Survivor’s Remorse queries how various institutions value different types of bodies and in what ways creative labor can be particularly toxic. Why does the value of an artist’s work often increase after death? In what ways does the fluctuating and irregular valuation of an artist’s cultural capital affect his or her ability to live? As the old narrative goes, the artist, or visionary, or genius lives on “the fringes of society” or is seen as “ahead of her time”—in other words, is perceived as being “out of sync.” Marginalized bodies exist on “the margins” because institutions either ignore or do not adapt to the experiences of the non-normative, non-citizen, poor, ill, or racialized subject. Yet the marginalized “genius” or others deemed exceptional (sometimes by the extreme scale of their loss, as in the case of genocide) may be recuperated and highly valued through historicizing institutions—but often only after they are gone. Survivor’s Remorse examines this paradox and the sociopolitical influences that create the chasm between these value systems.