Download The Universe

Snowfallization

Review of "Sea Change," by Steve Ringman and Craig Welch, Seattle Times. Web site.

Review of "The Course of Their Lives," by Mark Johnson and Rick Wood, Milwaukee Journal-Sentinel. Web site.

Last year on Download the Universe, Veronique Greenwood wrote a review of a story about an avalanche. Journalists write about avalanches fairly regularly, but this piece, called "Snowfall" was different. It was a one-man-band of text, video, maps, and unfolding photos. The story attracted millions of readers and earned scads of awards, including a Pulitzer. And it has ushered in an era of big, ambitious online packages of newspaper reporting. Not surprisingly, science offers some of the best stories for the Snowfall approach.

One recent example is "Sea Change," published last month by the Seattle Times. Photographer Steve Ringman and reporter Craig Welch tackled the immense but little-known disaster that is ocean acidification. The carbon dioxide we pump into the atmosphere doesn't just warm the atmosphere. It also lowers the pH of sea water, making the chemistry of the ocean dangerous for some species. Oyster companies are already feeling the effects of the dropping pH, and if we continue to acidify the oceans at our current rate, the ecological effects could be tremendous.

Here's a nine-minute video from the project:

The package Ringman and Welch have created has three main text stories. It starts with an overview of acidification research, which is followed by two close-ups on fisheries that are being affected--namely, oysters and crabs. (Both are economically important to the Seattle Times's local readers.) Welch reports the stories in the classic mode of environmental journalism, mixing together in-person reporting in far-flung locations with explanations of the research that revealed the scale of the problem. The photos are impressive, the videos are well made, and the visualizations--which try to convey how big the phenomenon of ocean acidification is--are fairly successful.

If you've already read "Snowfall," the presentation of "Sea Change" doesn't feel like a bolt out of the blue. But that just shows how much our expectations have shifted. Just look back seven years to a similar series called "Altered Oceans" from the Los Angeles Times, to see what I mean. The authors, Kenneth Weiss and Usha Lee McFarling, won a Pulitzer for their efforts, which were even more ambitious than "Sea Change." Rather than focus on one way we're ravaging the oceans, they set out to create a picture of all of them, from pollution to climate change.

Although it came out in 2006, the "Altered Oceans" package of stories holds up well today. But the packaging is showing its age. The fancy front page takes you to five stories that are nothing but text. There are also animations and photos, but they're squirreled away in slow-loading pages. After looking at one of these pages, I discovered there was no way to find my way back to the front page again. Seven years of programming advances made "Snowfall" possible--and now raise our expectations for such ambitious online pieces. (Welch recently discussed the making of "Sea Change" with the Columbia Journalism Review.)

From the mountaintops of "Avalanche" and the open oceans of "Sea Change," we take a claustrophobic trip indoors with "The Course of Their Lives." It's a four-part series from the Milwaukee Journal-Sentinel about medical students dissecting the cadavers of people who donated their bodies to science. There's no news here, no warning of an impending disaster. Instead, reporter Mark Johnson and photographer Rick Wood faithfully follow students through a remarkable experience--getting to take apart another human being, down to the brain and guts. Wood and Johnson both bring an emotional sensitivity to the project that makes reading it a deeply moving, human experience.

While I would heartily recommend "The Course of Their Lives," I would also point out some shortcomings. I don't want to belittle the piece by talking about them; they're worth talking about as a way to ponder the kinds of decisions that newspapers make when they create Snowfall-esque stories about science.

Some of the bells and whistles attached to "The Course of Their Lives" don't add much. The videos are mostly of talking heads, who sometimes speak stiltedly. Distilling people's words down in compelling written prose remains a superior technology to a video camera that's simply switched on.

I was also underwhelmed by the interactive anatomical diagrams that went along with the stories. They're meant to illustrate the lessons that the students learned about the cadavers, organ by organ. But who actually needs to see lungs light up on a diagram of a body to know what lungs are? The powers of visualization, both online and in apps, are spectacular. (My favorite anatomical example remains this ebook about Leonardo Da Vinci's anatomical sketchbooks.) But there's no point in using those powers simply to check off a box in a to-do list. It's another lesson that we should respect the technology of prose.

Ironically, the prose itself in "The Course of Their Lives" also felt a bit antiquated. American newspaper journalism long ago settled on a certain style. The paragraphs became short, and the sentences shorter. The words needed to be plain and serviceable. There were perfectly good reasons for this approach--but a lot of them had to do with the physical properties of printed newspapers. Stories couldn't be made of densely packed paragraphs, for example, because editors would need the freedom to cut off sections of stories at the last minute to make them fit their available space.

These were good reasons, but they had some odd consequences. Along with their standard fare of short news pieces, newspapers would also prepare a few massive, long-form pieces--Pulitzer-bait, essentially--but these pieces often retained the staccato structure of short news stories. In these sprawling pieces, that style read strangely. And once New Journalism's masters like Tom Wolfe and Gay Talese turned magazine features into a new art form, the adherence to the old style in newspapers became even more peculiar.

Today, as newspapers and magazines shift online, that style has grown even more out of date. If you read stories from publications that got their start online, such as the Atavist, you never find the staccato style of old newspaper stories. There's no need to adhere to it.

Thus "Sea Change" and "The Course of Our Lives" serve as illustrations of journalism in transition--created by people trying to figure out how to bring the best of the old world of newspapers and leave the rest behind.

 

(Photos: Top-Steve Ringman, Bottom-Rick Wood)

Carl Zimmer writes the "Matter" column  for the New York Times and is the author of 13 books, including Evolution: Making Sense of Life.

 

A Year of Downloading the Universe

By Carl Zimmer

It's now been a year since we started exploring science ebooks here at Download the Universe. By the time we got the site off the ground, people had already started producing some digital gems. The first work reviewed at Download the Universe, The Elements, brilliantly dismantled the ingredients of a book and rearranged them to take advantage of the touch-sensitive iPad. In 2011 science writer Laurie Garrett had taken the leap to Kindle in order to write I Heard the Sirens Scream, a harrowing account of how the United States responded to 9/11 and the anthrax attacks.

Yet we were also dismayed to discover find a lot of wasted opportunities. David Dobbs delivered the first unbridled attack on a stinker, a silly pamphlet called Smile that promised that grinning will solve just about anything. Likewise, I reeled at The Demise of Guys, an incoherent ebook by a prominent psychologist convinced that men were lost to porn and online games.

Both of these books were published by TED, based on talks that they had hosted. While there's a lot of good stuff to be watched on TED, there are a fair number of talks that pretend to be based on solid science when, in fact, their foundation is a thin, cracking skin of ice. Smile and The Demise of Guys didn't seem to be carefully vetted by an editor who would push back against poppycock. Both ebooks felt as if they had been simply waved through like cars in a line of traffic. In fairness, we did give positive reviews to some other TED Books--Controlling Cancer, What's Killing Us, Living Architecture to name three. But that unevenness makes us wonder if the quality of ebooks depends on the author and the author alone.

Absentee editing was not unique to TED. Meandering Mississippi was based on a series of newspaper articles--by which I mean they were little more than cut and paste into a new format. An ebook about dinosaurs was little more than a digitized cable documentary. An ebook about the Titanic somehow managed to lack any passion.

It would be a shame if ebooks became nothing more than hastily assembled spin-offs of print books, documentaries, or lectures. Fortunately, as this past year progressed, we had lots of good reasons to keep our hope for ebooks alive. New ebooks turned up that exceeded our expectations, or simply popped up far off the grid, beyond our preconceived map of what ebooks could be. I still enjoy turning the pages of Leonardo's anatomical notebooks, intercalated with insights from modern anatomists. For some of the best ebooks the term "ebook" barely even functioned. Snowfall was a ravishing account of a deadly avalanche hosted by the New York Times web site. Ironically, when it was turned into a more conventional ebook (if ebooks are mature enough now to even be conventional), it became a far less satisfying experience.

This past year also offered hope in the form of new publishing outfits dedicated to ebooks, many of which were about science. They were few in number and small in size, but they typically showed a level of care and creativity that much bigger publishing companies lacked. Symbolia offers comics science journalism. Byliner and Matter produced some excellent pieces of "in-between" science writing--too long for a magazine article, too short for a book.

Top honors go to the Atavist, a Brooklyn publishing house that produced an impressive string of pieces over the past year, on subjects ranging from moon rocks to brain-controlled robots to the mysteries of consciousness to a hunt for tree kangaroos. While readers can buy a stripped-down Kindle version, they can also buy an edition with elegantly incorporated maps, audio recordings, and other features.

Like many other journalists and scientists, we also dipped our collective toe into the ebook waters. David Dobbs joined Download the Universe having already written the best-selling My Mother's Lover. Deborah Blum published an absorbing account of a sensational murder trial called Angel Killer. I helped build an app to accompany a textbook about evolution I co-authored. Seth Mnookin edited a Matter ebook about regenerating organs.

I expect we will delve deeper in the year to come, both as writers and as reviewers. Over the past year, we've published over 80 reviews and essays, and we've got a healthy inventory of titles we're looking forward to writing about in the months to come. The ebook business is continuing to grow, but it's still hard to find out about new science titles. We plan to keep making it a little easier.

 

Carl Zimmer writes frequently about science for the New York Times and is the author of 13 books, including Evolution: Making Sense of Life.

Matter: A Look At A New Way To Read About Science

Do No Harm, by Anil Ananthaswamy. Published by Matter, $.99. Visit Matter for details about formats, purchasing, and membership.

Reviewed by Carl Zimmer

Talk about burying the lead.

Yesterday the Washington Post announced that they were hiring a new editor-in-chief. Reporting for the New York Times, Christine Haughney wrote that the Post made the switch because they were struggling with a steep decline in readership. It's not until deep in the piece that Haughney makes a startling statement:

"The paper also faces fresh competition from online news outlets, like Politico, whose founders include former Washington Post reporters."

Politico certainly didn't bring the Washington Post to its current moment of crisis singlehandedly. But it is striking to me that a web operation started from scratch in 2007 could baloon so fast that it could become a major threat to what was once one of the world's leading newspapers.

My attention was drawn to this buried lead because I've recently been getting to know a new player in the science news business, called Matter. This morning they are launching their web site, and their first piece of long-form journalism. It's way too early to predict whether Matter will become the Politico of the science world. But they definitely are entering the arena with impressive style.

Can Science Ever Truly Liberate Us From Evil?

Angel Killer, by Deborah Blum (The Atavist, October 2012). Available via The Atavist app and for Kindle.

Reviewed by Annalee Newitz

With the essay Angel Killer, science historian Deborah Blum (a DTU editor) takes us into the disturbing world of Albert Fish, a serial killer who raped, murdered and ate perhaps dozens of children in New York City during the 1920s. But this essay is more than an elegant true crime story of atrocious transgression and dogged detection. It exposes the origins of a clash between the scientific and religious approaches to punishment, by reminding us of the most important aspect of the Fish case. Generally, the "Gray Man," as he was nicknamed, is remembered for his ghoulish crimes against children -- and himself, as he was fond of driving needles into his groin. In Angel Killer, however, Blum makes the case that his trial is what should go down in history. It was the first high-profile trial where psychologists argued that a murderer should not get the death penalty for reasons of insanity. 

Though we hear the phrase "not guilty by reason of insanity" a lot in fiction, Blum points out that in reality it is not generally a successful plea. Even today, very few criminals are found to be insane, even when they've done things that are as beyond the pale as Fish's cannibalistic rituals. By retelling the story of Fish and the society that condemned him to death, Blum is able to explore one of the areas where scientific reason is most often swept aside for an Old Testament notion of "eye for an eye" justice. Though judges, juries, and even psychologists knew that a child killer like Fish was in fact insane and therefore unable to distinguish between right and wrong, they could not bring themselves to treat him the way psychology would demand. Instead of offering him treatment, Fish's peers resorted to an ancient and ultimately superstitious notion that he was simply evil and therefore should be struck down by the state for his acts.  

Though we can see the war between scientific and religious ideas of transgression slowly building throughout Blum's essay, she never beats the reader over the head with socio-political analysis. Instead, she allows the story to speak for itself. One of the most intriguing characters to emerge, other than the mysterious Fish, is the psychologist who worked most on the killer's case. That was the young Fredric Wertham, who became famous in the 1950s for arguing that violent and sexual images in comics were inspiring juvenile delinquency in his book The Seduction of the Innocent. Wertham, who worked with many of New York's poorest populations, was eager to take on Fish's case because he was all too familiar with how little attention was usually paid to the sorts of working class and impoverished families who had lost their children to Fish's knife. 

Wertham was also oddly sympathetic to Fish. After hours of interviews with the jailed killer, Wertham became convinced that Fish was absolutely insane. Aside from his known crimes, Fish also spoke to angels, mutilated himself, and had religious delusions about becoming a god. He'd even been committed to asylums a couple of times, once by his own daughter. Wertham wanted to find out how such a man could have been in and out of mental institutions without anyone ever noticing that he was violently unstable. In court, Wertham argued that Fish could not have understood that his crimes were wrong, and that he deserved life in a mental institution rather than the electric chair.

What emerges from Blum's tale of Wertham's court battle is a profound sense of our struggle as a culture to deal scientifically with mental illness. Most people fundamentally believe that criminals like Fish are "bad" and "evil" and should therefore be killed. Psychologists today still fight to convince juries and the public that some criminals have damaged minds, shaped by horrific circumstances. Fish's story, which begins with his abusive childhood in an orphanage, is a classic tale of a troubled person who was neglected and mistreated by the very institutions that were supposed to aid him. Even the psychologists who saw him as an adult, and knew about his profound delusions, released him onto the street because he was "sane enough." Instead of recovering, Fish only sank more deeply into madness.

Blum's essay is available via the Atavist app, whose enhancements make the experience of reading almost cinematic. The story begins with a haunting 1920s-era film of Staten Island ferries docking in downtown Manhattan, set to period music. Maps of the crime scenes walk us through the early twentieth century streets of New York City like we were cops on the beat. And Blum treats us to snapshots of the screaming headlines about Fish's murders and trial, which help us understand how his crimes were depicted at the time. At one point, we have the opportunity to pull up a creepy letter that Fish sent to the mother of one of his victims (complete with a warning that it may be too graphic for some readers). The multimedia extras never feel extraneous, and aid enormously with the historical scene-setting required here.

Ultimately Angel Killer is not a story of crime -- it is a story of how we understand crime. More than that, it is about how science has the opportunity to change profoundly the way we treat both criminals and the mentally ill. The tragedy is that when it comes to human atrocity, science often fails to persuade us and superstition takes over. Albert Fish was killed in the electric chair at Sing Sing in 1936.

Annalee Newitz is the editor-in-chief of io9.com, and the author of the forthcoming book Scatter, Adapt and Remember: How Humans Will Survive the Next Mass Extinction.

The Long Quest to Catch a Poisoner

The Kalinka Affair: A Father’s Hunt for His Daughter’s Killer, by Joshua Hammer,  published by The Atavist for Kindle, iPad, Nook, Google Play, and Kobo.

Reviewed by Deborah Blum

Call it an identity crisis of sorts. But for a career science writer, I’ve found myself spending an unusual amount of time in the past few years writing – and devotedly reading – true crime stories.

Call it also a logical consequence. I wrote a book about poison, murder and the early days of forensic toxicology. I write a blog about culture and chemistry, one that leads me inevitably into stories of lethal cocktails and homicidal intent. When I see a tale of murder and mystery, I usually wonder if there was a toxic weapon involved.

I realize that telling you this may make me sound a little creepy and it’s not – promise – that I spend my days lurking around hoping for a homicide.  But I do look for stories that allow me to practice what I occasionally think of as subversive chemistry writing, narratives in which I can weave some toxicology, sneak a few chemical formulas or Periodic Table references into the tale.

There’s more at play here, though, than my interest in narrative story telling techniques.  Forensic toxicology raises some fascinating questions about the role of scientific detective work. Can good chemistry always solve a murder? Even if we find a poison in a body, does that always lead us to the killer? And even if we know the killer, does that always lead us to justice?

Which brings me, of course, to The Atavist’s recent successful true crime single, The Kalinka Affair.  The story is written by Joshua Hammer, a former foreign bureau chief for Newsweek, and a man with a long-time fascination with murder himself. His full-length books include Murder in Yosemite (the story of a 1999 mass murder in the national park), Sherlock Holmes’ London, and Where Agatha Christie Dreamed Up Murder.

You’ve probably guessed by now that The Kalinka Affair involves poison and murder. That’s my focus more than the author’s – this is foremost a story of a father’s full-fanatic drive to find justice in the matter of his daughter’s death. That passionate, guilt-and-love driven parental determination drives the narrative forward through almost 30 years of twists and turns, international politics and criminal undertakings, and unforgiving rage. “Bamberski would leave his job, burn through much of his life savings, and devote thousands of hours to pursuing his quarry,” Hammer writes.

A Journey to the Island of Tree Kangaroos

The Island of Secrets, by Matthew Power. Published by the Atavist. $1.99 - $2.99. iPad and iPhone version available through the Atavist app. Kindle, Nook.  More information available from The Atavist.

Guest reviewed by Oliver Hulland

Matthew Power is the kind of writer everyone dreams of becoming. In the vein of John McPhee and Paul Theroux, Power writes about exotic far-away places, not from second-hand accounts but instead from personal experience. The cuts, bruises, insect bites, and close encounters he records are just as likely to be his own as the adventurers he profiles. 

The Island of Secrets is Power's most recent attempt to understand the indomitable urge to explore. We find ourselves thrust into the world of John Lane, a California scientist who looks for fossils in caves and who had accidentally discovered a new species of tree kangaroo on the side of the road while on an expedition in New Britain, an island off the coast of New Guinea. Upon learning of its novelty he later returned for the specimen only to find that it had, to his dismay, been eaten. And so Lane, with Power in tow, mounted another expedition to rediscover the kangaroo he believes holds the key to preserving what's left of the island's vanishing forests. 

The Island of Secrets reads like a twenty-first-century explorer's diary, rich with multimedia content documenting an expedition deep into New Britain's jungles. Inline links pop open locations on maps, historical factoids, or images from Power's trip. The intimate photos provide a glimpse into the day-to-day life of the haphazard expedition, including shots of an impromptu shoddily-made raft, the science team's dilapidated jungle base camp, and the odd detail like a local's "Calvin Klain" underwear.

While the quality of the photographs are nothing like those found in glossy magazines, they serve as evidence of the journalistic process, and of the realities of Power's research in New Britain. Even better than the photographs, though, are the small video clips that are peppered throughout the text. One clip records a slapdash attempt to sew shut a careless machete wound, while another shows the slow, laborious process of hacking through the dense Tanglefoot fern underbrush. These short clips are the antithesis of slick BBC nature documentaries, and as a result they succeed in providing gritty, blurry proof of the day-to-day struggle of science in far-away places.

Along with the text, The Atavist app also includes a superbly produced audiobook version, ready by Power himself. You can also listen to snippets of sounds from the jungle including the whirring of cicadas or samples of the local language, Tok Pisin. Some may find these audio-visual elements distracting or unnecessary (notably the looped chirping crickets that function as a soundtrack), more often than not they work in concert to create one of the richest media experiences available on an iPad or iPhone. 

None of this would work, however, if it weren't for Power's talent in telling the story of John Lane's obsession with finding the tree kangaroo. By building off the foundation of a good story, The Atavist’s adaptation of The Island of Secrets creates a hybrid of narrative nonfiction that succeeds in bringing the journalistic and scientific process to life.

 

Oliver Hulland is the editor of Cool Tools, a site dedicated to finding tools that really work. When not reviewing tools, he can be found foraging for mushrooms, exploring caves, and applying to medical school.

I Point To TED Talks and I Point to Kim Kardashian. That Is All.

The Demise of Guys: Why Boys Are Struggling and What We Can Do About It, by Philip Zimbardo and Nikita Duncan. TED Books. Kindle, Nook, iBooks, $2.99

Reviewed by Carl Zimmer

Tonight, I want to talk to you about a national crisis. A global crisis. A crisis of such tremendous proportions that you may not even be aware that it is engulfing you and your loved ones and your neighbors in flames.

What is this crisis? It is a crisis of our brains. The brains of our fellow citizens are being digitally rewired. How? Here is how. Hundreds of millions of people are gazing at online videos, spending billions of aggregate hours slack-jawed in front of their monitors. These videos are sucking up all the time that these people would otherwise spend reading the great books that you and I grew up with. Remember those days back in the Reagan administration when we little tykes would page through Cicero and Racine? No more. Instead, we face an epidemic of short-term distraction. These videos last no more than 18 minutes, and often less. As soon as one video is over, we can choose from hundreds of others with the click of a mouse. Each one is different from the last, flooding our brains with an unnatural wealth of variety. Very soon, we even become addicted to that variety. Yes, that's right, addicted. It's an addiction no different from cocaine, heroin, vodka, bingo, Ben & Jerry's, Law & Order streamed on Netflix, or MySpace.

Wait, I meant Facebook. Nobody uses MySpace anymore, so that can't be addictive.

Right. Where was I?

These videos are so addictive that they are cracking the very foundation of human civilization. The endless barrage of these tiny films erodes the circuitry in our prefrontal cortex that normally enable us to focus for long periods of time and compose Petrarchan sonnets to our loved ones. These videos evade the true complexity of life. They provide us with easy resolutions. They flatter us, rather than forcing us to ask tough questions about ourselves or our political system. We become zombies as the reward centers of the brain explode like fireworks, leaving us helpless victims for mind-controlling masters. Is it any wonder that the rise of these videos to global domination correlates perfectly with the rise of Kim Kardashian? What else could possible account for this coincidence?

Therefore we must take immediate steps to ban TED talks.

****

Inside the Atavist: A conversation with Evan Ratliff

Posted by Carl Zimmer

The Atavist is no stranger to this site. In fact, we've set up a category for the ebooks that come from this innovative ebook publisher. Yesterday, The New York Times's David Carr broke the news that it has gotten $1.5 million in seed money from some of the biggest names in technology, such as Eric Schmidt of Google. So this afternoon I Skyped Evan Ratliff, the chief executive of the Atavist, to talk about how they do what they do, why they end up publishing so much science, and what lies in the future for their operation. I recorded our Skype conversation on a Macbook that's really only good these days as a walkway tile. But for some reason the video file turned out to be fairly viewable, and the audio very audible (I think an office dog chimes in late in the conversation). So I've uploaded it to YouTube and embedded it below. I've posted the audio below, too.

If you're fonder of the written word (which would make eminent sense for people who come to this site), I can give you the lowdown. Ratliff comes to the Atavist as a seasoned journalist, writing mostly about technology and science. Like many journalists, he loved writing long pieces but struggled to find many opportunities to write them. He then had something of an epiphany while working on a story for Wired for which he vanished and dared readers to find him. He took a lot of video while on the run, which he wished he could have used somehow. And he also did a lot of promotion for the story on television, which got him thinking about what it would be like to get a royalty every time someone read his article.

As Ratliff describes it, he groused about it until his friend Nicholas Thompson, then at Wired and now at newyorker.com, suggested they do something about it. So they co-founded a company to publish long-form nonfiction augmented with video, audio, maps, timelines, and other features.

The Atavist and a few other publishers have recognized the value of stories that used to fall between the cracks. Magazines may put a ceiling on stories at 5,000 words, while book publishers may set a floor at 50,000 words. But that doesn't mean that a 20,000-word story is, by definition, a bad story. In fact, it can be quite compelling. Making a place like the Atavist work also requires good taste and an ability to see the potential for a story where other editors might see a wall of boredom. Some of the Atavist's most successful stories started out in life as magazine stories that were rejected for what, in hindsight, can only be called stupid reasons.

I asked Ratliff to take me through the production of a piece. The pace feels more like a newspaper office than a book publisher. To hit those frantic deadlines, the Atavist depends on its software. Ratliff & Co. can put their text and other elements into the software, and out come files ready for the many venues where they sell their pieces, from Amazon's Kindle Store (straight text only) to their app on the iPhone or iPad, where all the bells and whistles can play at maximum volume.

Science is heavily represented at the Atavist, and it's not just due to the journalistic background of its founders. Science often benefits from great illustrations, and video--when used judiciously--is the best illustration of all. Science also does well at length--there's room to tell a great narrative and weave in the concepts that the scientists in the story are exploring.

As Ratliff explained in our talk, the software has shown great value of its own. The Atavist has licensed it out to conventional publishers and other companies, and this summer they're going to roll out a public version anyone can use to self-publish their own books. The Atavist is also going to offer a marketplace that may resemble a kind of literary Etsy. As I mentioned in our talk, Etsy doesn't market its own clothes. Ratliff admitted that was a tricky canyon for the Atavist to navigate. But he feels it's worth the trip, because he's become a strong believer in people getting hold of tools to make interesting stories.

I expect some of those stories will make their way over here.

Audio:

Video:

Carl Zimmer writes frequently about science for the New York Times and is the author of 13 books, including A Planet of Viruses

How a locked-in woman took control of a robot arm

The Electric Mind written by Jessica Benko. The Atavist, 2012. Kindle Singles, The Atavist app , iBooks, and other outlets via The Atavist website.

Reviewed by Ed Yong

Throughout the history of neuroscience, we have gained an inordinate amount of knowledge by studying people with severe brain damage, and watching how they manage to live. HM’s surgically altered brain revealed secrets about how memories are formed – after his death, he was revealed to be an American man called Henry Molaison. KC, a Canadian man whose real name is still unknown, also taught us much about how memory works, following brain damage sustained during a motorcycle accident. SM, a woman with an inherited brain disease, reportedly feels no fear.

These patients are known by abbreviations that preserve their anonymity, but also shroud their contributions. Their hopes, struggles and lives are condensed into patterns of injury and aberrant behaviours, and distilled into pairs of letters. But sometimes, very rarely, we get a privileged opportunity – a chance to unpack the people behind the letters, and to learn not just how they became a part of science, but how science became a part of them.

Jessica Benko’s new story, The Electric Mind, provides just such an insight. It is the latest in an increasingly strong portfolio of stories from The Atavist, a digital publisher that produces stories “longer than typical magazine articles but shorter than books”.

The Electric Mind is the story of Cathy Hutchinson, a woman known in the scientific literature as S3. She’s a mother-of-two who was “always goofing around and singing and dancing”, until a stroke disconnected her brain from her spinal column and left her with an active mind imprisoned in a frozen frame.

For several years, Cathy has been taking part in a groundbreaking experiment called BrainGate – not a sordid cerebral scandal, but a bold project that aims to give paralysed people control over mechanical limbs. The scientists behind the project fitted Cathy with microscopic electrodes that read the neural buzz within her motor cortex – the area of her brain that controls movements. The implant acts like an electronic spine that links Cathy’s brain to a computer or robot, bypassing her own immobilised flesh.

At first, she used the electrodes to control the movements of an on-screen cursor. More recently, she commandeered a robotic arm. As she thought about grabbing a bottle, the electrodes deciphered her mental commands and the arm carried them out. “For the first time in 14 years—indeed, for the first time for any quadriplegic—Cathy was able to reach out into the world.”

The project’s crowning results are published today in the journal Nature, concurrently with the launch of Benko’s story. The paper itself preserves Cathy’s anonymity, and describes her in the starkest of terms. She’s “a 58-year-old woman with tetraplegia caused by brainstem stroke… She is unable to speak (anarthria) and has no functional use of her limbs. She has occasional bilateral or asymmetric flexor spasm movements of the arms that are intermittently initiated by any imagined or actual attempt to move. S3’s sensory pathways remain intact.”

The reality behind these cold, precise words comes through in Benko’s skilful narration. Right from the start, she plunges us into Cathy’s world, as she wakes from a coma to hear the sound of the ventilator beside her bed.

We get to know Cathy through Benko’s eyes, as she tracks down the woman via her son, and meets her for the first time. First-person accounts can break the fourth wall to a distracting extent, and many journalists would balk at inserting themselves so prominently into a story. But Benko earns her place as a protagonist in her own tale, in a way that reminds me of Rebecca Skloot’s The Immortal Life of Henrietta Lacks. The author’s quest becomes an inextricable part of the story itself. Through Benko’s expectations of meeting Cathy, her descriptions of their first meetings, and her difficulties in interviewing a woman who can only communicate via eye-flickers, we learn the extent of Cathy’s disability, and the frustrating complexity of seemingly simple tasks.

Writing about extreme disability (and attempts to overcome it) is not easy. You’re always an adjective away from being mawkish, and an adverb away from being ghoulish. Benko deftly negotiates the tightrope. She cleverly uses essays from other locked-in patients to describe hardships that would sound overwritten from her own hand. And she’s a master of keenly observed but simply delivered prose. When Cathy laughs, for example, it’s “a short burst of air that vibrated across vocal cords she can’t voluntarily control.” No embellishments required. These scenes throw their own punches. Benko just puts you in the ring.

Benko’s eye for detail also elevates her descriptions of experiments that have been reported again and again in the press. We see what Cathy’s nursing home room is like. We learn that the electrodes were fired onto her brain with “a pneumatic device like a tiny air hammer”. We discover that the bottle that Cathy lifted via robot was a thermos full of coffee (she loves coffee), “emblazoned with the initials and insignias of the research team and sponsors”. She finds drama in minutiae. While other reporters rush straight for a snare-drum crash of incredible implications, Benko takes her time with scenes that build to a steady crescendo.

Using Cathy’s story as an anchor, The Electric Mind stretches back in time to look at the historical events that preceded BrainGate (including a horse accident and suspected psychic powers). The story also pulls outwards at other means of reaching the same ends, such as functional electrical stimulation, where electrodes stimulate a patient’s own muscles instead of a robotic limb.

These sections, where we leave Cathy and focus on the field at large, are arguably the weakest elements of the story. Around the two-thirds mark, the tale threatens to veer off course. From rich details about a woman steering a robot arm with difficulty, we’re suddenly plunged into hand-waving speculation about infrared vision, Avatar-like… well…. avatars, and telepathic soldiers (and the irony of reading a journalist’s words about electronic telepathy on a handheld device was not lost on me).

But then, in a rather daring move, it becomes clear that this was exactly the point (keep an eye out for the start of Chapter Seven). All the other characters not involved in BrainGate, from Nicolelis to a ridiculously breathless DARPA spokesperson, serve as foils for Cathy. Their visions are too far removed from the reality of her condition. They remind us about what The Electric Mind could easily have been – a story of technological triumph and glorious futurism. Instead, Benko has treated us to something far better – a story of extreme limitations and what happens when people (and science) run up against them.

*****

Ed Yong is a British science writer who writes the award-winning blog Not Exactly Rocket Science. His work has appeared in Nature, New Scientist, the BBC, the Guardian, the Times, Wired UK, Discover, CNN, Slate, the Daily Telegraph, the Economist and more. He lives in London with his wife. He has never been impregnated by a botfly but he does rather like ants.

Have I Got A Moon Rock For You...

The Case of the Missing Moon Rocks, written and illustrated by Joe Kloc. The Atavist, 2012 (Atavist app for iPhone or iPad,/Kindle/Nook/iBook/Kobo)

The sheer noise and spray of rhetorical fæces produced by the swarms of pygmy wretches infecting the U.S. political system these days makes it hard, sometimes, to reconstruct the full metal weirdness of the state of the nation way back when.  That would have been my teen years, in the ‘70s, that time when those of us who aspired to the writing life had to buy our slates and no. 2 chisels directly from actual carbon-based life forms.  We did so while watching the triumph and collapse of the King Rat of crazed, feral politicians, the 37^th of his office, our own unindicted co-conspirator, Richard Milhouse Nixon.  (Cue this number.)

It’s truly hard to convey just how evil, absurd, and oddly grand Nixon was to those who have only experienced the banal corruptions and miseries of the current scene, but the trademark Nixonian mix of paranoia, calculation, and genuine aspiration to statesmanship produced public theater the likes of which I do not think we’ll see again in my lifetime.  Just how odd?  Well, to get a taste, just a hint of the nooks and crannies of history into which even Tricky Dickie’s most trivial by-blows could lead, check out Joe Kloc’s tale of one man’s pursuit of what might be termed Nixon’s moon-struck folly.