The Immortal Life of Henrietta Lacks: Medicine and Morality

On November 14, David Lacks will speak at Whittenberger Auditorium. He is the son of Henrietta Lacks, the woman who was the origin of the HeLa cell. Rebecca Skoot's book  The Immortal Life of Henrietta Lacks discusses the ethical issues surrounding the use of HeLa cells. Here, Professor Jill Robinson, who uses the book in her "Ethics in Science" class, discusses its relation to Themester.

How does The Immortal Life of Henrietta Lacks fit into this year’s theme of "Good Behavior, Bad Behavior: Molecules to Morality"?

Rebecca Skloot’s bestseller The Immortal Life of Henrietta Lacks tells the story of the woman and scientific discoveries behind the HeLa cell line which has become one of the most important medical research tools ever discovered.  Henrietta Lacks was a black woman treated at Johns Hopkins for cervical cancer whose cells, taken without her knowledge in 1951, went on to become the first immortal human cells ever grown in the laboratory. 

The book highlights many topics ranging from medical ethics to race to the commercialization of human tissue.  These are well suited to an in depth discussion of behavior and what can be classified as good or bad.  Medical research ethics is a main theme of the book and the behavior and actions of the scientists are described in terms of accepted practice at the time and compared to legal restrictions in existence today.  There are clear examples of bad behavior in the dark history of experimentation on African Americans such as the brutal experiments conducted at the Crownsville hospital for the Negro Insane where Henrietta’s daughter Elsie was a patient.  In contrast, many good outcomes have resulted from the harvesting of Henrietta’s cells.  The book addresses big issues such as bioethics, and the legal battles over “informed consent”, patient confidentiality, and individuals sharing in the profits of biotech products made from their own tissues.  Human behavior is also explored through an in-depth description of actions of those involved.  

What are some of the major ethical issues raised by the book, and what solutions are offered, if any?

The major ethical issues are related to medical experimentation on humans, treatment of patients based on race, and tissue rights.  Solutions are not directly offered, but the issues are raised in a way to initiate thoughtful consideration from both a moral and legal perspective.

Have you used this book in your courses before this semester? What issues are most of interest to students?

I have not used this book before.  Issues that are of greatest interest to students are related to patient rights, medical discoveries, and race and class issues.

David Lacks will be coming to campus to discuss the book and his experiences. How did the loss of Henrietta Lacks affect his life?

From reading the book, it is evident that the family is very proud of their mother’s contribution to science.  At various points family members were very angry as they were not told their mother’s cells were alive and then researchers took samples from her children without consent.  They did not understand the science behind an immortalized cell line and could not believe that companies were making millions of dollars while they did not have enough money for basic health care.  In the end, it is clear that they simply would have liked to know their mother as a person and have her in their lives.  I hope to learn more through the interview.

For more information on this event, visit 

http://themester.indiana.edu/events/lacks.shtml.

For more information on the book, visit http://rebeccaskloot.com/the-immortal-life/.

Rebecca Kimberly

Themester 2012 intern

Sylvia Plath Symposium: Q&A with Kathleen Connors

Kathleen Connors ,a visiting scholar to IU's Department of English, is a co-director for the 2012 Sylvia Plath Symposium, which will be held October 24-27. The symposium features a dozen major Plath scholars, twenty eminent poets and artists, and over 40 panelists from ten countries. Here, Ms. Connors discusses Sylvia Plath in the context of "Good Behavior, Bad Behavior."

1. How does the topic of Sylvia Plath fit into Themester's theme of "Good Behavior, Bad Behavior"?

A number of lectures, films and the IU Art Museum and Lilly Library exhibits address controversial issues around Plath's famous Ariel poems the Symposium commemorates: the use of the Holocaust, war imagery and torture in art versus pacifism; Plath's self-personas presented in letters and journals that are "contrived/phony" versus "honest"; marital fidelity and traditional family values versus infidelity and selfishness; women’s education and oppression in mid-20th century culture versus female inclusion and empowerment; and Plath as an inspirational role model versus the poster child of madness and "dangerous influence."

2. What can students learn from the study of Sylvia Plath?

While often viewed in light of her illness and suicide, Sylvia Plath was an excellent student with a wide range of interests that she pursued in the face of hardships, obstacles and personal problems. Her life story and work demonstrate what can be achieved by hard work and employment of intellectual curiosity. Plath's prolific literary works address a wide range of cultural, personal and intellectual issues that are still relevant in the 21st century, ranging from analysis of gender in society, Cold War Culture and politics, the role of the artist and intellectual as cultural critic and teacher, female sexual and professional roles and identity in patriarchal society, and the role of self-examination and exploration of the psyche in self-understanding.

For more information about this event, visit http://sylviaplathsymposium2012.indiana.edu/. 

Rebecca Kimberly
Themester 2012 intern

Richard III: Too Bad to Be True

Gavin Cameron-Webb’s production of Richard III uses both the text and the stage in transformative ways.

A scene from Richard III at the Wells Metz Theatre

This Shakespearean production has reversed the Wells-Metz theatre and uses all three of its levels.

This production also challenges the historical accuracy of the text. It will show that Richard III was actually a great king who is grossly misrepresented in this play. Themes of slander and propaganda will be explored just in time for campaign season. Periodically the truth of what actually happened is revealed to the audience through a luminous screen above the three levels of stage. Cameron-Webb said that this device serves as the “theatrical equivalent of factcheck.org.” 

In allowing the truth to be displayed, this production not only exhibits the indisputably bad behavior of Richard III, the fictional king, but also discloses the bad behavior of those who slandered Richard III, the actual king. Shakespeare likely wrote the play so as not to fall from the favor of Queen Elizabeth, who occupied the throne at the time. This is an interesting example of morally questionable behavior.

As captured in Shakespeare’s text, Richard III is the most monstrous, most dastard of all villains. “He epitomizes bad behavior,” said Cameron-Webb. When asked what qualities potentially redeem this outrageous character, the director could only suggest “his charm, his presence, his ambition.” Richard III, played in this production by M.F.A. acting student, Aaron Kirkpatrick, is an excellent orator, who both enthralls and appalls his audience.

It may be alarming to the audience just how devilishly charming this murderous villain is. “Villains are usually the most entertaining,” said Cameron-Webb. “We certainly enjoy watching [Richard] be so bad.” It speaks to an interesting inclination: to be so fascinated by the magnetism of a character that is unquestionably bad and leaves no room for moral growth. “He is so out and out evil,” said Cameron-Webb. “He’s not a morally complex or tortured character. Unlike Mister from the Scottish play, [Richard] is bad, and he knows it.”

Although it is important to expose how mysteriously drawn we are to “bad” characters, Cameron-Webb feels that the most important thing to teach the audience is “how susceptible we are to propaganda.” We must challenge ourselves to discredit things that are “too bad to be true.”

Production Dates: 

October 19, 20, 23-26 @ 7:30 p.m.

October 27 @ 2:00 p.m. and 7:30 p.m.

Amber Hendricks

Themester 2012 intern

Human Trafficking Film Series and Panel Discussion Q&A

A scene from Anjos do Sol

Stepanka Korytova (Magstadt), Ph.D., from the International Studies Program & Center for the Study of Global Change, discusses the films chosen and the selected topic of discussion for the human trafficking series.

1.    What inspired you to put together this series?

I think that I am able to reach more people through art than through a lecture. I hope anyway...


2.    How did you choose these particular films, Lilya 4 Ever and Anjos do Soul?

Professor Hashmanova, who will be one of the panelists on October 25 "HT in/and Media," has done a great analysis at a conference I went to at Ohio State University. She will be talking about that on the panel, so I wanted the audience to see the whole film. The other one I saw when I was in Brazil this summer, and I had thought that there was not enough coverage of trafficking in South America. Also, it shows how a soul of a person who is a survivor of trafficking is killed by the experience without being murdered physically.
  3.    How did you choose the panelists?
 
Well, I have answered my choice of Professor Hashmanova's selection. I met an undercover detective about 6 months ago, invited him to one of my classes, and I thought that he could address the issues of media's impact on trafficking, especially regarding the Super Bowl. The journalist from UK will add an international dimension to the program and will be able to talk about the (non) coverage of trafficking in human being in Europe.

4.    The panel is titled, “Human Trafficking and Media.” What role does media play in human trafficking?

Media plays a role of a double edge sword as it were - it focuses too much on Sex Trafficking - as it is a "sexy" topic, but it will not touch much of the other issues which are more controversial - labor trafficking as it conflicts with our policy on immigration, and it hardly ever touches on the issue of organ trafficking.

5.    What do you hope people take away from the program?

I am always interested in make people aware of the problem - a problem that exists also in the USA, in Indiana, and in Bloomington. Hopefully people will think about this more and make choices - looking at labels, educating others, and simply being aware.

The Human Trafficking Series takes place at IU Cinema and the IMU: 

Lilya 4 Ever: Tuesday, October 23, IU Cinema, 7:00 PM
"Human Trafficking and Media" Panel Discussion: Thursday, October 25, Maple Room IMU, 5:30 PM
Anjos do Soul (Angels of the Sun): Sunday, October 28, IU Cinema, 6:30 PM


Amber Hendricks
Themester 2012 intern

Richard III Q&A with Penelope Anderson

Photos from IU Theatre & Drama's Richard III

This semester, Professor Penelope Anderson teaches a Themester course called "Heroes and Villains in the Early Plays of Shakespeare." Her class studies the play Richard III, which will be performed by IU Theatre October 19-27. Here, she talks about the play and Richard as a character. 


1.  How is this play related to the theme of good and bad behavior?

The play Richard III covers a fairly appalling series of events, with so many murders that any attempt to summarize the plot turns into a funeral litany.  At the same time, it has its source in historical facts, albeit colorfully embroidered ones, including a highly compressed time scheme that contributes to a sense of giddy disorientation.  The factual basis makes it hard to dismiss out-of-hand; it demands that we do the difficult work of making sense of actions that seem outside the realm of normal human behavior.


2.  Does Richard III have any redeeming characteristics?

He is extraordinarily charismatic and eloquent; in fact, there are groups devoted to rescuing the historical reputation of King Richard III.  Those who want to redeem him often consider Shakespeare’s version a smear campaign, but Shakespeare’s Richard is lively and compelling:  you want to listen to him speak, and his schemes carry the audience along just as much as they do the characters onstage.  Interestingly, unlike many characters we would class as villains, he does not lack empathy – his ability to persuade by playing on other characters’ foibles shows us that he can think himself into their places – but he does present himself as having the worst of all possible lots in life.  Given his status, this has more than a bit of absurdity about it; it also limits his suasive force with those (like ordinary citizens, women, and children) who enjoy far lesser status.


 

3.  What's the most challenging aspect of teaching this play or any play in which the main character is a villain?

The challenge is less about understanding the central villain, especially when he is as compelling as Richard, than it is about making sense of the people around him who seem willfully obtuse or incapable of stopping him.  When a villain dominates a play, the audience finds a moral locus elsewhere, in another character or characters who seem closer to the audience’s own values.  It becomes enormously frustrating to watch our substitutes, who seem to be moral characters, refuse to see or fail to act.  The challenge of teaching such works lies both in honoring this impulse – because it is infuriating! – and getting beyond it, to a more productive conversation about the factors that limit our perceptions and choices.

4.  Your class this semester is called "Heroes and Villains in the Early Plays of Shakespeare." Which do you find more enjoyable to examine: the villains or the heroes?  What is the value in studying such a reprehensible character as Richard III?

My preference is always for a mix of the two:  I’m interested in the messy, flawed, complicated muddles to which we cannot find an immediate answer.  The most dangerous thing, I think, is when we feel ourselves to be unimplicated by what we read, when it seems either so virtuous or so evil that we consider it completely cut off from our ordinary experiences.  Good literature heightens events, of course:  it delineates moral character and ethical dilemmas with a sharper outline than we usually see.  But it still makes those quandaries recognizable to us, as versions of people we might know or choices we might face.  By sharpening our skills of perception and analysis on characters like Richard III, we become more aware of finer shades of meaning in all kinds of moral behaviors – even if Richard’s scheme to kill almost all his family to secure the throne is far away from our own concerns.

For more information on the performances of Richard III, visit http://www.indiana.edu/~thtr/productions/2012/richardiii.shtml. 

Rebecca Kimberly
Themester 2012 Intern