Intersecting at Stoppard

Tom Stoppard died this week. I've been in awe of his work since I was an undergraduate, maybe even before I actually ever read his work, simply from the sheer audacity of the premise of Rosencrantz and Guildenstern Are Dead. The more I knew, the more there was to love. Later, he fed my theory, that writers who come to a language late as foreigners (like Conrad, Rushdie, Nabokov, Brodsky, Stoppard) write so precisely, because they have some additional intuitive insight into language. Much later, I learned of his deep connections to India as it played out in Arcadia and Indian Ink.  (In the linked article here, I was charmed to see a reference to Hermione Lee a much beloved professor and the president of my college at Oxford.)

And it turns out that theater is life. 

In a literal sense. 

In a letter to the Times of London, in response to Stoppard's obituary, Michael Baum, a Professor emeritus of surgery, wrote: "In 1993 my wife and I went to see the first production of Arcadia by Tom Stoppard and in the interval I experienced a Damascene conversion. As a clinical scientist I was trying to understand the enigma of the behaviour of breast cancer, the assumption being that it grew in a linear trajectory spitting off metastases on its way. In the first act of Arcadia, Thomasina asks her tutor, Septimus: "If there is an equation for a curve like a bell, there must be an equation for one like a bluebell, and if a bluebell, why not a rose?" With that Stoppard explains chaos theory, which better explains the behaviour of breast cancer. At the point of diagnosis, the cancer must have already scattered cancer cells into the circulation that nest latent in distant organs. The consequence of that hypothesis was the birth of adjuvant systemic chemotherapy and rapidly we saw a striking fall of the curve that illustrated patients' survival. Stoppard never learnt how many lives he saved by writing Arcadia."

[As it turns out, I wrote a letter to the editor myself this week trying to reach David Shulman. I actually met David in the late 1990s at Hebrew University in Jerusalem. I was with a group of people at IAS and heard someone say "Tamil Pessalama?" (Shall we speak Tamil?). I turned around expecting to see a Tamil person (the intonation and accent were so perfect), but here was this genial white guy. David is a genius (a MacArthur Genius even!) and works on poets I revere. But more recently and importantly, he's been a lifeline for me with his tireless work and compassionate voice for Palestine. I wrote a note thanking him and sent it to him at his university email address, but it was deemed undeliverable. So I then sent it to the letters editor at NYRB where he has written most recently with an earnest request to forward it... and they must have! Because this morning, I received a lovely email that brought tears to my eyes from David. (I wonder how much of this letter writing is due to reading The Correspondent!)]

Pic: Michael Baum's Letter in The Times.