alter and even modify the previous texts” (Sarkar,
Nutan, and Seshadry Sarkar 274). Similarly, Kalanithi not only represents his feelings towards
life but also the uncertainty in his doctors. For instance, when he inquires the doctor Emma about
the result of his treatment he sees hopelessness on her face. “You have five good years left” she
said, but without the authoritative tone of an oracle, without the confidence of a true believer”
(193). He, as a doctor and a patient at the same time, is familiar with this hopelessness and he
states, “Doctors, it turns out, need hope, too” (194).
5.2. Fragmented Character

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Kalanithi, as a student of English literature, seems to be impressed by many famous writers and
poets as he says, “For my thesis, I studied the work of Walt Whitman, a poet who, a century
before, was possessed by the same questions that haunted me” (40). Like Whitman, Kalanithi
expresses his strong desire to know the philosophy behind the term “Physiological-Spiritual
Man” (ibid). He expresses postmodern uncertainty about the demarcation between various fields
of knowledge or learning because somehow a central focal point connects all of them. He
remains unable to find the answer to his question, “I could only conclude that Whitman had had
no better luck than the rest of us but at least the ways in which he’d failed were illuminating”
(40). His confusion provokes him to find a way that connects his knowledge of medicine to that
of philosophy and literature. He refers to his PhD advisor who tells him that it would be a
difficult task for him as literature experts mostly react to science. “I wasn’t sure where my life
was headed. My thesis “Whitman and the Medicalization of Personality” was well-received, but
it was unorthodox” (40). He, in his thesis, treats neuroscience as literary criticism and combined
it with the history of psychiatry. After the diagnosis, Kalanithi starts reading about lung cancer
but, at the same time, he wants to avoid little or excessive knowledge. Here he refers to
Alexander Pope; one of the renowned English poets in 18th century, “A little learning is a
dangerous thing;/ Drink deep, or taste not the Pierian spring” (126). He is confused due to
abundance of knowledge that is why, finally, he leaves the matter to surgeons.
Kalanithi faces postmodern identity crises where it has become difficult for him to distinguish
himself between a doctor and a patient. He is playing both the roles and then is a part of role
reversal too. “Periods of identity crises are times of intense self-questioning, self-discovery and
often doubt. Those who question are in crises. They need help” (Heidi 35). At times he seems
hopeful and alive at heart but on other occasions he loses all hopes by experiencing the fear and
closeness of death. He is confused to comprehend the meaning of hope, “The word hope first
appeared in English about a thousand years ago, denoting some combination of confidence and
desire” (133) he says, “But what I desired—life—was not what I was confident about” (ibid).
With the passage of time, Kalanithi becomes strong to face the hard phase of illness and bear the
thought of departing from his family. “It had occurred to me that Darwin and Nietzsche agreed
on one thing: the defining characteristic of the organism is striving. Describing life otherwise
was like painting a tiger without stripes” (143). His character gets fragmented owing to different

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thoughts with respect to his illness, “I know that I was going to die, but it felt like someone had
taken away my credit card and I was having to learn how to budget” (160). Later, he shows his
helplessness in fight against cancer, “Maybe I’d been cursed by a Greek god” (183). At the later
stage, he seems to lose all his hope about recovery, “Over the course of the day I began to
deteriorate, my diarrhea rapidly worsening. My kidneys began to fail. My mouth became so dry I
could not speak or swallow” (188). His physical organs almost started dying and he reached at
fatal stage. His physical and mental senses began to deteriorate “I began losing track of events
and time” (190). He was unable to comprehend the doctors’ explanation regarding his treatment
“I wobbled in and out of coherence” (ibid). He feels like floating in the wave of pain and relief,
he tries to calm down by relaxing his nerves. “As the darkness of delirium descended again, I
finally relaxed” (191). However, with the constant support of his wife Lucy, parents and
colleagues, he seems determine for a recovery “I am ready to get back to physical therapy and
start recovering” (192). After getting repeated therapies, the treatment does not seem successful
that raises many doubts in his mind. He does not want to lose his life because he loves his
passion i.e. to treat patients, for his beloved wife, and for their expected baby. His thought gets
broken as he narrates “Phrases of doubt fell from my mouth” (193).
5.3. Discursive Blend
The selected memoir is a combination of various genres to create a postmodern pluralistic
narrative, and it resists the single genre based art, be it music, painting, literature etc. The
memoir When Breath Becomes Air incorporates pastiche by mixing up different genres like
science, medicine, art, literature, and film etc. Kalanithi says, “I recalled Henry Adams trying to
compare the scientific force of the combustion engine and the existential force of the Virgin
Mary” (157). Later in the memoir, Kalanithi talks about religious beliefs by referring to few
authors and texts, for instance, while emphasizing the uncertainties of metaphysics he takes the
conversation to atheism. He is of the view that atheism can be defined on two essential grounds.
“The prototypical atheist, then, is Graham Greene’s commandment from The Power and the
Glory, whose atheism comes from a revelation of the absence of God” (170). Than he moves on
to define the second type “real atheism” by quoting the Nobel Prize Winner French biologist
Jacques Monod, “ The ancient covenant is in pieces; man at last knows that he is alone in the
unfeeling immensity of the universe, out of which he emerged only by chance” (ibid). He

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presents his point of view regarding the existing of God that this is a reality that seems delusional
even if it comes with empirical evidence. Unlike atheists, he highlights the strong impact of
significant values of Christianity like redemption, sacrifice, justice, mercy and forgiveness on his
personality. “There is a tension in the Bible between justice and mercy, between the Old
Testament and the New Testament” (171), he says, “The main message of Jesus, I believed, is
that mercy trumps justice every time” (ibid).
Kalanithi’s medical treatment becomes uncertain with the sudden cure and later appearance of
the tumor, and the very painful chemotherapy, as the final solution, forces him to refer to T.S
Eliot. “But at my back in a cold blast I hear/ the rattle of the bones, and chuckle spread from ear
to ear” (174). His cumbersome journey also demonstrates the unbearable treatment of cancer not
for himself only but for every patient. This gives a message to consider the worth of a healthy
life because a human being does not know what can happen to him in next moment. However
Kalanithi does not lose hope and he, as a neurosurgeon, also maintains his passion to serve the
patients. In this way, he familiarizes the readers with specific medical terminology used for brain
illness like “I spent an extra couple of minutes with a patient, Mr. R. He had developed a rare
syndrome, called Gerstmann’s, where I had removed his brain tumor” (175). By reading such
medical experiences, the readers construct the bridge between literature/memoir/narrative and
the outside reality i.e. hospital/medicine. Hutcheon in “Canadian Historiographic Metafiction”
comments on the same very idea, “We, as readers, make the link between life and art, between
the processes of the reception and the creation of texts: the act of reading participates in (and
indeed posits or infers) the act of textual production” (228).
Later on, he performs another operation on an elderly man with compressed nerves and
degenerated spine, “I began to remove the lamina, the back wall of the vertebrae, whose bony
overgrowths, along with ligaments beneath, were compressing the nerves” (176). He managed to
perform the operation so well “as if there had been no surgery at all” (177). After the successful
surgery, he sooths his nerves by listening songs “I put Getz/Gilberto on the radio, and the soft,
sonorous sounds of a saxophone filled the room” (178). As the narrative progresses, it is seen
that Kalanithi’s emotions and hopes do transform with the passage of time, as he expresses;
“King Lear’s Gloucester may complain about human fate as “flies to wanton boys”. But now I
lived in a different world, a world that was more Greek tragedy than Shakespeare” (180).

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Through intertextual reference of William Shakespeare’s plays, Kalanithi goes back to classical
tragedy of Oedipus, “No amount of effort can help Oedipus and his parents escape their fate”
(ibid). He compares his own fate with that of Oedipus that both were put in a situation of
powerlessness and “their only access to the forces controlling their lives is through the oracles
and seers, those given divine vision”(181). Similarly, the medical terminology/jargon reflects the
specific use of labels in the context of hospital, for instance, during one his fits, Kalanithi is
taken to hospital. The text writes, “I was in pain, while a pantheon of specialists was brought
together to help: medical intensivists, nephrologists, gastroenterologists, endocrinologists,
infectious disease specialists, neurosurgeons, general oncologists, thoracic oncologists,
otolaryngologists” (189). The novel also mentions numerous few medical terminologies specific
for drugs, treatment and therapies such as NSAIDs, Avastin, bronchoscopic biopsy, targetable
mutation, IV tube, Tarceva drug, molecular therapy, GI problem, metastases, and WICOS (who
is the captain of this ship) etc.
6. Conclusion
The particular study has found that the autobiographical memoir When Breath Becomes Air is a
work of historiographic metafiction as it is based on citations taken from various works that
prove that every text is a new tissue of past citations. The study shows that writing is always a
process of re-writing which foregrounds the bits of the texts that it both places and dis-places.
The study also supports the view that most of the texts are intertextual in nature and this very
phenomenon is natural in the world of arts. The memoir is unique as it represents a distinct
combination of various intertexts which formulate a multi-faceted interaction of one text with the
other texts within the literary matrix. Kalanithi has used the technique of intertextuality in terms
of different quotations, metaphoric presence to develop his character, story and narration of his
life. Moreover, through intertextuality the narrative relates and fuses various genres to
demonstrate the blurring of boundaries in a postmodern work. Kalanithi’s memoir is full of
philosophy, science and spirituality that can be explored by fresh scholars.

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Dzhundubayeva, Alla Abdrakhmanovna. “Intertextuality as a Postmodern Narrative Strategy in
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Edmunds, Lowell. Intertextuality And The Reading of Roman Poetry. JHU Press, 2001.
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