Zauner was 25 when her mother was diagnosed with an aggressive, late-stage, mid-life cancer. Zauner was a rebellious child, resentful of Umma’s version of tough love. Growing up the lone Asian student in her Oregon community, she felt both othered at school and an outsider among her mother’s Seoul relatives when she visited them each summer. Just as she was beginning to appreciate her Korean heritage and understand her mother’s love, she learned about Umma’s diagnosis.   

The first half of the memoir exuberantly brings to life scenes from Zauner’s childhood and her brief post-college years as a musician in New York City. Surprisingly, without hesitation, she paused her makeshift career and flew west to care intensively for her mother. Attempting to heroically save Umma, Zauner zealously learned to prepare the native foods they shared. “I would radiate joy and positivity,” Zauner pledged. “I would learn to cook for her—all the things she loved to eat, and I would single-handedly keep her from withering away” (69). Her optimistic culinary efforts produce a poetry of exacting descriptions of the flavors and textures and preparation of those foods. It’s grimly ironic that the chemotherapy her mother endured wiped out her ability to taste or digest Zauner’s loving offerings of health.  

The second half turns from living with Umma to living without her. Wishing to sustain her bond with her mother as Zauner grieved, she continued preparing her Korean family’s recipes. Walking down H Mart’s redolent aisles released “waves” of sorrow that mark the enduring ebb and flow of her grief. Unsuccessful with conventional therapy, she found cooking the best form of self-care: “Every dish I cooked exhumed a memory. Every scent and taste brought me back for a moment to an unravaged home. Knife-cut noodles in chicken broth took me back to lunch at Myeong Dong Gyoja . . . The kalguksu so dense from the rich beef stock and starchy noodles it was nearly gelatinous. My mother ordering more and more refills of their famously garlic-heavy kimchi” (212-213). An image of abundance in the midst of loss.

Zauner’s detailed descriptions of cooking and consuming invite readers to her table, reminding us—as previous celebrated writers have—of the power of the senses to evoke memory and the power of food to strengthen human bonds. Food also powers Zauner’s self-understanding and the unexpected transformational love for her mother: “The culture we shared was active, effervescent in my gut and in my genes, and I had to seize it, foster it so it did not die in me . . . If I could not be with my mother, I would be her” (223-224).  

Zauner’s writing is itself active and effervescent. Through her grief, she holds a steady, unflinching gaze on cancer and death. As she writes candidly about her family, Zauner is critically reflective about her own life. Her writerly achievement is the immediacy of her felt experiences, her grief and her joys made palpable. “Let me feel this,” she courageously writes, dismissing her Korean family’s admonitions to withhold tears (202). An unforgettable image of the process of loving transformation that Zauner experienced unfolds in her description of making the Korean staple kimchee. It is a slow, exacting process of fermenting cabbage that at first strikes her as “controlled death” because “[l]eft alone, a head of cabbage molds and decomposes. It becomes rotten, inedible. But when brined and stored, the course of its decay is altered. Sugars are broken down to produce lactic acid, which protects it from spoiling. Carbon dioxide is released and the brine acidifies. It ages. Its color and texture transmute. It exists in time and transforms. So it is not quite controlled death, because it enjoys a new life altogether” (223). 

As if miraculously, a few years after Umma died, Zauner’s itinerant music career took on a new life. The band she has fronted, Japanese Breakfast, recorded the album Psychopop with a song she wrote about her mother, “In Heaven.” Then they toured the U.S. and South Korea. Although her mother was skeptical about a musical career, Zauner imagined that Umma would be “glad that I had finally found a place where I belonged” (233). 

Crying in H Mart: A Memoir
Michelle Zauner

Publisher Alfred A Knopf
Place Published New York
Edition 2021
Page Count 239

Web photo by Portuguese Gravit

Most chapters are titled after a medical condition (exceptions are “Hubris” and “Melodrama”). Some of the headings are familiar – Trauma, Infarct, Aneurysm, Meningioma. Other chapter titles flaunt delicious medical terminology that mingles the mysterious and the poetic with nomenclature such as Angor animi, Neurotmesis, Photopsia, and Anaesthesia dolorosa.

Included are riveting accounts of both mundane and seemingly miraculous patient outcomes. One success story involves a pregnant woman losing her sight due to a brain tumor that compresses the optic nerves. Her vision is restored with an operation performed by the author. Her baby is born healthy too. But tales of failure and loss – malignant glioblastomas that are invulnerable to any treatment, operative calamities including bleeding of the brain, paralysis, and stroke – are tragically common. The author describes his humanitarian work in the Ukraine. He admits his aggravation with hospital bureaucracy and is frequently frustrated by England’s National Health Service.

Sometimes the shoe falls on the other foot, and the doctor learns what it is to be a patient. He suffers a retinal detachment. He falls down some stairs and fractures his leg. His mother succumbs to metastatic breast cancer. His three month old son requires surgery for a benign brain tumor.

As his career winds down, the author grows increasingly philosophical. He acknowledges his diminishing professional detachment, his fading fear of failure, and his less-hardened self. He becomes a sort of vessel for patients to empty their misery into. He is cognizant of the painful privilege it is to be a doctor.

The title of Do No Harm is spot-on. After all, this commandment is a crucial caution to all doctors. And for neurosurgeon Marsh, it signifies the restraint he must exercise in his medical decision-making. His approach to the doctor-patient relationship features a gentle medical paternalism that incorporates plenty of honesty and kindness. He writes about his struggle (and occasional clumsiness) with breaking bad news.

His professional life is portrayed as paradoxical – constant anxiety and contagious confidence, phases of futility and strings of inspiring operative accomplishments. The gift of forgiveness, how uncertainty tortures doctors, and the process of dying are significant topics for Marsh. In the last few decades, there has been a proliferation of medical memoirs. Do No Harm rises above them all. The book informs doctors that it’s okay to be vulnerable and fallible, as long as they are also compassionate, truthful, and caring. 

Primary Source Do No Harm: Stories of Life, Death, and Brain Surgery 
Publisher Thomas Dunne Books/St. Martin’s Press 
Place Published New York 
Edition 2015 
Page Count 288 

A previous version of this review was published in the NYU Literature, Arts, and Medicine Database.   
Web image by Medhum.org.

Frustrated in their attempts to access information, seek compensation, and prevent future deaths, the families convinced the flamboyant lawyer, Jan Schlichtmann, to take on what was thought to be a hopeless cause. Suddenly, the case seemed to promise a multi-million-dollar settlement. Large industrial concerns, as well as government officials, began to pay close attention. Obsessed with the enormity of the apparent crime, the creative Schlichtmann amassed a huge amount of damning evidence through careful and expensive scientific research. But the accused companies also invested large sums in experienced lawyers and scientists who used other data and legal technicalities to refute the charges. The families lost their case in 1986, and Schlichtmann was financially and emotionally ruined. By that time, 21 cases of leukemia had been identified – 4 times the anticipated rate for the population. A public health report found “no significant differences” in exposure between the leukemia cases and controls, yet concluded that “it is not possible to rule out exposure to this water as a factor” (Cutler et al 1986). 

Author Jonathan Harr began work on A Civil Action in 1986 before the opening of the trial, and he accompanied Schlichtmann to almost all meetings, relied on court transcripts, and conducted many painstaking interviews with the families and opposing lawyers. The result is an omniscient yet intimate perspective on these true events that reads like an action-packed thriller, complete with dialogue. It won many awards and was on the New York Times bestseller list for 65 weeks. It stands as an interesting commentary on the nature of environmental health and on the American justice system. 

Three years later, Steve Zaillian wrote and directed the award-winning film, A Civil Action (1998), based on Harr’s book and starring John Travolta and Robert Duvall. Shlichtmann received $250,000 for the portrayal rights, but is quoted as saying, “John Travolta made more money playing me than I ever did playing me” (Kix 2009). Forty years later, now at age 75, he continues to champion environmental causes, aiming for settlements rather than court cases and recounting his “lessons learned” on the speakers’ circuit. 

Woburn and A Civil Action had coincided with other prominent environmental disasters, caused by industrial failures: Three Mile Island (1979), Love Canal (1977-1979), Times Beach, Missouri (1983), Bhopal (1984), to name only a few. The book and the film contributed to rising awareness about the health risks of environmental damage, and they added to increasing skepticism over the intentions of private entrepreneurs and the courts. They also heralded a period that saw a growing body of legislation aimed to define responsibilities and regulate industrial pollution – measures coming, alas all too frequently, after new problems arose and covering jurisdictions defined only by political boundaries, which have nothing to do with the flow of water and air. In 2022, the United Nations declared that a healthy environment is a human right. Dozens of countries, including Canada (2023) and several American states, have enshrined that ideal in law, even if practicalities and protections lag far behind. 

Less known is that fact that Woburn triggered a public-health preoccupation with “clusters” and the nature of proof (Alexander et al., 1999; Kingsley et al., 2007) Do clusters indicate important dangers or are they unfortunate but random occurrences? A decade later, the Center for Environmental Health Sciences at Massachusetts Institute of Technology reported on its vain “search for causes” in the industrial toxins of the Woburn leukemia cluster (Durant et al., 1995). In 2002, a controlled study, based on Woburn, failed to establish a causal correlation between disease and contamination; it pointed out that incidence had returned to anticipated levels, while 8 consecutive years had seen no leukemia cases at all (Costas et al., 2002). Woburn has also been cited in efforts to provide better statistical evaluation of “clusters” (Waller, 2000). Woburn prompted recommendations to incorporate qualitative methods into public heath reporting (Brown, 2003) and to recognize the value of citizen science and epistemic differences in lay and professional “ways of knowing” (Brown, 1992; Petteway et al, 2019). Woburn is still being cited in public health assessments of environmental causes of malignancy, often with ambiguous outcomes (Binczewski et al., 2026). 

A Civil Action helped prepare the terrain for these many studies with their controls, statistics, and tracking of chemicals–mind you, only those chemicals that are already recognized and detectable. We no longer question the harm in smog and smoking, while improvements in respiratory diseases proclaim the benefits of keeping air clean. It is dismaying that the idea of water pollution as a harm to human health continues to be such a hard sell, while disasters like Flint, Michigan, or Grassy Narrows, Ontario, roil on. 

Water degradation is bad for flora, for fauna, and for the planet. Therefore, it is bad for us too. But for industry, the courts, and even some epidemiologists in their many ways of knowing, it remains an unproven hunch. 

References 

• Alexander, Freda E. 1999. Clusters and clustering of childhood cancer: A review 
• European Journal of Epidemiology 15: 847-852.
• Binczewski, N.R., Morimoto, L.M., Wiemels, J.L., Richardson, D.B., Bartell. S.M., Metayer, C., Vieira, V.M. 2026. Spatial analysis of residential location at birth, PFAS in public water, and childhood cancers in Southern California (2000-2019). Journal of Exposure Science & Environmental Epidemiology 2026 Mar 5:10.1038/s41370-026-00850-1. doi: 10.1038/s41370-026-00850-1. Epub ahead of print. PMID: 41781477; PMCID: PMC13032745. 
• Brown, Phil. 1992. Popular epidemiology and toxic waste contamination: lay and professional ways of knowing. Journal of Health & Social Behavior 33(3):267-81. 
• Brown, Phil. 2003. Qualitative methods in environmental health research. Environmental Health Perspectives 111(14):1789-98.  
• Costas, K., Knorr, R.S., Condon, S.K. 2002. A case-control study of childhood leukemia in Woburn, Massachusetts: the relationship between leukemia incidence and exposure to public drinking water. Science of the Total Environment 300(1-3):23-35. 
• Cutler, J.J., Parker, G.S., Rosen, S., Prenney, B., Healey, R., Caldwell, G.G. 1986. Childhood leukemia in Woburn, Massachusetts. Public Health Reports 101(2):201-5. 
• Durant, J.L., Chen, J., Hemond, H.F., Thilly, W.G. 1995. Elevated incidence of childhood leukemia in Woburn, Massachusetts: NIEHS Superfund Basic Research Program searches for causes. Environmental Health Perspectives 103 Suppl 6:93-8. 
• Kingsley, B.S., Schmeichel, K.L., Rubin, C.H. 2007. An update on cancer cluster activities at the Centers for Disease Control and Prevention. Environmental Health Perspectives 115(1):165-71.  
• Kix, Paul. 2009. In the shadow of Woburn, Boston Magazine, City Life, 22 September:  https://www.bostonmagazine.com/news/2009/09/22/in-the-shadow-of-woburn
• Lagakos, S. W., Wessen, B. J., Zelen, M. 1986. An analysis of contaminated well water and health effects in Woburn, Massachusetts. Journal of the American Statistical Association 81(395):583–596.  
• Petteway, R, Mujahid, M., Allen, A., Morello-Frosch, R. 2019. Towards a people’s social epidemiology: Envisioning a more inclusive and equitable future for social epi research and practice in the 21st century. International Journal of Environmental Research and Public Health 16(20):3983. 
• Waller, L.A. 2000. A civil action and statistical assessments of the spatial pattern of disease: do we have a cluster? Regulatory Toxicology & Pharmacology 32(2):174-83. 
• Jonathan Harr discusses A Civil Action on C-Span 

Web image by Medhum.org

Demon Copperhead is nothing if not a novel centered on social concerns. It tells the story of a child born to a drug addicted mother in an oxycontin-ravaged community in western Virginia. He is delivered inside an intact amniotic sac, an anomaly that foreshadows a life-long fixation to see the ocean, any ocean. His mother has abysmal taste in men and repeatedly chooses to live with men who abuse her and physically threaten Demon. When she dies of a drug overdose, Demon is placed in foster care and forced to work countless hours as a virtual slave under horrible circumstances, without any consideration for his safety, by the person who is supposedly responsible for his wellbeing. He runs away and has a miserable encounter on the road with a streetwalker who entraps him and steals the hard-earned money that he has secretly saved and stashed away. Against all expectation, Demon reconnects with his dead father’s family, and they place him in a much more stable and secure environment – the home of the venerated coach of the local high school football team.  

The coach takes a liking to Demon. He recognizes Demon’s hidden strengths and talents and encourages Demon to try out for the football team. Much to his surprise, Demon achieves star status as a tight end, no longer a faceless hillbilly from the back country of mobile homes. But true to the trajectory of the novel, Demon suffers a major injury to his knee. He refuses surgery and tries to tough it out. Pain medication is key to this strategy and, of course, this being Appalachia in the late 1990s, oxycontin is too easily prescribed by doctors and too accessible to patients. A painful decline into addiction and despair ensues. Many of Demon’s peers fall victim to the oxycontin plague. But unlike them, Demon is resilient. He is a talented artist, and from early childhood he would draw cartoon-like sketches to escape from his desultory life.  

With the help and support of an art teacher who takes him under her wing during high school, Demon creates a comic strip that dramatizes life in the backwoods of Virginia and that gains regional notoriety. As the novel nears the end, there is a dramatic passage in which Demon confronts his social nemesis on a mountain ridge during a windswept rainstorm. It evokes a climactic episode in Kingsolver’s earlier prize-winning book, The Poisonwood Bible, where the life of a key character is threatened by an attack of army ants in the middle of the night. Ultimately, Demon enters drug rehabilitation, perseveres through the rigors of withdrawal, and gets clean. Against all expectations, Demon finds love and redemption. The woman of his dreams has been there all along, but when it happens, you cannot help but smile as you watch the two lovers acknowledge their feelings for one another. 

The title of the novel is a dead giveaway of who inspired it and Kingsolver acknowledges her debt to Charles Dickens in the postscript. Like her Victorian predecessor, Kingsolver is writing to protest the neglect and abuse that people, but especially children, living in post-manufacturing America have been forced to endure at the end of the 20^th century and into the next. In her vision, the grim experiences of people like Demon and his family, whose lives are attached to the land, are profoundly different from city dwellers. After their land was stripped of its natural resources, the rural communities in states like Virginia and Tennessee were left to languish economically and fall victim to predatory pharmaceutical companies which promoted the use of drugs that the proprietors knew would increase dependence and addiction.  

There is a relentlessness to this story and Kingsolver’s voice in many respects echoes the Biblical prophets. For some readers, the book is almost too depressing. But I think that fails to give enough credit to her Dickensian style and outlook. The sequence of episodes in different locations and with a revolving cast of characters is reminiscent of the publication of Dickens’ novels in serial installments that can almost stand alone. The narrative pulsates with non-stop action and there is an optimism that Demon will always pull through. He is an engaging character, blessed with emotional reserves and intellectual gifts that enable him to overcome his baleful surroundings. In that sense, his story, like Dickens’ novels, may strike some as unrealistic. Perhaps that is the most effective way a writer can successfully enlist readers to rally to her social cause, by offering a vision of personal triumph over social and cultural adversity. 

Coming back to the question I asked at the outset, can a novel inspired by social protest survive its era and outlive the conditions that spurred the author to put pen to paper, or fingers to keyboard? Novels like David Copperfield and The Grapes of Wrath are affirmative answers. I predict that the artistry of Demon Copperhead will ensure that it will still be read long after the environmental damage incurred by the coal mining industry and the human devastation of the opioid epidemic recede into history. Demon’s voice is so alive, his character is so engaging, and his tale is so moving that I am confident that the book will be on bookshelves or in data storage tools in a hundred years. It may be necessary to add notes to explain the ins and outs of the coal mining industry and how oxycontin was approved and marketed to an unsuspecting population, but those will be details that will not obscure the deep humanity of the book.  

Oprah In Conversation with Barbara Kingsolver

DEMON COPPERHEAD 
Barbara Kingsolver 
Harper Collins Publishers, New York, 2022, 548pp 

Web photo by George Hiles 

The Iranian-American author, Azar Nafisi (b. 1955), reminisces about her experiences teaching English literature in Iran before, during and after the revolution and the Iran-Iraq war (1980-1988). The book opens near the end of her sojourn in Tehran. A small group of young women, who have been friends since they were University students, gather in the author’s home to read and discuss English novels. They wear western clothes, remove their veils, and eat sweets. Some have been in prison. They conceal their simple purpose from fathers, husbands, brothers, because meeting to read Western fiction would be construed as an act of defiance.  

In four sections, two named for twentieth-century novels and two for nineteenth-century authors — “Lolita” “Gatsby” “James” and “Austen,” Nafisi constructs a series of flashbacks that describe the events of late 1970s to the 1990s in the inner and outer world of an academic woman. The books and writers used in the section headings have walk-on parts or starring roles that jar in this ostensibly alien context. Yet, they work surprisingly well for the women students, stimulating them to think in new ways about the situation in which they find themselves. Conversely, as the students assimilate the English and American writers into their world, we learn more about their Iran. 

Myriad details of moment, garb, color, and food, evoke the everyday “feel” of protests and atrocities that are known in the West only through journalist’s reports. The long descriptions contrast sharply with a relentless and probably deliberate lack of precision about several basic things. For example, the author withholds her age and the identity and the nature of her relationship with “my magician,” a greatly admired man –perhaps a lover or a teacher–who seems to exist on chocolate and philosophy.  

Possessives and the first-person singular are used liberally (“my students”) to remind us that this is one woman’s story—notwithstanding the solace, but barely developed presence, of a husband, two children, and a mother. The decision may have been made to protect personal privacy. But the result also conspires to build a narcissistic tone, as if the author marvels at her own creativity, attractiveness, resilience, survival, and escape.  

Some of the most engaging passages describe the male students’ difficulty with literature that they perceive to be immoral (for its sexual content or for the agency it assigns women). In the social climate, the young men are utterly unable to accept great writing on its own terms. One wonders how they would react to Nafisi’s own book and her portrayal of them. The wonderful device of a mock trial of Gatsby (pp. 120-136) challenges the students by going to the heart of the conflict of politics, religion, literature, and justice; it would work well as an excerpt and is worthy of emulation in our classrooms. The work deepens our understanding and complicates the impressions of Iran that are generated by a steady diet of news reports. 

In 2024, Reading Lolita in Tehran became a film directed by Israeli filmmaker Eran Riklis. 

Born into a privileged, Iranian family and educated in both England and the United States, Nafisi saw the great changes in her beloved country as the encroachment of a retrograde, unthinking tyranny, hostile to women and to reason. She moved to the United States in 1997 and became a citizen in 2008. She has served as a professor of English literature in several universities, holds at least nine honorary doctorates and numerous awards and prizes for her creative work. 

Reading Lolita in Tehran
Azar Nafisi
Random House, New York 2003
347 pages

From the Vault:
In these times, certain works of literature seem to be as relevant to us now as when they were published — possibly more relevant than the times that they depict. From the vault of the now closed Literature, Arts and Medicine Database, we will pluck a few items for their power and timeliness.

Web photo by  ariyan Dv 

The story, “A Jury of Her Peers” by Susan Glaspell (1876-1948) tops the list of all the classic fiction pieces I used in more than three decades of teaching in a medical school. It is vivid, accessible, and moving – and it conveys important historical messages while also holding up a mirror to current affairs and professional identity. 

The Pulitzer-Prize winning-author, was inspired to write this powerful tale, following her coverage as a journalist of the 1901 trial of woman who had murdered her husband. First she wrote it as a play, “Trifles,” in which she played a role when it opened in Providence RI in 1916. The following year she adapted the play as a story. A moody thirty-minute film was produced and directed by Sally Heckel in 1980, making use of Christina Rossetti’s poem “In the Bleak Midwinter,” set to the music of the Gustav Holst. A rather blurry version can be found on youtube. 

On a cold winter day, Mr. Hale has found his neighbor, Mr. Wright, strangled to death in his own home. Mrs. Minnie Wright claimed not to know who killed her husband, but she had already been arrested and was awaiting charges in jail. County Sheriff Peters brings Hale, his wife Martha Hale and his own wife Mrs. Peters to the isolated. Wright home. The two wives are to gather Minnie’s clothing and see to her preserves. The men mock women’s “trifles” and jokingly tell them not to miss any clues, before they turn to the “more serious,” manly work of finding a motive. In a basket of patches destined for a quilt, the women find a strangled canary. In quilt-like fragments, they piece together the difficult life of the absent third woman. The kitchen contains many signs of Minnie Wright’s life of abuse and violence, signs that are clearly visible to the women and ignored by the men. With silent understanding, they destroy the evidence that could incriminate her.  

Considered to be one of the earliest examples of feminist literature, this story is a wonderful teaching tool. Written before women could sit on juries, it raises important issues about the discriminatory aspects of justice, the contingency of laws, and the construction of psychiatric diagnoses, especially insanity in criminal defense. Minnie’s “peers” are her female neighbours who scarcely knew her, but who easily imagine the hardship of her life and the abuse that she (and perhaps they too) suffered.  

Over many years, I had the unforgettable experience of reading this story with a combined class of law students and medical students co-taught with my law-school colleague Mark Weisberg.ⁱ All the students believed that Minnie deserved to be acquitted. But their reasons differed along professional lines, and this same difference appeared every year we taught with the story.  

The future lawyers wanted her to find pardon in a medicalized solution: they longed for an insanity defense in the battered wife syndrome, a diagnosis which did not become available until the 1970s.  

The future doctors believed that Minnie was far from insane; her actions, they thought, were taken in reasonable self-defense; they wanted a legal fix that would change the laws to allow women to sit on juries and to recognize the harm of domestic abuse. In fact, women as jurors evolved slowly over many more years at different times and places and involved several legal cases on appeal.  

The class discussion centered on why members of each group sought to preserve the rightness of their own professional canon even when they understood that the rules expressed in the story were decades out of date.  

1, Mark Weisberg and Jacalyn Duffin, 1995. “Evoking the Moral Imagination: Using Stories to Teach Ethics and Professionalism to Nursing, Medical, and Law Students”; Journal of the Medical Humanities 16. 4: 247-263 Reprinted in Change, The Magazine of Higher Learning, 27. 1: 20-27.

An earlier version of this review was published in the NYU Literature, Arts, and Medicine Database (Litmed).
Web image by Brajendra Singh

A Jury of Her Peers from Internet Archive (Open in New Window)

A Jury of Her Peers Directed by Sally Heckel in 1980

Kairos is the claustrophobic story of an affair between a 19-year-old woman and a married man more than 30 years her senior. Nothing unique in that situation. But this clandestine relationship unfolds against the backdrop of the last years of the German Democratic Republic before the sudden collapse of the Berlin Wall. This too is familiar territory — from novels like John LeCarre’s The Spy who Came in from the Cold and Ian McEwen’s The Innocent to popular movies like The Lives of Others. What makes Kairos different from anything that I have read about this period is the microscopic view it provides of the dysfunctional relationship between Katharina and Hans and the larger vision of reality that emerges. 

Their initial meeting is a completely chance encounter on a bus in Berlin as they shove to board it and escape the rain. They spy each other immediately and within a few pages are sleeping together. Hans is a married broadcast journalist who seems to have found a secure niche for himself despite state control of the press, while Katharine is a student in theater arts. Literary May-December romances are not uncommon, but the rushed and secretive meetings between the two lovers quickly move into less comfortable terrain. Katharine becomes increasingly insecure and less assertive in her interactions with Hans. Violent sadomasochistic behavior intrudes into their space, and Hans becomes more domineering and demanding. This is not a fuzzy tale of two star-crossed lovers who pine longingly for one another; this is obsessive territory. Over time, distrust and suspicion and mutual cruelty invade the lovers’ trysts. When Katharine leaves Berlin for a period of academic study in Frankfurt, it triggers exaggerated accusations of betrayal by Hans. He blames Katharine for being unreliable and not fully committed to their relationship and calls into question her loyalty to him. There is lots of sex and coded signals and furtive meetings to avoid detection by Hans’ wife and son. But the mood becomes chillier and more tense with each turning page. Eventually, the political uprising across Germany and Eastern Europe ruptures the novel’s narrow field of vision and alters the contour of their illicit relationship.  

The novel is bracketed by two efforts at historical reconstruction, accomplished by mining written records from the period. This highlights the power of literary narratives to frame our lives, something that Kairos accomplishes so successfully. The plot is spare but Jenny Erpenbeck has created a novel that is very thick with the lives of the two characters, and it is that richness of texture and intimacy, disturbing as it might be, which causes the book to reverberate in your memory long after you put it down. 

Why is that? What Kairos accomplishes better than other books I have read in recent memory is its ability to bring to life the impact of our social and political environment on our inner lives. The tautness of Erpenbeck’s writing, the novel’s ominous and suspicious atmosphere, are a direct reflection of what it might have been like to live in East Germany after the Iron Curtain descended and the Berlin Wall was erected. The East German domestic spy service, the notorious Stasi, infiltrated everyday life. Anyone could be an informer and everyone could be informed on. Petty offenses against the Communist party, minor disagreements between colleagues about policy, and trivial comments among friends about current affairs could quickly escalate into charges of treason, of being an enemy of the state. No one knew exactly what could provoke a summons to a closed room interrogation and a prison sentence. 

 It is in this stultifying environment that Katharine and Hans’s relationship takes shape and it is against this sweeping historical background that we confront and must try to understand their thoughts and actions. Katharine is young but seems deadened by life on the dreary East German side of the Berlin Wall with its brutalist architecture and its color spectrum ranging from shades of gray to shades of gray. For her, even a destructive relationship with an older man, a spiteful and hurtful one at that, may have provided a glimmer of hope for a “real” life. Hans has survived under the Communist regime and achieved a modicum of fame and fortune. But we can only speculate on the cost. Erpenbeck makes it clear that the price was high. The humanity of both main characters has been stunted by their reaction to living in a police state and by internalizing the distrustful depersonalizing actions of the government’s internal espionage apparatus. I suggest that Erpenbeck’s accomplishment is to show how the political environment can influence personal patterns of behavior. 

How would we have held up if forced to live under such conditions? Would one have had the courage to speak truth to power or would one have hunkered down, kept a low profile, and avoided confrontation with the state? What would we have resorted to in order to protect ourselves and our job, family, and friends? Could we have maintained our humanity and dignity? Katharine and Hans lived with these unbearable dilemmas every day and their personalities were gradually warped under the relentless pressure.  

It is easy to devalue the lives of others living in the former East Germany or Soviet Union, or current China or Iran, where men and women are forced to remain in countries that interfere with the freedom to think and express oneself and where every thought and action is under surveillance. But it would be a mistake. We should not lose sight of external factors in this country that threaten our individuality and our humanity. Whether it is political uniformity and social tribalism or blind use of the tools of artificial intelligence, we too must recognize and address the social forces that could impact on how we interact with the world and behave to one another. Like the Stasi in East Germany, these forces have the real potential to diminish our stature as moral agents.  

Neither main character in Kairos is easy to identify with and it is hard to muster sympathy for the plight of either one. But our distaste for Katharine and Hans is tempered by the knowledge that their souls have been distorted, damaged almost beyond repair, by a state that has flattened the complexity of human individuality into a file of incriminating notes based on informer reports. I suspect it may be especially hard for a woman to read this book and suffer along with Katharine as she is manipulated and physically and psychologically abused by Hans. But one cannot escape the reality that Hans too is a victim. Quality literature like Kairos does not aim to rationalize human behavior. What it can do is contextualize fictional characters and in doing so make us understand what some of our fellow human beings are going through a little bit better and with a little more sensitivity. 

Winner: International Booker Prize 2024

A Q&A with Jenny Erpenbeck and translator Michael Hofmann

KAIROS 
Author: Jenny Erpenbeck 
Publisher ‏ : ‎ New Directions; First Paperback Edition (May 14, 2024) 
Hardback: 2021, Penguin Verlag 
Paperback: 304 pages 
ISBN-10 ‏ : ‎ 0811238539 

Photo by Lucy Bruell

These changes have not all been for the better. Perhaps you have noticed such unsettling changes yourself. A child in a restaurant is glued to a tablet screen, probably the last resort of a weary parent trying to enjoy their first peaceful meal in days. A group of tourists in Paris marvels at the Eiffel Tower, not as it is, but as it appears through their phone camera and on their phone screen. Neighborhoods have become quieter and less lively, as children have retreated from the streets and hunkered down at home with their phones. 

Jonathan Haidt, a social psychologist at the NYU Stern School of Business, elaborates upon these ideas in his book The Anxious Generation. In this book, he describes the dual trends of increasing smartphone/screen-based engagement, driven by perverse economic incentives of technology companies, and decreasing real-world, human-to-human play, driven by over-protection from modern parents. The collision of these forces has defined Gen Z, born between 1997 and 2012, as the most anxious and depressed generation of our time. 

In the book, Haidt notes that the tactics of technology companies to drive increased user engagement have been well documented by activists such as Tristan Harris. Much like tobacco companies in the mid to late 20^th century, modern technology companies prey on young users (e.g. children) as a source of future/recurring revenue, and fight off consumer protections through aggressive lobbying campaigns at the government level. As a result, children are spending record numbers of hours on smartphones, increasingly isolated from the real world and irritable when deprived of their digital drugs. Haidt also observes that the technology problems of girls and boys are unique. For example, girls are significantly more prone to social media addiction and the associated psychological disturbances such as distorted body image and self-worth. On the other hand, boys are much more avid users of video games and pornography, which reduce their desire for real-world play and romantic relationships. 

Haidt also notes that over a longer but overlapping time period, children have been overly protected from real-world responsibilities and real-world play. He attributes these new attitudes to the changing media landscape and how crimes are portrayed in the news, as well as legal challenges which have incentivized parental overprotection. In one example, he describes a pitiful incident in which an eight-year-old child was seen walking the streets alone, and a concerned passerby called the police to report an “abandoned child.” In this case and many others, parents have been held responsible for this absurd new “crime”, a sight which would have been entirely commonplace 30 years ago. Haidt highlights the irony of how the real-world, full of rich experiences, appropriate risk-taking, and character-building responsibilities has been overly regulated by our society, whereas the digital world, rife with dangers for growing adolescent minds, has been almost entirely unchecked, unregulated, and ignored.  

Bringing people out of the digital world and into the real world is a formidable task. One strategy that Haidt found success with was to encourage people to reconnect with a sense of awe in the world. Awe is a vague concept, but can be defined as a feeling of wonder inspired by the sacred or sublime. The real world is full of such awe-inspiring moments, if only we could stop to notice them. In a comically simple exercise, Haidt encouraged students in his university course to take a walk through Manhattan without their phones or headphones, and then to write about their experience on this “awe walk.” The written reflections were so beautiful that he included excerpts of his students’ work in the book to illustrate how such simple measures could have such a profound impact. One such excerpt is reproduced below: 

For children who have no choice but to grow up in the digital era, Haidt attempts to boil his recommendations down into four rules for a healthier childhood:  

1. No smartphones until high school. 

2. No social media before the age of 16. 

3. No phones in schools. 

4. More independence, play, and responsibility in the real world. 

He recognizes that while these solutions are simple, their implementation is anything but. As a society, we face a daunting collective action problem as it pertains to technology and real-world experiences. Such problems require collective solutions, and Haidt encourages parents to get together, organize, and raise their children together in a real-world oriented manner. While broader changes in school policy may seem out of reach, Haidt encourages struggling schools to get inspired by the numerous case studies of schools that went phone-free and experienced positive changes by almost every metric, within a matter of two to three years. 

Some may say that our society is too far gone to reverse these negative changes, but this is certainly not the case. In fact, people are more skeptical now than ever of the negative role of technology in our lives, and collective action on this problem may be easier now than it ever has been before. As we sit perched on the precipice of a new technological revolution in artificial intelligence, this sentiment has already garnered potent opposition to unchecked technological advance and implementation. Will we learn from our past mistakes? Unfortunately, our track record is not encouraging. Only time will tell how far we go before we decide we need a detox. 

The Anxious Generation 
Jonathan Haidt 
Penguin Press, New York City, March 26, 2024, 400 pages
Web Photo by Joel Fulgencio