Thursday, September 17, 2020

A Brief History of Anorexia Nervosa

             

 

             Il faut manger pour vivre et non pas vivre pour manger.

                     (One should eat to live and not live to eat.)

                                     Moliere (1622 – 1673): L'Avare (The Miser)

 

 

First introduction of the term Anorexia

Sir William Withey Gull (1816 – 1890) first used the term :

“In… 1868, I referred to a peculiar form of disease occurring mostly in young women, and characterized by extreme emaciation…. At present our diagnosis of this affection is negative, so far s determining any positive cause from which it springs…. The subjects…are…chiefly between the ages of sixteen and twenty-three…. My experience supplies at least one instance of a fatal termination…. Death apparently followed from the starvation alone…. The want of appetite is, I believe, due to a morbid mental state…. We might call the state hysterical.”

 

 

Earliest published accounts

Richard Morton (1637-98), a London physician: The Treaty in his book Phthisiologia, or a Treatise of Consumptions, first published in Latin in 1694.

 

Ernest-Charles Lasègue (1816 - 1883), a professor of clinical medicine in Paris: “De l’Anorexie Hysterique” containing descriptions of eight patients.

 

More recent views

Anna Freud  (1958):

Adolescent emotional upheavals are inevitable

Anorexia Nervosa is the outward manifestation of the battle between the ego and eating, with the former struggling for it’s very survival

Bruch (1966): relentless pursuit of thinness

Crisp (1967): weight phobia

Russell (1970 ): a morbid fear of becoming

Crisp (1967 - 1980):

Anorexia nervosa serves to protect the individual from adolescent turmoil.

Anorexia nervosa reflects a phobic avoidance of sexual maturation.

Unsettling effects of sexual maturation at puberty may drive the female adolescent to a pursuit of thinness leading to greater acceptance, self-control and self-esteem.

Anorexia nervosa tends to appear in families with buried, but unresolved, parental conflicts.

 

Palazzoli (1978) on women’s role:

Women are expected to be beautiful, smart and well-groomed.  They are expected to have a career and yet be romantic, tender and sweet.  They are expected to devote a great deal of time to their personal appearance even while competing in business and professions.  In marriage, they are expected to play the part of the ideal wife cum mistress cum mother.

They are expected to put away her hard-earned diplomas to wash nappies and perform other menial chores.  The modern woman is therefore exposed to a terrible social ordeal, and the conflicting demands and dual image of the female body as sex symbol and as commodity.  An adolescent girl may develop feelings of insecurity and alienation toward her changing body.

 

               Some hae(have) meat and cannot eat,

                       Some cannot eat that want it:

                     But we hae meat and we can eat,

                        Sae let the Lord be thankit.

                            Robert Burns (1759 – 1796): The Kirkcudbright Grace

            A Brief History of  Anorexia Nervosa

 

             Il faut manger pour vivre et non pas vivre pour manger.

                     (One should eat to live and not live to eat.)

                                     Moliere (1622 – 1673): L'Avare (The Miser)

 

 

First introduction of the term Anorexia

Sir William Withey Gull (1816 – 1890) first used the term :

“In… 1868, I referred to a peculiar form of disease occurring mostly in young women, and characterized by extreme emaciation…. At present our diagnosis of this affection is negative, so far s determining any positive cause from which it springs…. The subjects…are…chiefly between the ages of sixteen and twenty-three…. My experience supplies at least one instance of a fatal termination…. Death apparently followed from the starvation alone…. The want of appetite is, I believe, due to a morbid mental state…. We might call the state hysterical.”

 

 

Earliest published accounts

Richard Morton (1637-98), a London physician: The Treaty in his book Phthisiologia, or a Treatise of Consumptions, first published in Latin in 1694.

 

Ernest-Charles Lasègue (1816 - 1883), a professor of clinical medicine in Paris: “De l’Anorexie Hysterique” containing descriptions of eight patients.

 

More recent views

Anna Freud  (1958):

Adolescent emotional upheavals are inevitable

Anorexia Nervosa is the outward manifestation of the battle between the ego and eating, with the former struggling for it’s very survival

Bruch (1966): relentless pursuit of thinness

Crisp (1967): weight phobia

Russell (1970 ): a morbid fear of becoming

Crisp (1967 - 1980):

Anorexia nervosa serves to protect the individual from adolescent turmoil.

Anorexia nervosa reflects a phobic avoidance of sexual maturation.

Unsettling effects of sexual maturation at puberty may drive the female adolescent to a pursuit of thinness leading to greater acceptance, self-control and self-esteem.

Anorexia nervosa tends to appear in families with buried, but unresolved, parental conflicts.

 

Palazzoli (1978) on women’s role:

Women are expected to be beautiful, smart and well-groomed.  They are expected to have a career and yet be romantic, tender and sweet.  They are expected to devote a great deal of time to their personal appearance even while competing in business and professions.  In marriage, they are expected to play the part of the ideal wife cum mistress cum mother.

They are expected to put away her hard-earned diplomas to wash nappies and perform other menial chores.  The modern woman is therefore exposed to a terrible social ordeal, and the conflicting demands and dual image of the female body as sex symbol and as commodity.  An adolescent girl may develop feelings of insecurity and alienation toward her changing body.

 

               Some hae(have) meat and cannot eat,

                       Some cannot eat that want it:

                     But we hae meat and we can eat,

                        Sae let the Lord be thankit.

                            Robert Burns (1759 – 1796): The Kirkcudbright Grace

Collection: Leo Kanner



“In 1943 Leo Kanner published a paper that would form the basis of present day understanding of Autistic Spectrum Disorder. He considered five features to be diagnostic. These were: a profound lack of affective contact with other people; an anxiously obsessive desire for the preservation of sameness in the child's routines and environment; a fascination for objects, which are handled with skill in fine motor movements; mutism or a kind of language that does not seem intended for inter-personal communication; good cognitive potential shown in feats of memory or skills on performance tests, especially the Séguin form board . He also emphasized onset from birth or before 30 months.”

 A case extract from Kanner’s original paper

Donald T. was first seen in October, 1938, at the age of 5 years, 1 month. "Eating,......has always been a problem with him. He has never shown a normal appetite. Seeing children eating candy and ice cream has never been a temptation to him."

At the age of 1 year "he could hum and sing many tunes accurately." Before he was 2 years old, he had "an unusual memory for faces and names, knew the names of a great number of houses" in his home town. "He was encouraged by the family in learning and reciting short poems, and even learned the Twenty-third Psalm and twenty-five questions and answers of the Presbyterian Catechism." The parents observed that "he was not learning to ask questions or to answer questions unless they pertained to rhymes or things of this nature, and often then he would ask no question except in single words." His enunciation was clear.

 

He knew the pictures of the presidents "and knew most of the pictures of his ancestors and kinfolks on both sides of the house." He quickly learned the whole alphabet" backward as well as forward" and to count to 100.

It was observed at an early time that he was happiest when left alone, almost never cried to go with his mother, did not seem to notice his father's home-comings, and was indifferent to visiting relatives.

He does not observe the fact that anyone comes or goes, and never seems glad to see father or mother or any playmate. He seems almost to draw into his shell and live within himself.

He seldom comes to anyone when called but has to be picked up and carried or led wherever he ought to go. In his second year, he "developed a mania for spinning blocks and pans and other round objects." At the same time, he had a dislike for self-propelling vehicles, such as Taylor-tots, tricycles, and swings.

He was always constantly happy and busy entertaining himself, but resented being urged to play with certain things. When interfered with, he had temper tantrums, during which he was destructive. He appears to be always thinking and thinking, and to get his attention almost requires one to break down a mental barrier between his inner consciousness and the outside world.

The father, whom Donald resembles physically, is a successful, meticulous, hard-working lawyer who has had two "breakdowns" under strain of work. He always took every ailment seriously, taking to his bed and following doctors' orders punctiliously even for the slightest cold. "When he walks down the street, he is so absorbed in thinking that he sees nothing and nobody and cannot remember anything about the walk." The mother, a college graduate, is a calm, capable woman, to whom her husband feels vastly superior.

When he desired to get down after his nap, he said, "Boo [his word for his mother], say' Don, do you want to get down?' "His mother would comply, and Don would say: "Now say 'All right.' "The mother did, and Don got down.

At mealtime, repeating something that had obviously been said to him often, he said to his mother, "Say 'Eat it or I won't give you tomatoes, but if you don't eat it I will give you tomatoes,' " or "Say 'If you drink to there, I'll laugh and I'll smile.' "And his mother had to conform or else he squealed, cried, and strained every muscle in his neck in tension. This happened all day long about one thing or another

When he wanted his mother to pull his shoe off, he said: "Pull off your shoe." When he wanted a bath, he said: "Do you want a bath?"

The word "yes" for a long time meant that he wanted his father to put him up on his shoulder. This had a definite origin. His father, trying to teach him to say "yes" and "no," once asked him, "Do you want me to put you on my shoulder?" *Don expressed his agreement by repeating the question literally, echolalia-like. His father said, "If you want me to, say 'Yes'; if you don't want me to, say 'No.' "Don said "yes" when asked. But thereafter "yes" came to mean that he desired to be put up on his father's shoulder. He paid no attention to persons around him.

He gave no heed to the presence of other children but went about his favorite pastimes, walking off from the children if they were so bold as to join him. If a child took a toy from him, he passively permitted it.

He was inexhaustible in bringing up variations: "How many days in a week, years in a century, hours in a day, hours in half a day, weeks in a century, centuries in half a millennium," etc., etc.; "How many pints in a gallon, how many gallons to fill four gallons?" Sometimes he asked, "How many hours in a minute, how many days in an hour?" etc.

When asked to subtract 4 from 10, he answered: "I'll draw a hexagon."

The paper is quite a gem and students of child psychiatry are well advised to read it.  Leo Kanner continually questioned the given wisdom of the day; couple that with his keen observation power and curiosity and a natural irreverence to authority, it was only natural that he should have created history by being the first to describe Autism.

 

 

 

 

 

 

 

 

 

                  Leo Kanner--- A Discussion

 

 

 

The following is an abstract taken from the DISCUSSION SECTION of Kanner's original paper. It may be useful to have another look at what Kanner observed all those years ago. Fortunately for us, he had no other motive except for his keen medical curiosity and observational power:

......The outstanding, "pathognomonic," fundamental disorder is the children's inability to relate themselves in the ordinary way to people and situations from the beginning of life. Their parents referred to them as having always been:

self-sufficient

like in a shell

happiest when left alone

acting as if people weren't there

perfectly oblivious to everything about him

giving the impression of silent wisdom

failing to develop the usual amount of social awareness

acting almost as if hypnotized

 

It is therefore highly significant that almost all mothers of our patients recalled their astonishment at the children's failure to assume at any time an anticipatory posture preparatory to being picked up.

Eight of the eleven children acquired the ability to speak either at the usual age/or after some delay. Three (Richard, Herbert, Virginia) have so far remained "mute." In none of the eight "speaking" children has language over a period of years served to convey meaning to others.

Almost all the parents reported, usually with much pride, that the children had learned at an early age to repeat an inordinate number of nursery rhymes, prayers, lists of animals, the roster of presidents, the alphabet forward and backward, even foreign-language (French) lullabies.

Thus, from the start, language—which the children did not use for the purpose of communication—was deflected in a considerable measure to a self-sufficient, semantically and conversationally valueless or grossly distorted memory exercise.

It is difficult to know for certain whether the stuffing as such has contributed essentially to the course of the psychopathological condition. But it is also difficult to imagine that it did not cut deeply into the development of language as a tool for receiving and imparting meaningful messages.

"Yes" is a concept that it takes the children many years to acquire. They are incapable of using it as a general symbol of assent.

The same type of literalness exists also with regard to prepositions. Apparently the meaning of a word becomes inflexible and cannot be used with any but the originally acquired connotation.

Personal pronouns are repeated just as heard, with no change to suit the altered situation.

The repetition "Are you ready for your dessert?" means that the child is ready for his dessert.

The pronominal fixation remains until about the sixth year of life, when the child gradually learns to speak of himself in the first person, and of the individual addressed in the second person. In the transitional period, he sometimes still reverts to the earlier form or at times refers to himself in the third person.

Our patients, reversely, anxious to keep the outside world away, indicated this by the refusal of food. One child had to be tube-fed until 1 year of age. Most of them, after an unsuccessful struggle, constantly interfered with, finally gave up the struggle and of a sudden began eating satisfactorily.

Another intrusion comes from loud noises and moving objects, which are therefore reacted to with horror. Yet it is not the noise or motion itself that is dreaded. The disturbance comes from the noise or motion that intrudes itself, or threatens to intrude itself, upon the child's aloneness.

The child himself can happily make as great a noise as any that he dreads and move objects about to his heart's desire.

There is a marked limitation in the variety of his spontaneous activities. The child's behavior is governed by an anxiously obsessive desire for the maintenance of sameness that nobody but the child himself may disrupt on rare occasions.

Changes of routine, of furniture arrangement, of a pattern, of the order in which everyday acts are carried out, can drive him to despair.

Once blocks, beads, sticks have been put together in a certain way, they are always regrouped in exactly the same way, even though there was no definite design. After the lapse of several days, a multitude of blocks could be rearranged in precisely the same unorganized pattern, with the same color of each block turned up, with each picture or letter on the upper surface of each block facing in the same direction as before.

This insistence on sameness led several of the children to become greatly disturbed upon the sight of-anything broken or incomplete.

A great part of the day was spent in demanding not only the sameness of the wording of a request but also the sameness of the sequence of events.

It was impossible to return from a walk without having covered the same ground as had been covered before.

Objects that do not change their appearance and position, that retain their sameness and never threaten to interfere with the child's aloneness, are readily accepted by the autistic child.

Two patients began in the second year of life to spin everything that could be possibly spun.

The children sensed and exercised the same power over their own bodies by rolling and other rhythmic movements.

Every one of the children, upon entering the doctor’s office, immediately went after blocks, toys, or other objects, without paying the least attention to the persons present.

The father or mother or both may have been away for an hour or a month; at their homecoming, there is no indication that the child has been even aware of their absence.

After many outbursts of frustration, he gradually and reluctantly learns to compromise when he finds no way out, obeys certain orders, complies in matters of daily routine, but always strictly insists on the observance of his rituals.

There is a far better relationship with pictures of people than with people themselves. Pictures, after all, cannot interfere.

The astounding vocabulary of the speaking children, the excellent memory for events of several years before, the phenomenal rote memory for poems and names, and the precise recollection of complex patterns and sequences, bespeak good intelligence in the sense in which this word commonly used.

They all come of highly intelligent families. All but three of the families are represented either in Who's Who in America or in American Men of Science, or in both.

Sunday, August 30, 2020

Glyndebourne Streaming: Die Meistersinger von Nürnberg

 


Glyndebourne opening night: Gerald Finley

    
Die Meistersinger Von Nurnberg, Glyndebourne 2016
CREDIT: TRISTRAM KENTON 
Glyndebourne’s 2016 season got off to a disappointingly damp start. Grey skies drizzled rain on to the gardens, and a middle-aged earthbound account of  Meistersinger’s festive overture suggested that the conductor Michael Güttler (a late substitute for Robin Ticciati, still recovering from a herniated slipped disc) was intent on delivering a long plod through Wagner’s comedy.
But when the drop curtain rose, so did our spirits: Vicki Mortimer’s set beautifully evokes the interior of a German Gothic church, in which the chorus was singing its chorale with a hearty sincerity that would have warmed the heart of Martin Luther.
The sun came out on Güttler’s conducting too, and suddenly there was lift-off – with the London Philharmonic Orchestra playing with a smile on its collective face (a bouquet to its impeccable horn players), the music glowed with shining clarity and Schubertian freshness, reminding us that among many other things, this great work focuses on that crucial moment when youth comes knocking at the door and the older generation must decide how to answer its call.
At the centre of the performance is Gerald Finley’s deeply sympathetic and thoughtful portrayal of the cobbler-poet Hans Sachs. It’s a long and challenging role that he shouldn’t undertake in larger houses: by the end of the evening, he was clearly husbanding his vocal resources, and there were moments earlier when his fortissimo required swelling by another few decibels.
A scene from Die Meistersinger Von Nurnberg by Richard Wagner, Glyndebourne, 2016 
CREDIT: TRISTRAM KENTON 
But the “Flieder” monologue was exquisitely done and every phrase was imbued with an ideal combination of unpretentious eloquence, emotional tenderness and sceptical irascibility. The audience rose to acclaim him at the curtain calls – a tribute, one felt, as much to Sachs’ firm moral stance as to Finley’s artistry.
His antagonist was Jochen Kupfer, a well-schooled German baritone who presented a carefully detailed portrayal of the pedantic town clerk Beckmesser. For my taste, as he effetely primped his hair and pouted disdain at his inferiors, he rather overplayed the note of Julian Clary campness. Yet the idea that the man is a rank outsider was illuminating, and his dignity after his final humiliation was genuinely touching.
The American soprano Amanda Majeski was Eva. Reminiscent of Gundula Janowitz, singing slightly sharp with a choirboy purity and rather insipid in personality, she launched the quintet exquisitely and looked very pretty to boot.
Much more vivid were David Portillo and Hanna Hipp – just about perfection as that most unlikely of operatic couples David and Magdalene (she must be fifteen years older than he is), with the sweet-toned puppyish Portillo managing to enliven even the interminable recital of the Masters’ modes in the first act.
A scene from Die Meistersinger Von Nurnberg by Richard Wagner, Glyndebourne 2016 
CREDIT: TRISTRAM KENTON 
Alastair Miles was a bluff, sturdy Pogner, his fellow masters all strongly characterised. The chorus sounded magnificent both at prayer and in riot, and the only substantial disappointment was Michael Schade, a charmless Walther, kitted out for some reason in the livery of the chocolate soldier and delivering an unlovely, unseductive Prize Song that wouldn’t have got past the first round if I’d been on the panel.
David McVicar has returned to revive his 2011 staging, set in the 1820s, presumably in reference to the period of Wagner’s own childhood. The concept is agreeably decorative, but although we all love the sight of ladies in Empire-line bodices and Jane Austen bonnets, I don’t find that the updating does much to open up Wagner’s profound ideas about the place of art in society or the relation of tradition to inspiration.
True, the staging has been meticulously rehearsed and there is some nicely observed psychology in the third act, particularly in relation to Sachs’ feelings about his dead wife and Eva. But McVicar ‘s ultimate priority is to mount a nice show, complete with some over-choreographed dance sequences, and as so often with this estimably canny and tasteful director, I feel that he’d rather be letting rip commercially in the West End than behaving himself in strait-laced opera houses.

Meistersinger: Glydnebourne

June 23rd, 2016: see you in the gardens!



© 2016 Glyndebourne


This would be a different Wagner.

The dark side of the gods: (it is sometimes easier if one take GODS in the Ring to mean those in POWER. For the characters read here.) In fact, the gods need not work at all, the Nibelungs work almost all the time.


Disrespectful Wotan is hardly revered unanimously, and even he acknowledges higher authorities. Erda knows things he doesn't; his almost bureaucratic dominance derives solely from treaties engraved in runes on his spear, treaties to which he is subservient.

Born liarsCharacters lie as it suits them. Events are initiated by Wotan's spurious promise to the Giants to pay them by giving them Freia in exchange for building Valhalla, a promise he knows he cannot keep, as she is the indispensable symbol of love whose golden apples keep the gods alive. His shady ally, Loge, is defined as a double-dealing trickster. Brünnhilde breaks her promise to her father to allow Siegmund to be killed in combat. Mime makes dissembling a veritable life's work, ably carried forward by his nephew, Hagen, in Götterdämmerung. 

Contemptuous
Brünnhilde disobeys Wotan, and his grandson Siegfried destroys his power. Mime, who raises Siegfried from infancy and even makes him toys, is treated with disturbingly cruel contempt by the bumptious hero. Hagen, whom Alberich sired via gold-empowered lust as a tool to retrieve the Ring for him, mutters that if he succeeds he will keep it, not hand it over to his Nibelung father.

Thieving & Misappropriation 
……. misappropriation, of persons or of things, provides much of the plot machinery. First, Alberich plunders the Rhinegold, and afterward, theft of others' possessions, including the Ring, motivates action upon action. 


Incest and other illicit sexThe teasing of Alberich by the Rhinemaidens which leads to his abjuring love--love, not lust. The definitive heroine, Brünnhilde, and her Valkyrie sisters are the offspring of an adulterous liaison between Wotan and Erda; Wotan also illegitimately fathers the Wälsung twins by a mortal. Sieglinde's infidelity is excoriated by marriage-goddess Fricka, as is her violation with Siegmund of an even more basic taboo, incest. But Wotan defends the twins ("…those two are in love") and, like most audience members moved by the ardent love music, views both transgressions kindly. 

Homicidal
Fafner kills his brother Fasolt, the first victim of Alberich's curse, and we are off to the homicide races. Hunding slays Siegmund, only to be destroyed by Wotan's contempt. Siegfried kills Fafner, the Giant-turned-dragon, and then, after realizing that Mime is trying to poison him, kills him as well. By the time the gods' destiny climaxes, Hagen has murdered both Siegfried and Gunther and is himself drowned by the Rhinemaidens. Eventually Brünnhilde sets Valhalla ablaze as part of her self-immolation upon Siegfried's funeral pyre ("Thus do I hurl the torch into Valhalla's proud-standing stronghold") and all the gods die.
k
Greed, greed, greed!Finally, "coveting that which is your neighbor's" is pretty much the whole raison d'être for the Ring story, starting with Alberich's desire for the Rhinemaidens, then for the gold they guard. Thereafter everybody seems to want what doesn't belong to him or her: the Ring, a sword, a treasure, someone else's wife, sheer power. 

Yet in spite of Wagner's wholesale abandonment of the Decalogue, the bastion of Western morality, Der Ring des Nibelungen generates explosive ethical and metaphysical impact. He started with the absorption, fusion and reinvention of myriad legendary sources, and layered Schopenhauer's philosophy upon Feuerbach's. In Art and Climate Wagner wrote, "there is no true freedom except that which is common to all mankind... The redeemer is therefore love… starting with sexual love, [it] strides forward through love of children, brothers and friends, to universal love of humanity." The emphasis is his. Yet, some years later he wrote to Mathilde Wesendonck, "I can conceive of only one salvation. It is Rest! ...The stilling of every desire!" 

Wagner once wrote to Röckel, "I have come now to realize how much there is, owing to the whole weight of my poetic aim, that only becomes clear through the music." He later described the discontinuity between his "rationally formed ideas" and "the exquisite unconsciousness of artistic creation… guided by wholly different, infinitely more profound intuition."

Thursday, August 13, 2020

New York Times: To the Mathematician Eugenia Cheng, There’s No Gap Between Art and Science

 


Credit...Jillian Tamaki

·              

Aug. 13, 2020, 8:50 a.m. ET

“The boundaries between subjects are really artificial constructs,” says the mathematician and author, whose new book is “X+Y: A Mathematician’s Manifesto for Rethinking Gender.” “Like the boundaries between colors in a rainbow.”

What’s the last great book you read?

“Notes From a Young Black Chef: A Memoir,” by Kwame Onwuachi and Joshua David Stein. I think it’s really important to read first person accounts of the way Black people are disadvantaged by the structures of American society, as well as by systems and by individuals. This memoir is bracing to those of us privileged to have been protected by our ethnicity or our relative affluence. In the end, however, it’s a deeply inspiring story from someone who was almost destroyed by the disadvantages piled onto them by society but who managed to rise up and then work to help others rise too.

Are there any classic novels that you only recently read for the first time?

“Yevgeny Onegin” (in translation). I’ve known and loved the opera since I was a teenager, but the only thing I read was many articles about the difficulties of translating it, and so shied away from reading it in translation. Finally I decided to just read it anyway, and was very glad I did. There are interesting (to me) disputes about whether the opera is a travesty of the original, but to me that’s not the point. They’re two very different art forms and they operate in completely different ways. Opera uses music in the role of narrator, and characterizes people and places by communicating with us directly and viscerally without words. One of my favorite examples of this is “Billy Budd,” in which Melville spends several pages characterizing Billy and then Captain Vere, which Benjamin Britten does viscerally in about two measures of music in the opera.

Describe your ideal reading experience (when, where, what, how).

My ideal reading experience is epic and uninterrupted. I don’t like reading in small daily installments; I like reading an entire book in one sitting. That’s if it’s a novel anyway, and if it’s any good. Deep nonfiction takes longer to absorb, and math books take years. I love the act of turning pages when I’m reading a novel; when I’m studying a math book I might need to spend several weeks on one paragraph.

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Unfortunately this means I’m often wary of starting a new novel because I can be fairly sure it will wipe out the rest of my day (and night).

What’s your favorite book no one else has heard of?

“Becoming Ms. Burton: From Prison to Recovery to Leading the Fight for Incarcerated Women,” by Susan Burton and Cari Lynn.

At least, nobody to whom I’ve mentioned it has heard of it so far. It’s a bracing memoir in the same vein as “Notes From a Young Black Chef,” about someone almost destroyed by the deep structural racism of our society, but who managed, eventually, to rise up to help others.

You’re a concert pianist as well as a mathematician. Who are your favorite musician-writers? Your favorite memoir by a musician?

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I don’t read much about music actually; I prefer just doing it, or learning by observation, that is, going to many many live performances (in the pre-pandemic world).

You’re the “scientist in residence” at the School of the Art Institute of Chicago. How do you bridge science and art, and what’s your favorite book to discuss with your students?

Well I must admit: mine! I wrote my first book, “How to Bake Pi,” as my dream of a liberal arts math course that I thought I would never have the chance to teach, as I had tenure in the U.K., where liberal arts math is not really done (and certainly not at my university, despite my attempts to initiate it). So when I actually did have the opportunity to teach such a course, I had my ideal textbook already prepared. My third book, “The Art of Logic,” was the result of several iterations of developing that material for the actual students. The art students turned out to be, in my experience, most motivated by questions of politics and social justice. So I gradually developed material for them using those sorts of questions as an arena for mathematical investigation. I realized that I use the tools of abstract mathematics to get a much clearer understanding of those issues, and in clarifying and explaining how I do it I attained an even clearer understanding of math and social questions, as did my students.

It’s easier to “bridge” science and art when you don’t really think there’s a gap between them in the first place, as I don’t. The boundaries between subjects are really artificial constructs by humans, like the boundaries between colors in a rainbow.

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What’s the most interesting thing you learned from a book recently?

I learned many things from Elaine Castillo’s deep and rich novel “America Is Not the Heart,” a saga of several generations of Filipino-Americans in California. It’s about culture and alienation, at all levels: from one’s family, one’s country, one’s community, one’s profession, and for many reasons including politics, money, skin color, sexual orientation. The specific nugget of information I learned was that doctors from other countries are not allowed to practice as doctors in the U.S., no matter how expert, experienced and well qualified they are, without completely retraining from scratch. As a result being a nurse is a smoother path to immigration than being a doctor, and some doctors end up either in unskilled work or in medical-adjacent professions such as the medical sciences in a lab.

Which subjects do you wish more authors would write about?

I wish more authors would write about strong women, beyond the strength and importance of motherhood, but not just emulating traditional male behavior. This is what I call congressive strength, which is not about being physically strong and aggressive, or daring and heroic, or rich and powerful, but more about bringing people together, and transforming oneself and society through deep understanding, insight and unity. Men can show this kind of strength too, but I particularly long for books with strong women in this sense.

Do you prefer books that reach you emotionally, or intellectually?

Both at the same time. I don’t see these things as a dichotomy. In fact for me they are intimately related. Intellectual stimulation is an emotional experience for me, and something will only be a really deeply emotionally experience for me if it engages me intellectually as well.

Which genres do you especially enjoy reading? And which do you avoid?

I love reading novels, which for some reason seems to surprise people. However, I am getting increasingly picky about the subject matter and types of protagonists I want to see in novels, and it’s hard to find ones that fit. I like novels that give me insight into human nature, and that don’t rest solely on suspense and plot constructions, the kind of book I can read hundreds of times and still enjoy although (or indeed because) I already know what’s going to happen. I have read “Pride and Prejudice” perhaps twice a year since I was 11! I love a good murder mystery, as long as it has those insights into human nature. I quite often reread Agatha Christie. I loved reading her when I was growing up, and as an adult I notice a surprising amount of insight into human nature in them (along with, alas, some egregiously bigoted and/or imperialist views that might be considered typical of her era). She is also surprisingly feminist for the time, with quite a quantity of strong female characters and indeed female mathematicians!

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I also look for nonfiction that will expand my mind about inequality and oppression in the world today.

I have had a lifelong aversion to books that take place at sea. When I was growing up I often used to get quite immersed in a book and then groan when they went to sea, because I knew I wouldn’t like it any more. The funny thing is I really like being on a boat. Anyway this means that “Moby-Dick” is definitely not for me.

How do you organize your books?

Archaeologically! Which is to say: Not at all. The book I’ve looked at most recently will be nearest me. The books I haven’t looked at for a while will be at the back somewhere. The books I’m currently constantly looking at will be on the floor by the couch. The books I use the least are holding up my keyboard tray at my standing desk. (This includes my thesis.)

I’ve moved country too many times to have a large book collection. I know some people move large book collections around with them but I tried to send boxes of books when I moved to France from Chicago in 2006, and three of the boxes never arrived. I only sent my favorite books, the ones I really felt I couldn’t do without, so I only lost my favorite books. I’ve never quite recovered from that. I think the saddest thing was that I lost my father’s “Complete Works of Shakespeare,” which he passed on to me when I went to university. Or possibly I walked off with it.

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What book might people be surprised to find on your shelves?

Aside from being surprised that I read novels, people are often really surprised that I read self-help. I love self-help books because I definitely need help improving myself and think it would be arrogant to suggest that I don’t. Yes, some of what’s written in self-help is phony and platitudinous, or I’m not really the target audience, but there is plenty in there that has profoundly helped me to become a better, more compassionate, more empathetic, less stressed person. The key, I think, is finding what helps and ignoring what doesn’t.

What kind of reader were you as a child? Which childhood books and authors stick with you most?

I have always devoured books whole. As soon as I was old enough I spent all school holidays in the library reading my way through it. I think the library was the first place I was allowed to walk by myself. It was a tiny library in rural England but it was magic because just when you thought you’d read everything they would rotate their collection. My mother commuted to work in London but my father worked locally and would sometimes drop my sister and me off at the bigger library near where he worked, and we would simply sit there all day reading until he finished work and came to pick us up. I have always liked finishing books in a single sitting. If it’s a good book then I certainly won’t want to stop in the middle. I remember there was a book reading challenge at the library one summer, with a list of books to read, and we could get some sort of star or something for each one we read. The librarians thought I was cheating and not really reading the books, so I would sit and read several books not on the list before telling them I had finished the next one on the list.

I still think libraries are magic, and such an amazing resource so that everyone can access books. I greatly appreciate the work of librarians and really love speaking at librarians’ events.

How have your reading tastes changed over time?

I’ve become much more feminist and socially activist in my tastes. I actively look for books that will help me educate myself about social issues. And I actively reject books that go against my beliefs about women’s place in the world: that they are inherently equal but undertrodden in practice. I can no longer stomach books where all the main characters are men, or where all the strong characters are men, and women are only there to be love interests.

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Disappointing, overrated, just not good: What book did you feel as if you were supposed to like, and didn’t? Do you remember the last book you put down without finishing?

I don’t know what the most recent one was but I remember the first one I didn’t finish: “The Wings of the Dove.” Up until then I always finished every book as a matter of principle. But that one I really couldn’t bear, and it was odd because the whole reason I started it was because I love “The Portrait of a Lady” so much. But then I thought: Why should I finish a book that is not interesting to me? Life is too short, and there are so many books to read.


https://www.nytimes.com/2020/08/13/books/review/eugenia-cheng-by-the-book-interview.html