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Leslie JamisonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Leslie Jamison is the author of The Empathy Exams. She alternates between acting as the reader stand-in and serving as a character in her essays depending on who she chooses to focus on for the particular work. Jamison never clearly describes herself physically; the only explicit description she offers the reader is of her scars, or wounds. These remnants of past pains serve as jumping-off points to many of the stories she tells throughout the essay collection, further reinforcing her ultimate belief that pain is unique to the experiencer.
It is through Jamison that the reader navigates topics of pain, empathy, and trauma. One remarkable aspect of Jamison’s presence in the collection is she does not presume to have all of the information. In fact, she often navigates the collected essays as being the person to learn something. It is through her the reader navigates the choices necessary to achieve empathy: the acceptance of sentimentality and the importance of active listening and observation. When Jamison lacks knowledge, she pulls from sources outside herself, and the result is the creation of a holistic perspective on choosing empathy.
The West Memphis Three is the term used to describe Damien Echols, Jessie Misskelley Jr., and Jason Baldwin, three teenagers convicted of the murders of Steve Branch, Christopher Byers, and Michael Moore. The three grew up in the South and lived in poverty. The boys were accused of being Satanists who murdered the children as part of a satanic ritual. In the aftermath of the initial guilty verdict, there was significant criticism of the investigation and the behavior of the prosecution during the trial. There were several appeals following the verdict. The Paradise Lost documentary trilogy documented the case and helped circulate the story of the three men. As the third documentary was being produced, the men successfully entered an Alfred plea, allowing them to maintain their innocence but acknowledge that there was enough evidence for a guilty verdict. They were then released.
Jamison uses the West Memphis Three and the Paradise Lost documentaries to introduce and construct the argument that empathy does not require a personal connection to develop. She uses herself as a conduit, discussing her first exposure to the case and its emotional impact as well as subsequent exposures and their lingering impacts. She notes her reaction to both the family members and the imprisoned men, highlighting how her perspective changes over the course of time. This not only emphasizes the ways in which perspective influences empathy but also the need to take one’s own reflections into consideration.
Periodically throughout the text Jamison discusses her past partners. Only two of them are named—Dave, who will later become her husband for a time; and Jim, a poet. Like herself, Jamison does not physically describe her partners. Instead, she shares their actions and the things they say to her, often words that are hurtful. For example, she notes one boyfriend called her a “wound dweller” and highlights how an abrupt breakup left her forever altered (187). She and Jim vacation in New Orleans and are at odds with each other because of their differing life experiences, leading Jamison to be privately dismissive of the phrases he uses to describe the world but unwilling to voice this discontent. Dave gets the most time in the book dedicated to him. He is Jamison’s partner when she becomes pregnant and requires an abortion, and he also takes care of her after her heart operation.
By presenting her partners, Jamison explores connectivity in romantic relationships. In many of her examples, she provides them in a negative context, highlighting the ways a partner did not establish a connection or she felt stifled and unable to reach out. Dave stands as the exception to this rule because Jamison writes about the ways she was unfair in her assessment of his empathetic abilities. When Jamison disregards her own “checklist” for gauging Dave on his connective skills, the two can come together and heal both as individuals and as a couple. Jamison presents the importance of equal effort and investment in a relationship, and in doing so she presents an example of true romantic empathy.
Jamison does not rely on her own experience or expertise to build her arguments on sentimentality, empathy, and pain. She brings in quotes from other poets, writers, philosophers, and scholars in related fields. Often, she puts these quotes in dialogue with each other, creating a pseudo-debate she eventually weighs in on. For example, in the essay “In Defense of Saccharin(e),” Jamison quotes Oscar Wilde, James Wood, Axl Rose, Mark Jefferson, Michael Tanner, John Irving, and Robert Solomon in a series of paragraphs to provide the basis for her argument for the importance of sentimentality (113-15). This type of construction brings validity to her interest in the topic and adds to her ethos as someone well-read whose beliefs are built on a broader conversation within the field. One of the scholars she explores more explicitly is Vladimir Propp, whose book Morphology of the Folktale breaks down storytelling in fairy tales by presenting a series of functions that these stories contain. Jamison borrows his formula in her essay “Morphology of the Hit,” using his functions to gain sense of a seemingly senseless trauma. In each of these instances, Jamison uses the words of others to address her own concerns within the text. While she does not focus on the work of one writer at any given time, she treats her fellow scholars as experts and in doing so constructs validity for what she has to say.
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