This essay examines how advanced ovarian cancer is represented in two American texts written by scholarly women: Susan Gubar’s Memoir of a Debulked Woman (2012) and Margaret Edson’s play Wit (1995). It asks how autobiography and drama, two distinct narrative modes, articulate bodily vulnerability, medical authority, and the politics of care in the contemporary hospital. Drawing on pathography studies, autothanatography, and the critical medical humanities, the essay argues that reading these works together reveals how illness is not merely a biological event, but an experience shaped by gendered assumptions, institutional power, linguistic hierarchies, and national welfare structures. The first part analyzes how both texts stage anger, fear of death, and the erosion of intellectual mastery. The second part situates these representations within the framework of the critical medical humanities, examining dehumanizing research protocols, the medical gaze, failures of communication, end-of-life ethics, employment precarity, and the gendered construction of ovarian cancer. Ultimately, the essay contends that these pathographies expose the systemic failures of contemporary ovarian cancer treatment while reclaiming the ill female body as a speaking, interpretive subject. By placing memoir and drama in dialogue, the article demonstrates how literary form itself becomes a site of resistance against biomedical reductionism.