Tricksterdom in narratives of young adult cancer: performances of uncertainty, subversion, and possibility.

OBJECTIVE: As people with cancer attempt the difficult task of giving voice to life with illness, they often turn to mythic figures and stories (e.g., when people talk about battling cancer or embarking on a journey toward recovery). Little attention has been paid to the mythic figure of the trickster, recently identified by Arthur Frank (2009) as a prominent trope in some narrative accounts of illness. We investigated the prevalence of 3 tricksterly themes expressed within young adults' stories of cancer: destabilizing social or cosmic order (uncertainty), challenging dominant expectations for human life (subversion), and exploring alternative ways of viewing the world (possibility). METHOD: We recruited 21 young adults with cancer from across Canada and conducted semistructured interviews. We then analyzed their stories using some elements of thematic, structural, and dialogical/performative narrative analysis-drawing attention to what was told and how/to whom were they told (Crossley, 2000; Frank, 2012; Riessman, 2008). RESULTS: We describe each of the 3 themes in turn (i.e., uncertainty, subversion, and possibility) using excerpts from 6 interview transcripts, and show how they meaningfully converge into an interpretive framework of tricksterdom. CONCLUSION: We conclude that the 3 themes of uncertainty, subversion, and possibility seem to come together as tricksterly performances, disrupting audiences' expectations of more typical forms of cancer narratives and calling attention to less familiar, structured, and "tellable" ways of narrating illness.

Lateral bias in theatre-seat choice.

Examples of behavioural asymmetries are common in the range of human behaviour; even when faced with a symmetrical environment people demonstrate reliable asymmetries in behaviours like gesturing, cradling, and even seating. One such asymmetry is the observation that participants tend to choose seats to the right of the screen when asked to select their preferred seating location in a movie theatre. However, these results are based on seat selection using a seating chart rather than examining real seat choice behaviour in the theatre context. This study investigated the real-world seating patterns of theatre patrons during actual film screenings. Analysis of bias scores calculated using photographs of theatre patrons revealed a significant bias to choose seats on the right side of the theatre. These findings are consistent with the prior research in the area and confirm that the seating bias observed when seats are selected from a chart accurately reflects real-world seating behaviour.