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  • A Look Back at Julia Sneden’s Review of The Emperor of All Maladies

    We repeat Julia’s 2011 review as this coming week the Ken Burns televised series based on the Dr. Siddhartha Mulherjee book is being presented on PBS:  Mukherjee portrait“Cancer: The Emperor of All Maladies tells the complete story of cancer, from its first description in an ancient Egyptian scroll to the gleaming laboratories of modern research institutions. At six hours, the film interweaves a sweeping historical narrative; with intimate stories about contemporary patients; and an investigation into the latest scientific breakthroughs that may have brought us, at long last, to the brink of lasting cures.”

     Emperor of All Maladies

     by Siddhartha Mukherjee, ©2010

    Published by Scribner Division of Simon & Schuster, Paperback: 470 pp

    Reviewed by Julia Sneden; photo © Deborah Feingold

    The author of this Pulitzer Prize-winning book is an  Assistant Professor of Medicine, Department of Medicine and Division of Hematology and Oncology at Columbia University Medical Center.  It is therefore quite stunning to find that Dr. Mukherjee is also a writer of extraordinary talent, who has produced a remarkable book.

    Billed as “A History of Cancer”, the book is all that and a great deal more. Dr. Mukherjee goes well beyond a mere re-telling of the known record of the disease and of mankind’s efforts to control and/or eradicate it. He explains with great clarity just exactly what cancer is, how much we know about it at this point, and possible new directions in which the world of science might proceed to deal with it.

    Not only does Dr. Mukerjee give us facts and history: he also tells us a number of very human stories of the doctors and scientists and researchers who have struggled to define and explain and treat the disease, as well as stories of patients who have battled cancer. Some of the latter are stories of survivors; some are of those who lost the fight. Oncologists have learned, and continued to learn, from both.

    Cancer is defined as “a clonal disease,” i.e. a disease of limitless, uncontrolled cell division, an entity that keeps growing “… cell and cell and cell ad infinitum.” In each generation of its cells, a few of the clones are slightly different from their parent cells, so that when a drug or immune system attacks and kills the parent cells, a few mutant cells can resist the “cure” and continue to grow, a true example, as Dr. Mukerjee says, of “survival of the fittest.”

    The doctor describes cancer as “a distorted version of our normal selves,” i.e. an enemy that is a perversion of what makes the human body able to grow and resist and repair itself during its lifetime. Cancer, however, is in a sense immortal where we are not. Given the proper conditions in a laboratory, cancer cells can live on, reproducing indefinitely long after their host body (a person) is dead.

    The first recorded description of cancer comes from Egypt, in a text written in 2500 BC. It describes “a bulging tumor in the breast,” with the further note that there is no treatment for it. In medieval times, cancer treatment was surgical, without anesthesia or sanitary conditions, and with appalling after-care that included “caustics, fire, and leather bindings.” By the 1800’s, anesthesia accompanied the surgeries, but those radical surgeries were extremely aggressive and extensive, with what we today would call dismal results which included massive disfigurement, as well as less-than-impressive statistics for longevity.

    From the earliest times, doctors have searched for the cause of cancer, and some of them realized early-on that what we now call carcinogens were involved. As early as the 1700’s, a doctor in England made the connection between a high rate of scrotal cancer in young boys who served as chimney sweeps, and the soot they encountered. The children were lowered, often naked and greased well, into chimneys to sweep down the soot, and their incidence of cancer was, as we say today, off the charts.

    Near the end of the 1700’s, another British doctor noted a high level of cancer of the throat, lips, tongue and esophagus among people who used tobacco, be it pipe, cigarettes, or snuff. Dr. Mukhergee notes the unpopularity of this view, led by the entire business end of the tobacco industry, long before modern times.

    In the early 1900’s, however, a virologist announced that he had found a cancer gene infected with a virus, and for many years, researchers chased this viral chimera. An anti-viral drug was developed, and it seemed to work for some leukemic patients. Only quite recently has that theorem been adjusted, a matter of observing and charting the chromosomes and genes that is far too complicated to explain in this space, but I assure you, Dr. Mukherjee makes it very easy to understand.

    During the last century, a crusade to involve the government in finding a cancer cure was led by cancer researchers and prominent socialites and politicians. Under President Nixon, ‘The War On Cancer’ was launched with much fanfare. Unfortunately, that war has proven a great deal more difficult to win than our other wars. The search for some sort of vaccine for all types of cancer has been fruitless, and looking for a cure before learning about the nature of the beast itself has led science down many dead-end alleys.

  • Catching Up on Your Fashion Education, Ladies: Revolutionary 3D Printing Technology

    Editor’s NoteI’ve been interested, on the sidelines, in 3 D printing. I’ve viewed minimal, less-than-instructional news reports, wondering what I’d like to tackle myself if I got hold of one of these wonder machines.  Think back to the dress made by Iris van Herpen’s spring for her 2015 show in Paris we’re illustrating this post with below. Think about those shoes you could design and make rather than mortgaging your future on a store-bought version. But now it seems that there are more complex and ever-improving machines being devised in startups, garages a-la-Hewlett-Packard, and the proverbial kitchen table.  

    Iris Van Herpen dress

    Photo: 3d Systems worked on this almost-transparent ice-like dress on view for a 2015 fashion show of Iris van Herpen’s.

     

      A 3D printing technology developed by Silicon Valley startup, Carbon3D Inc., enables objects to rise from a liquid media continuously rather than being built layer by layer as they have been for the past 25 years, representing a fundamentally new approach to 3D printing. The technology, appearing as the cover article in the March 20 print issue of Science, allows ready-to-use products to be made 25 to 100 times faster than other methods and creates previously un-achievable geometries that open opportunities for innovation not only in health care and medicine, but also in other major industries such as automotive and aviation.

    Joseph M. DeSimone, professor of chemistry at UNC-Chapel Hill and of chemical engineering at N.C. State, is currently CEO of Carbon3D where he co-invented the method with colleagues Alex Ermoshkin, chief technology officer at Carbon 3D and Edward T. Samulski, also professor of chemistry at UNC. Currently on sabbatical from the University, DeSimone has focused on bringing the technology to market, while also creating new opportunities for graduate students to use the technique for research in materials science and drug delivery at UNC and NCSU.

  • Ferida’s Wolff’s Back Yard: Do Robins Herald Spring? Squirrel on the Roof; Winter and Baking

    Do Robins Herald Spring? 

    Ferida's robin
    the robins are here
    redbreasts hopping on brown grass
    prompting thoughts of spring
     

    Recently we officially welcomed Spring. Hard to believe when today’s temperature is in the  low 40s and tomorrow it will be hovering around freezing again. 

    But there are signs all around to bring our thoughts to warmer times. Daffodils are rising green and confident despite the weather predictions. Soon there will be bright, yellow flowers cheering up the barren garden. The lilac bushes are putting out tiny, cautious buds that will become fragrant purple blossoms. Geese are heading north in noisy flocks. And there are robins bounding over grass that is still recovering from being packed down with snow, finding worms and renewing expectations of the next season

    Robins are credited with heralding Spring. Is that true? Well, some do migrate and return as winter starts to let go but many stay in their breeding grounds. They may be huddled in more wooded areas where there is more protection so they are less noticeable; it all depends on the availability of food. Our affection for the robin as herald remains in tact, however, and why not? Robin-spotting is a way for us to anticipate the more amiable season. 

    In the midst of Winter it is always easy to pine for Spring but then we often ache for Summer and its swimming weather only to welcome Autumn for the heat-relief it brings. Then Winter calls to skiers, sledders, and everyone for holiday fun. The year’s variety, while it can be challenging, is emotionally bracing. It adds variety to our days and a sense of movement to our lives; almost like a well-written novel, it keeps us intrigued about what will happen next.

    For the most part I like the change of seasons. And when I see the robins, even if they have been here all along, just out of my sight, my energy shifts into a lighter space. It’s time to expand, to plant, to come out of the house and greet the world that, like me, is ready to be new and refreshed. The first robin we see is a reminder of all of that.

    Robin myths and reality:

    http://tailsofbirding.blogspot.com/2008/03/robin-is-not-sign-of-spring.html

    More about robins:

    http://www.allaboutbirds.org/guide/American_Robin/lifehistory

     

    Squirrel on the Roofsquirrel on the roof

    It was a busy morning, in my head, anyway. I was wondering what to do first — go food shopping or work on the article I was writing or go to the library to return and replenish books or get a jump on house cleaning or bring stuff to the cleaners or … well, that was the kind of day it started out as. Food shopping won and I was on my way to the car when I saw a squirrel on the roof of the house. He/she was looking down at something. Then he looked up. Then turned toward me but didn’t scoot down as I expected he would. It seemed that he was just staring into space.

    I sat in my car watching him for a while before I went on my errand. Was that squirrel going through a similar conundrum about what to do today or did he have something particular in mind? I know squirrels are smart. I have seen them figure out ways to get onto the bird feeders regardless of the obstacles we put in their way. A study of gray squirrels from the University of Exeter shows that they learn from observation, particularly if it relates to finding food. Was this one planning its next meal? Well, so was I.

    I drove off to the market but I didn’t forget about that squirrel. We are learning so much about how animals think. Humans may be verbal but we are not exclusive to intelligence. Each species has its own way of interpreting information, especially about feeding, mating, and survival. It makes me look at other creatures with a less jaundiced eye. We all have to contend with the circumstances of life and we all need smarts to do it. Perhaps focus is the key. When I returned home the squirrel was gone. I had no doubt that he made a wise decision from the perspective on the roof.

    University of Exeter study: 

    http://www.sciencedaily.com/releases/2009/07/090728102303.htm

    A fascinating study on animal intelligence by Virginia Morrell:

    http://ngm.nationalgeographic.com/2008/03/animal-minds/virginia-morell-textb

  • Hatched, Matched, Dispatched – and Patched! One of Three Exhibits to See at the American Museum

     American Museum in Bath

    Hatched, Matched, Dispatched – & Patched!  This major exhibition, exploring how textiles are interwoven with the stories of people’s lives opened at the American Museum in Britain. The exhibition runs until 1 November 2015.

    This exhibition brings together extraordinary textile treasures that commemorate family milestones — births, marriages, and deaths.  It features historic quilts as well as exquisite costumes and other treasures, many of which have been passed down from one generation to the next. In an era of disposable fashion and memories that fade on social media, it is wonderful to hear the stories behind carefully crafted pieces that have been cherished and conserved. The objects are intrinsically beautiful, but the human-interest stories behind the beautifully worked pieces really bring them to life. Curator Kate Hebert says that she has been enormously moved by some of these stories: ‘the personal and sentimental connections, the stories of individuals that are linked with these objects, are what I have found so moving.’

    Stitched memories on display include finely detailed quilts made in response to a birth, marriage, or death – drawn from the American Museum’s own remarkable collection or on loan from exhibition partners including the Beamish Museum, Jersey Museum and Art Gallery, the Quilters’ Guild, and the Jen Jones Collection.

    The exhibition also focuses on what was traditionally worn to mark these important family milestones.  Mourning garments, heavily beaded with jet, contrast with delicate bridal gowns originating from the nineteenth and twentieth centuries, as well as christening robes crafted from cascades of handmade broderie anglaise lace.  The exhibition includes the wedding dress worn in 1887 by Agnes Lucy Hughes, the first mother-in-law of Wallis Simpson – the American socialite who almost brought down the British monarchy.Quilt

    A Whole Cloth Cot quilt, dating from 1700-10 (Quilters Guild, right) is the earliest piece on display in the exhibition and is densely quilted by hand. The designs on the quilt include a mermaid and merman, a sailing ship, a castle, and several exotic animals including a lion and a camel. Other memorable pieces include the Welcome Little Stranger Pincushion, dating from 1821, the Daffodil Dress embroidered for a bride-to-be’s trousseau (which was never worn because she tragically died on a trip to Europe prior to her wedding date), and Welsh quilted burial skirts from the late nineteenth century (such clothing is rare because it is usually buried). A tablecloth embroidered with the names of colleagues and friends of an American soldier who took part in the D-Day landings is incomplete. His British fiancée stopped embroidering the cloth when she heard he had been killed in action.  The stitched decoration remains unfinished, the needle still in the cloth.

    The exhibition coincides with a resurgence of interest in sewing fuelled by the BBC TV programme The Great British Sewing Bee, now into its third series, whose judge, Patrick Grant, said ‘there’s a natural desire to work with our hands … we simply love making stuff’. In 2014, 393,114 sewing machines were purchased in the United Kingdom and a number of specialist craft magazines have been spawned on the back of this trend including Heirloom Patchwork & Quilting, which focuses specifically on heritage projects to sew and cherish.

  • Iranian Artist Monir Shahroudy Farmanfarmaian’s Mirror Sculptures: Infinite Possibilities

    Monir

    Until June 3, 2015, the Solomon R. Guggenheim Museum is presenting the first comprehensive exhibition in the United States of the celebrated Iranian artist Monir Shahroudy Farmanfarmaian (b. 1924). In recognition of a lengthy career, Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings 1974–2014 focuses on the faceted mirror sculptures and corresponding geometric drawings Monir has produced over the past forty years. The majority of the selected works in this exhibition are from the artist’s own collection, and many have never been shown to the public.

    Monir’s rich body of work references Persian architectural and decorative tradition, the mathematical basis of geometric forms in Islamic pattern, and Sufi cosmology. When considered along with the Guggenheim’s historical commitment to abstraction and internationalism, the exhibition offers a timely opportunity to examine Monir’s rich body of work in its own right and as part of an increasingly transnational perspective on artistic production and its reception.

    Untitled, 1980, felt-tip pen and colored pencil on paper, 63 x 44.5 cm. Collection of the artist © Monir Shahroudy Farmanfarmaian. Photo: Courtesy of the artist

    Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings 1974–2014  is organized by the Serralves Museum of Contemporary Art, Porto, Portugal, where it was on view in fall 2014 before traveling to New York. The exhibition is curated by Suzanne Cotter, Director, Serralves Museum, and former Curator, Abu Dhabi Project, Solomon R. Guggenheim Foundation, with assistance from Karole Vail, Associate Curator, at the Guggenheim, for its New York presentation.

    Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings 1974–2014 includes early wood, plaster, and mirror reliefs, a series of large-scale geometric mirror sculptures, and an impressive body of works on paper, focusing on a sculptural and graphic oeuvre developed over a period of more than forty years. The presentation reveals how the compositional principles used by the artist during this period were translated into large-scale commissions, including a series of etched glass doors created for a New York townhouse in the early 1980s.

    A selection of previously unseen abstract works on paper produced between 1974 and 2014 reveals the central role of drawing as a conceptual foundation for Monir’s sculptural practice. The artist’s ambitious mirror sculptures, known as ‘geometric families,’ which she produced in the last decade since reinstating her studio in Tehran, will also be on view. Monir’s prolific body of work is characterized by the merging of visual and spatial experience and a distinctive approach to abstraction, coupled with the aesthetic tradition of Islamic architecture and decoration, allowing for, in the artist’s own words, “infinite possibility.”

    Born in Qazvin, Iran, in 1924, Monir attended the Fine Arts College of Tehran before moving to New York in 1945, where she studied at Cornell University and at Parsons School of Design and worked as a freelance illustrator for Vogue and as a graphic designer. These formative years in New York served as a sort of apprenticeship for Monir, who spent time alongside fellow artists Milton Avery, Willem de Kooning, Joan Mitchell, Louise Nevelson, Barnett Newman, and later Andy Warhol, among others.

  • Irresistible: Search For Extraterrestrial Intelligence Extends to New Realms

    By Susan Brown

    Astronomers have expanded the search for extraterrestrial intelligence into a new realm with detectors tuned to infrared light. Their new instrument has just begun to scour the sky for messages from other worlds.

    NIROSETI team

    The NIROSETI team with their new infrared detector inside the dome at Lick Observatory. L to R: Remington Stone, Dan Wertheimer, Jérome Maire, Shelley Wright, Patrick Dorval, Richard Treffers. Photos by © Laurie Hatch

    “Infrared light would be an excellent means of interstellar communication,” said Shelley Wright, an Assistant Professor of Physics at the University of California, San Diego who led the development of the new instrument while at the University of Toronto’s Dunlap Institute for Astronomy & Astrophysics.

    Pulses from a powerful infrared laser could outshine a star, if only for a billionth of a second. Interstellar gas and dust is almost transparent to near infrared, so these signals can be seen from greater distances. It also takes less energy to send the same amount of information using infrared signals than it would with visible light.

    The idea dates back decades, Wright pointed out. Charles Townes, the late UC Berkeley scientist whose contributions to the development of lasers led to a Nobel Prize, suggested the idea in a paper published in 1961.

    Scientists have searched the heavens for radio signals for more than 50 years and expanded their search to the optical realm more than a decade ago. But instruments capable of capturing pulses of infrared light have only recently become available.

    “We had to wait,” Wright said, for technology to catch up. “I spent eight years waiting and watching as new technology emerged.”

    Three years ago while at the Dunlap Institute, Wright purchased newly available detectors and tested them to see if they worked well enough to deploy to a telescope. She found that they did. Jérome Maire, a Fellow at the Dunlap, “turned the screws,” Wright said, playing a key role in the hands-on effort to develop the new instrument, called NIROSETI for near-infrared optical SETI.

    NIROSETI will also gather more information than previous optical detectors by recording levels of light over time so that patterns can be analyzed to for potential signs of other civilizations, a record that could be revisited as new ideas about what signals extraterrestrials might send emerge.

    Because infrared light penetrates farther through gas and dust than visible light, this new search will extend to stars thousands rather than merely hundreds of light years away. And the success of the Kepler Mission, which has found habitable planets orbiting stars both like and unlike our own, has prompted the new search to look for signals from a wider variety of stars.

    NIROSETI has been installed at the University of California’s Lick Observatory on Mt. Hamilton east of San Jose and saw first light on March 15.

    Photo: Skies cleared for a successful first night for NIROSETI at Lick Observatory

    Skies cleared for a successful first night for NIROSETI at Lick Observatory. The ghost image is Shelley Wright, pausing for a moment during this long exposure as the rest of her team continued to test the new instrument inside the dome.

  • Interior Department Issues Final Rule to Support Hydraulic Fracturing Activities on Public and Tribal Lands

    Following a robust and transparent public process that included more than 1.5 million public comments, Secretary of the Interior Sally Jewell* today released final standards** that will support safe and responsible hydraulic fracturing on public and American Indian lands. The commonsense standards will improve safety and help protect groundwater by updating requirements for well-bore integrity, wastewater disposal and public disclosure of chemicals.Sally Jewell

    There are more than 100,000 oil and gas wells on federally managed lands. Of wells currently being drilled, over 90 percent use hydraulic fracturing. The rule applies only to development on public and tribal lands and includes a process so that states and tribes may request variances from provisions for which they have an equal or more protective regulation in place. This will avoid duplication while enabling the development of more protective standards by state and tribal governments. Today’s final rule is a major step in the Department of the Interior’s agenda to support a balanced, prosperous energy future. Other reforms will also include important measures to target where oil and gas leasing occurs and protect sensitive areas that are too special to drill.

    Secretary of the US Interior Department, Sally Jewell

    “Current federal well-drilling regulations are more than 30 years old and they simply have not kept pace with the technical complexities of today’s hydraulic fracturing operations,” Secretary Jewell said. “This updated and strengthened rule provides a framework of safeguards and disclosure protocols that will allow for the continued responsible development of our federal oil and gas resources. As we continue to offer millions of acres of public lands for conventional and renewable energy production, it is absolutely critical the public have confidence that transparent and effective safety and environmental protections are in place.”

    Key components of the rule, which will take effect in 90 days include:  

    • Provisions for ensuring the protection of groundwater supplies by requiring a validation of well integrity and strong cement barriers between the wellbore and water zones through which the wellbore passes;
    • Increased transparency by requiring companies to publicly disclose chemicals used in hydraulic fracturing to the Bureau of Land Management through the website FracFocus, within 30 days of completing fracturing operations;
    • Higher standards for interim storage of recovered waste fluids from hydraulic fracturing to mitigate risks to air, water and wildlife;
    • Measures to lower the risk of cross-well contamination with chemicals and fluids used in the fracturing operation, by requiring companies to submit more detailed information on the geology, depth, and location of preexisting wells to afford the BLM an opportunity to better evaluate and manage unique site characteristics.

    “This rule will protect public health and the environment during and after hydraulic fracturing operations at a modest cost while both respecting the work previously done by the industry, the states and the tribes and promoting the adoption of more protective standards across the country,” said Assistant Secretary for Land and Minerals Management Janice Schneider. “It will be implemented in the most efficient way possible to avoid duplication or unnecessary activities by industry, other regulators, or BLM staff. We know how important it is to get this right.”

    The new rule is the culmination of four years of extensive public involvement to bring onshore oil and gas drilling regulations into the 21st century. The BLM published both a draft rule and a supplemental draft rule, held regional forums and numerous stakeholder meetings on the proposal and reviewed more than 1.5 million public comments. (Below, illustration of hydraulic fracturing and related activities: EPAillustration of hydraulic fracturing

  • Dante in the City: Where Have All the Yellow Mustard, Orange Poppies and Blue Lupine Gone?

    Anemones San Simeon Park

    Green anemones with black tegulas, North Moonstone beach near Cambria, California;  tidepool at -1.3 low tide. January 2015 by Peter D. Tillman. Wikimedia Commons 

    by Julia Sneden

    Most of the towns along the San Francisco peninsula are lined up along a north/south road called El Camino Real (The King’s Highway), which runs the length of California as US Highway 101. When I was very young, open fields or orchards separated those towns from one another. Driving by in the springtime, you could look between the trees down long rows filled with bright green grass and yellow mustard and orange poppies and blue lupine, all spread out under the pink or white blossoms of the trees above. It was a lovely sight. By the time you got close to San Jose, there were only orchards for miles and miles on each side of the city.

    Then World War II came along, and California’s population boomed as people came west to work in the shipyards and the defense industry.  After the war, they not only stayed: they also invited their relatives to come out and enjoy the good weather, and the relatives stayed, too. Rather quickly, El Camino became one long strip of auto repair shops, hotdog stands, small businesses, factories, warehouses, etc.

    By the time I left for college in the mid-’50’s, the roadside views down the long rows between fruit trees had all but disappeared, and the urban sprawl that is now The Bay Area and Silicon Valley had taken over.

    When I moved to North Carolina in the late 60’s, I was delighted to see that the towns were still largely self-contained, separated by open countryside or small farms. As the population grew, however, those towns soon faced the kind of urban sprawl that California had seen. Surely, I thought, people have observed and learned a lesson from the large urban areas in the northeast and far west — but no, our small cities have replicated the poor planning and nutty zoning that have allowed the destruction of roadside beauty all over the country. We’re right up there with the big guys. The roads that lead into our towns and cities are lined with fast-food joints and factories and car dealerships and shopping centers, so that reaching the center of town seems to take f-o-r-e-v-e-r.

    Worse yet, when you get to the center of the town, there’s often no there there. In far too many cities, stores and office buildings are shabby and deserted. Where has commerce gone? The answer is that commerce hasn’t gone; it’s in a state of flux as it moves farther and farther out of town. Radiating out from the edges of the city, like the circles of hell in Dante’s Inferno, are shopping centers in various stages of desertion, decay, full service, or a-building.

    The big towns and cities speak bravely of revitalizing their downtown areas. Commissions and committees of local citizens are appointed to consult about the problem. Sometimes outside experts are hired. All too often they come up with plans that fail or simply are never implemented.

    Perhaps there’s a simple answer for why they fail. The word is greed. Americans are stuck in the pioneering frame of mind that tells us we have a right to the land: a right to seize it, to own it and to do with it as we like.

  • Assisted Reproduction: “The United States is the Wild West of the fertility industry”

     

    Allegory of Fertility

    Allegory of Fertility by Flemish painter Jacob Jordaens; pen and ink on paper. Royal Museums of Fine Arts of Belgium, (1618 – 1628)

    By Michael Ollove, Stateline

    The Utah Legislature took a step last week into territory where state lawmakers rarely tread.

    It passed a law giving children conceived via sperm donation access to the medical histories of their biological fathers. The law itself stirred no controversy. The oddity was that the legislature ventured into the area of “assisted reproduction” at all.

    Assisted reproductive technology (ART) helps infertile couples to conceive. Compared to many other industrialized nations, neither the US nor state governments do much to oversee the multibillion-dollar industry.

    “The United States is the Wild West of the fertility industry,” Marcy Darnovsky, executive director of the Center for Genetics and Society said, echoing a description used by many critics of the regulatory environment surrounding ART.

    The federal government requires laboratories engaged in assisted reproduction to be certified by organizations, such as the American College of Pathologists, and to report certain data to the Centers for Disease Control and Prevention (CDC). (One exception to minimal federal intervention: President George W. Bush’s ban in 2001 on the use of newly created embryonic stem cell lines in research.)

    States are split about whether surrogacy contracts, usually between prospective parents and an egg donor, are permissible. But other aspects of ART are simply unaddressed by the states. For example, states don’t regulate how many children may be conceived from one donor, what types of medical information or updates must be supplied by donors, what genetic tests may be performed on embryos, how many fertilized eggs may be placed in a woman or how old a donor can be.

    Lawmakers are wary of touching assisted reproduction, Darnovsky said, because of the incendiary politics that surround the issue of abortion, which touches on conception and embryos.

    In terms of the number of people involved, the issue is significant. The CDC reports that about 12 percent of women of childbearing age have used infertility services and that 1.5 percent of all infants born in the US are conceived using ART.

    The first infant conceived through ART in the U.S. was born in 1981. Since then, assisted reproduction has experienced enormous growth. The CDC reports that in 2012, more than 65,000 live births in the U.S. resulted from ART, which generally refers to fertility treatments in which either eggs or embryos are handled. That number does not include artificial insemination, which experts believe results in far more births.

    Other countries, such as Canada, the United Kingdom, Sweden, Germany and Australia, heavily regulate many aspects of reproductive technology. Many scholars, as well as some who have been through the assisted reproduction process in the US, believe this country should do the same.

  • Wolf Hall and Bring Up the Bodies on Masterpiece: Thomas Cromwell, A Wholly Original Man, A Charmer and A Bully

    Wolf Hall, Sir Thomas Cromwell

    Mark Rylance is Thomas Cromwell, a brutal blacksmith’s son who rises from the ashes of personal disaster, and deftly picks his way through a court where ‘man is wolf to man.’ 

    England in the 1520s is a heartbeat from disaster. If the king dies without a male heir, the country could be destroyed by civil war. Henry VIII wants to annul his marriage of twenty years and marry Anne Boleyn. The pope and most of Europe oppose him. Into this impasse steps Thomas Cromwell: a wholly original man, a charmer and a bully, both idealist and opportunist, master of deadly intrigue, and implacable in his ambition.

    Winners of the Man Booker Prize and hugely successful stage plays in *London’s West End and on Broadway, Wolf Hall and Bring Up the Bodies bring history to life for a whole new audience having now been adapted into a six-part television series by the BBC and PBS Masterpiece.

    *Editor’s Note: We had read the first novel beginning the second when we visited London last year. Happily, I had stumbled across the theater tickets that took us to the dramatization of the second novel, Bring Up the Bodies. There wasn’t a seat left in the theater. The books are to be enjoyed and consumed slowly, but one has difficulty not roaring through quickly if there’s time and energy on the part of the reader. The acting was admirable but we look forward to a different cast just to note the differences and continue to enjoy the dramatization skills. It’s always enjoyable to watch a ‘new’ Henry, so we won’t complain that Damien Lewis will be replacing Nathaniel Parker on film.

    Tony Award-winning actor Mark Rylance (Twelfth Night) and Emmy® and Golden Globe® Award-winner Damian Lewis (Homeland) star in the six-hour television miniseries adapted from Hilary Mantel’s best-selling Booker Prize-winning novels: Wolf Hall and its sequel, Bring Up the Bodies. The television event presents an intimate and provocative portrait of Thomas Cromwell, the brilliant and enigmatic consigliere to King Henry VIII, as he maneuvers the corridors of power at the Tudor court. Masterpiece brings both of these works to television in Wolf Hall, beginning on Sundays April 5 — May 10, 2015. 

    Mark Rylance is Thomas Cromwell, a brutal blacksmith’s son who rises from the ashes of personal disaster, and deftly picks his way through a court where ‘man is wolf to man.’ Damian Lewis is King Henry VIII, haunted by his brother’s premature death and obsessed with protecting the Tudor dynasty by securing his succession with a male heir to the throne.

    Told from Cromwell’s perspective, Wolf Hall follows the machinations and back room dealings of this accomplished power broker — from humble beginnings and with an enigmatic past — who must serve king and country while dealing with deadly political intrigue, Henry VIII’s tempestuous relationship with Anne Boleyn and the religious upheavals of the Protestant reformation.

    A historical drama for a modern audience, this re-telling lifts the veil on the Tudor middle class and the internal struggles England faced on the brink of Reformation. At the center of it all is Cromwell, navigating the  complexities that accompany the exercise of power, trapped between his desire to do what is right and his instinct to survive.

    The cast also includes Claire Foy (Little Dorrit) as the future queen Anne Boleyn, Bernard Hill (Five Days) as the king’s military commander the Duke of Norfolk, Anton Lesser (Endeavour) as Thomas More, Mark Gatiss (Sherlock) as Cromwell’s rival advisor Stephen Gardiner, Joanne Whalley (The Borgias) as Henry’s spurned first wife, Katherine of Aragon, and Jonathan Pryce (Cranford) as Cardinal Wolsey, the powerful Lord Chancellor who recognized Cromwell’s potential.