In 1993, Scottish author Irvine Welsh published “Trainspotting,” and changed popular fiction forever. Written in the phonetic Scottish dialect, it told the story of Sick Boy, Begbie, Spud and Renton, four working-class substance abusers living in the government-housing schemes of Edinburgh, Scotland. The life of an Edinburgh “schemie” is a busy one; fights are fought, drinks are downed, pills are popped, speed is snorted and large amounts of heroin are purchased regularly from Mother Superior, a local dealer inventively named for the length of his drug habit.
Suddenly, football was “fitba,” sexual intercourse was “gittin yer hole” and Irvine Welsh was famous. A film adaptation starring Ewan McGregor, Robert Carlyle and Johnny Lee Miller became one of the most memorable films of 1996, with ample doses of explicit drug use, inventive and relentless profanity, frantic sex and violence.
A collection of Welsh’s short stories, “Acid House,” was published in 1994, followed by his second novel, “Marabou Stork Nightmares” in 1995, and “Ecstasy,” consisting of three drug-related novellas, in 1996.
With the publication of the novel “Filth,” in 1998, Welsh gave the world Detective Sergeant Bruce Robertson, a police officer in Edinburgh’s Royal Lothian Constabulary. An antihero of the highest order, Robertson embarks on a suspect-molesting, drug-taking, hemorrhoid-scratching journey that ends explosively with his mental breakdown. The despicable Robertson shares narrative duties with a loquacious 3-meter-long tapeworm that lives coiled in his gut. It’s a hoot. Really.
This May saw the publication of Welsh’s new book “Glue,” a sprawling novel that follows four friends across three decades. Set in the familiar territory of Edinburgh’s squalid council housing projects, Billie, Carl, Terry and Gally first meet at school in the 1970s, listening to the Jam and the Buzzcocks, each desperately trying to lose his virginity. From there, we meet the friends at 10-year intervals for hilarious and heartbreaking updates on where life has taken them. In between going to the “fitba” and “gittin thir hole,” each of the characters has to overcome his obstacles; some fare better than others do.
I spoke with Welsh recently about “Glue,” “Trainspotting,” his other books and his influences, the Brontës among them.
In many ways, “Glue” is a return to the familiar ground of “Trainspotting.” It’s set in the Edinburgh council housing schemes, and much of it is written in the Scottish dialect and revolves around the struggles of four young men as they grow up. Was this an intentional return to familiar subject matter?
Well, I think the similarity really is the fact that it’s very much character-based rather than plot-based. I didn’t really have a plot for this one. I just thought, well, I did want to get back to the feel of “Trainspotting,” the idea that you’ve got these characters that are, sort of, sparking off each other and they generate the story from there.
I didn’t mean it to be wider in scope, through the years and all that. The first part I wrote was 1990. It wasn’t really going anywhere at that point so I moved forward to 2000 and I thought, well, they’re not friends anymore and that’s the story. But why are they not friends? So I kept going back between 1990 and 2000 and I couldn’t really get the plot line. So I thought, I’ll have to go back further to 1980 when they were just out of school and all that. So I got a picture of them at these different stages of life. I thought, I might as well go further back again and put the parents in so you can see where they’ve come from.
Normally, I like to have characters that are living in a short time frame in the novels, and put them in a position whereby they’re having to overcome something. Like Renton [in "Trainspotting"] has to overcome his heroin addiction in a short time frame of about a year. Roy Strang of “Marabou Stork Nightmares” has to come to terms with his rape and being in a coma. Bruce Robertson from “Filth” has the murder and the mental breakdown and the tapeworm. It’s like throwing stones at somebody over a short period of time and you get that kind of incendiary feeling that you’re in their world. But “Glue” ended up a lot more expansive.
You mentioned Bruce Robertson from “Filth.” To what extent does a fictional character represent your own state of mind? Were you going through a bad time when you wrote “Filth”? Robertson’s a really despicable character.
Yeah he is. I’ve always liked to do that, though. I’ve always liked to get real bad bastards into fiction. When you read a lot of fiction, you can see that the person that’s writing the fiction obviously wants to be seen as the central character. It’s wish fulfillment. I try to get away from that. I like to have really bad horrible characters in the fiction. That was actually quite a good time for me. I felt quite upbeat when I was doing Bruce Robertson.
There are also some fairly unpleasant characters in “Glue.” Do you think your readers and critics view you through your characters?
I always get this thing where people say, “Oh you must be really pissed off, or fed up, or depressed, or mentally ill, or crazy or something like that.” The weird thing is that every time I’ve been to see people like poets, who write about flowers and trees and all this affirmation of life and the soul, and this upbeat, uplifting stuff, they’re always really miserable bastards. They’re always really fucking miserable depressed bastards. It’s like comedians. They’re always really miserable depressed bastards in real life.
When you construct such flawed characters, are you hoping that, despite their vices, readers will come to like and identify with them, or do you want readers to hate them unremittingly?
I like to empathize with somebody that you wouldn’t normally empathize with, and see what’s happening to them. It’s much more interesting to me, to find something good in somebody that’s really beyond the pale in a lot of ways. I think I was influenced by Bertolt Brecht’s play “Mother Courage.” He makes her terrible. Horrible. But there’s something about her, something endearing about her in a strange way. Maybe that’s why people take drugs as well. I mean, it gives them permission to behave badly. When people drink it gives them permission to be a kind of way they wouldn’t normally be. And I think that’s why there’s something empowering about really bad bastards. Because they do things that we wouldn’t normally do.
So you’re living vicariously through them?
I think what I’m trying to do is get a reaction from them, to get a reaction from myself. I think when you write fiction you’ve got to get a reaction from yourself. Having said that, none of my characters could appear alien to me. Everybody’s done things that they feel really bad about from time to time and feel that they’ve let themselves down. It’s not habitual behavior. What you can do when you write is take a fleeting emotion and you can stretch it out into the whole character.
Do you think the use of phonetic vernacular Scottish in your books will keep American readers from your work?
My first book tour was about seven years ago and they keep asking me to come back so it can’t be too bad. It means I’m never going to be like John Updike and top the New York Times bestsellers list automatically with every book I put out, or Stephen King or someone like that. What it does mean is, I think I’m going to be appreciated by people who are prepared to look for a wee bit more in literature and prepared to make a bit of an effort.
So is there a practical purpose to it, or is it solely to make readers expend a little bit of effort?
The reason I started to do it was because the characters just didn’t talk like that or sound like that in my head. So I thought, if I do it in Standard English, why am I doing that? It’s pretentious. Also, I was heavily influenced by the rave culture and acid house and all that and I wanted to get rhythms in it and beats into it, and Standard English isn’t a very rhythmic language. It’s not a very beat-y language. In the ministry of language it’s an imperialistic, a sort of controlling, weights-and-measures kind of language. So it’s not very funky, it’s not got that kind of funk.
The kind of language that I use, a lot of the words are Gypsy words and it’s a Celtic, oral storytelling tradition. It’s very informative, it’s got that aspect to it that drives it on for me, drives the story line on for me. When you think about it, the book is the last thing that you have Standard English in. I mean, you don’t have it in films; nobody talks like that in films, even British films. You don’t get it anywhere else. You don’t get it in drama; you don’t get it on TV. You would find it really strange if people spoke like that but you have to put up with it in a book. Why?
Again, as in “Trainspotting,” “Acid House” and “Filth,” “Glue” is set in Edinburgh. Do you think there’s something unique about that environment, or are your characters universal?
I think they’re universal. With “Trainspotting” everybody went on about it being a drug thing and all that, but it was about the characters. I go to Tokyo or Moscow or New York and everybody says, “Oh, we know a Begbie, we know a Sick Boy,” and I think if you get good characters they have universal application.
Franco Begbie, the Scotch-drinking, punching-and-kicking psychopath from “Trainspotting,” is perhaps one of the most vivid characters to arrive in contemporary fiction for decades. He makes a cameo appearance in “Glue,” along with some other characters from “Trainspotting.”
I think you get a virtual-reality world in your head. It’s like, if you want a nutter, instead of just writing one and having to go through all the characteristics, you think, well, I’ve just got Begbie. You know he’s in the same place around about the same time, so why not just have him as the nutter rather than just create another one? It’s also a bit of responsibility as well, for the community. It’s not a big community so, if you create another nutter from scratch, the impression is that everybody in Leith is a nutter, which they’re not. Let’s just stick with Begbie for that walk-on part. The problem is when I go home to Edinburgh. Every nutter in Edinburgh thinks that Begbie is based on them. So I have to try to tell them no, no, no.
How did you write “Trainspotting”?
I found a 1982 diary and that became the basis of “Trainspotting” really. It was all nonsense, it was all fiction. And I took a lot of notes when I was traveling on a Greyhound bus from New York to Los Angeles and that also became “Trainspotting.” So it was a fiction of a fiction really. But that’s what really kick-started the whole thing.
Were you surprised by its popularity?
Yeah, I was. I wasn’t surprised that it got a lot of attention locally. I knew that the punters would like it because it is that sort of book, but I didn’t think that the literati would like it and I didn’t think it would travel as much as it has.
The film adaptation of “Acid House” will be released in the U.S. on DVD this August. It definitely deserves its R rating, with a lot of explicit language, drug use, sexual content and violence. You could even say it carries on where “Trainspotting” left off.
I thought, if we do “Trainspotting 2″ it’s just going to seem a bit crass. So, we’ve got license to just really go for it and not do an airbrushed film. A lot of the people in it are my mates who haven’t acted before. We wanted to get people that didn’t look like actors and really looked like real characters. It was never going to be a massive commercial film, but it was good to do a wee grungy kind of art-house film.
You make a cameo appearance in “Trainspotting” and again in “Acid House.” Are you interested in getting more involved in cinema?
I can’t act to save myself. The directors are pretty clever; they always give you a wee part if you want one because it stops you from criticizing the film if you don’t like it. Not that I would anyway because I like both the films.
You’ve become an influence to a generation of writers. Who are your literary influences?
My influences are a lot of classic Scottish fiction. James Matthew Barrie was the first Scottish writer I read. I just read all the big Scottish writers like Alisdair Grey, Iain Banks and James Kelman and all that. American stuff as well, like Beat stuff: Burroughs, Kerouac, Bukowski. Modern American fiction as well, like Gary Indiana and Joel Rose. Southern writers like Faulkner and Cormac McCarthy. Just about everything really. I’m influenced by Dostoevski and, not so much Tolstoy, but Tolstoy as well and even all the classic English stuff that you wouldn’t think, like the Brontës and all that kind of stuff.
Why such a brief reading tour?
I really should spend more time over here. I’m over here for three weeks. I was talking to somebody who spent six weeks over here, doing a bit, and you can’t do it. It just fucks you up. It means that you’re talking about the book constantly for six weeks. Even after a few days I find myself becoming strangely autistic about it. I’ll probably end up in the funny farm after just three weeks.
Forget the treadmill. Scott Carrier prefers to run across the Utah plains, in pursuit of pronghorn antelopes. Under a relentless sun, Carrier, his brother and his friends fan out in formation across the scrubland, carefully select an antelope and start running. Except for a cheetah, nothing runs faster than a pronghorn antelope, he tells us, and there aren’t too many cheetahs in Utah. They run. Ten minutes pass, the gap between the antelope and the runners widens, then half an hour, the sun gets hotter, the gap wider, the antelope gets away. Always.
Forming the framework of his first collection of nonfiction, “Running After Antelope,” Carrier’s attempts to catch antelopes appear throughout the book, interspersed with other articles previously published in Harper’s and Esquire. Also included are several broadcast pieces from his 18-year stint as a contributor to National Public Radio’s “All Things Considered” and Public Radio International’s “This American Life.”
But Carrier’s pursuit of antelopes provides the narrative thread of the book, and the essays that deal with it are the most captivating, honest and heartfelt. Early on, Carrier shares with us the origin of his obsession: Back in 1983, his vertebrate morphologist brother tells him that, during exercise, humans can breathe when they want to, unlike other mammals whose lungs are connected to their spines and are inflated automatically with each stride.
Carrier’s brother believes this biological feature gives humans an advantage over other mammals by providing greater strength and stamina; he finds historical accounts of tribes that run for days tracking deer, antelopes or kangaroos until the animals tire sufficiently to be caught and killed. The tribes include the Goshutes and the Papago of America’s West, Australian Aborigines, Mexico’s Tarahumara and, also from Mexico, the Seri tribe, which Carrier visits. Slowly, over the years, he becomes transfixed with the thought of running down an antelope.
“When I drive across the desert I look for pronghorn standing by the highway. One time, on I-80 in Wyoming, I saw three of them outrun a freight train,” he writes. Together, Carrier and his brother enlist anyone willing to put their theory to the test; patience, perseverance and a good pair of lungs are the only requirements.
Carrier has been writing for Esquire since the late 1990s, from various far-flung locations referred to simply as “really fucked-up places.” These and other pieces see him traveling to Cambodia before and after the fall of the Khmer Rouge; to war-torn Kashmir, shelled from either side daily by Pakistan and India; and from Salt Lake City to New York and back again, hitchhiking, in two days.
“Running After Antelope” is populated with lonely truckers, Muslim Kashmiri insurgents, schizophrenics and ex-Khmer Rouge lieutenants. Moody and evocative, Carrier’s word slinging reminds us that America’s Wild West is still very much alive, as are wilder places still.
Carrier recently spoke with Salon.
What do you think readers have connected to in “Running After Antelope”?
The idea of pursuit, the idea of a chase; it’s biological.
Have you managed to catch an antelope yet?
Not yet. I haven’t tried lately. It would take some serious effort of more than just two guys. I’d say if we had four, and spent a couple of months working at it, maybe not every day, but it’s been done. I believe in it. I think it’s possible. The main problem is not the running; the main problem is knowledge of the terrain and the animal itself.
Primitive hunters did it. I mean, we got a pretty good story with the Seri down there in Mexico, and so many other reports. They’re all so similar in the technique that it makes me think that it has been done. And I think also probably a certain amount of dancing has put the animal into some sort of trance. That’s usually part of it, from what I’ve read, and the Seri said that too, that they would mesmerize the animal with a dance. I don’t know how many groups actually were runners or ran things down and did stuff like that, because there’s only three or four good stories in the records.
You included some historical accounts of this hunting technique in “Running After Antelope.” How did you find them?
My brother found some of them when he was doing research and then I found a couple more just by looking through the ethnographies. There are some Indians in Canada who would go after deer in the snow, with snowshoes, but that’s different. In deep snow the animal can’t go anywhere.
Why are there so few surviving accounts of these hunting techniques?
You know, I think it’s something that anthropologists missed. When there were primitive cultures intact, they didn’t really ever go out hunting with the guys. They sat in camp and waited for them to come back.
The pieces collected in your book are all written in the first person. As a writer, how important to you is life experience?
I don’t know about other writers, but for me, I just write about the things that I personally see or experience. So that limits me. Other people don’t work that way and that’s fine, but I try to write what I see and what I experience and always from that position. I try to make it clear from the beginning that this is my point of view.
Who are your literary influences?
Charles Bowden is probably the biggest one, recently. Over the years I’ve had a bunch.
Like you, Bowden is an American nonfiction writer. Do you read nonfiction exclusively or are you influenced also by works of fiction?
I don’t read a lot of fiction because I like nonfiction better. I read some fiction — well, Kerouac was a big influence. Yeah, Kerouac, Kurt Vonnegut as well, and Mark Twain. I kind of get into disagreements with other people in that I’m not really influenced by anything other than American writers.
When the book was published earlier this year, many reviewers commented on how American your writing is, and how your voice quintessentially reflects your nationality. Do you agree?
Yes, I think it’s there because I try to write from my perspective. If I’m doing it well then it should sound like I come from a suburb of Salt Lake City in the year 2000, or whatever. So if that’s working then I guess that’s good.
You’ve been to some pretty dangerous locations. You traveled to Cambodia, which was controlled by the Khmer Rouge, and Kashmir, which has been the subject of protracted, and sometimes violent, ownership battles since the 1950s. Were you ever in any real danger?
I was in areas where people were being killed, or had been killed recently, or there was some threat of military action. But I was never worried for myself because most of the time, in situations like that, even really dangerous situations, they don’t kill foreign correspondents. They kill the local correspondents who help them. Foreign correspondents go in and seek help from local people and the local people are the ones who get hurt, or imprisoned, or screwed up, because it’s too big a deal to mess with the [foreign] correspondents and really they don’t care one way or another most of the time.
How do you successfully introduce the reader to a country so removed from his or her own?
Those assignments are for short periods of time, like two weeks, and they’re limited in length, so you’ve got to present the historical background, for educational purposes and to set the scene. Then I tried to basically say what it was like to be there and what I saw. That was the hardest part, because in two weeks, you know, to present a historical context and then to have something happen for a story form, it’s rather chancy. And you don’t know if anything’s going to happen or not.
I just tried to do the best job I could, and I try not to write in a sort of macho blood-and-guts style like some of the other magazines. It was something that several men’s magazines were doing, and still do, to publish reports from really screwed-up places. It bothered me that, like I say in the book, or like the character in the Chiapas story says, “they’re putting blood and guts between ads for $3,000 suits and cologne.” That bothered me, but at the same time I thought, Well, people can learn something from this about really screwed-up places that we don’t know anything about.
How much input did you have in the locations you covered?
They said, “Do you want to go here?” and I said, “OK.”
In bringing to our attention the plight of citizens in areas like Cambodia, Kashmir and Chiapas, do you think your reports have the power to effect any positive social change that will be felt by the subjects you interviewed while you were there?
Well, I don’t know. I think that those Cambodia stories actually did have, sort of, an effect on the media awareness of Cambodia because I went there right before the Khmer Rouge dissolved, or fell apart. And then I went back again right after and that was a time when the Cambodians were trying to promote tourism and there was news going on besides. It was becoming a popular place for tourists and there were things happening that were pretty big changes in the country. It was something that Americans hadn’t really known about; you know, we’d forgotten about Cambodia in that interim time. So I think that one did make a difference because a lot of people heard the radio story. I tried to write it in a way that it wasn’t just a blatant, bloody thing. I was trying to affect the reader on a deeper level. I don’t think the Kashmir one made any difference. Nothing’s going to make a difference in Kashmir. The Chiapas one never got published, so it didn’t make any difference at all.
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When Robert Ettinger froze his mother’s body in 1977, she became the Cryonics Institute’s first customer. Last year he froze his wife too, cooling her body to minus 196 degrees Celsius and storing it in an insulated tank of liquid nitrogen. For $35,000 Ettinger and his attentive staff will provide the same service for anyone.
“Dead people don’t have much fun,” says Ettinger, the 82-year-old founder of the Cryonics Institute. “It’s not a question of whether you’re happy now,” he says. “I think in the future it’s going to be better, not worse.”
Twenty miles northeast of Detroit, the institute sits atop a small patch of grass, backed by a screen of trees, squat and unremarkable. Few would guess from its drab exterior that it houses the bodies of 38 customers frozen and suspended in liquid nitrogen. Even fewer would guess that seven dogs and nine cats, equally frozen, are keeping them company. But since opening the institute almost 25 years ago, Ettinger has seen membership grow steadily, and his team is performing more suspensions now than at any other time.
“In recent years we’ve been getting maybe three or four a year, I guess,” he says. Ettinger, like his patients and their pets, is waiting for the day they can all be revived.
In much the same way as drowning patients can be resuscitated after long periods without breathing, Ettinger believes researchers will find a way to reverse the tissue damage that accompanies long-term freezing, allowing his customers to be resuscitated too. Until then, their bodies will remain submerged, or “suspended,” in liquid nitrogen, in vast containers called cryostats, the largest of which is capable of storing up to 16 bodies at once.
With an eye toward the future, the folks at the institute are aware that the bodies they freeze must be in the best shape possible. In other words, they must be fresh and, to minimize tissue breakdown, the initial phases of suspension must be performed in the minutes immediately after a patient is declared dead. “We can have people on the spot if we know ahead of time,” Ettinger says. The sooner after death the process is begun, the more likely it is to be successful, he says. When his wife died last year, technicians were standing by to begin her suspension immediately.
“There were only seconds lost,” he says.
Immediately after death, a flurry of activity begins as technicians rush to prepare the patient’s body for cooling and suspension. The body is stripped of any clothing and an anticoagulant solution is injected via either the femoral or the carotid artery. Pumped around the patient’s circulatory system, this solution prevents the blood from clotting and causing ischemic tissue damage. Technicians cool the body with cold packs while transporting it to the institute’s fully equipped laboratories. Blood pressure and acidity are measured constantly, while a device for heart/lung resuscitation maintains vascular flow, pushing anticoagulant around the body, looping through arteries, veins and capillaries to permeate the brain.
Once body temperature is stabilized at 16 degrees Celsius, the patient’s blood is thoroughly washed out with buffered physiological saline, which also contains mannitol to prevent fluid migration from the rapidly cooling cells. Finally, after the patient’s blood is removed and disposed of, the body is suffused with a glycerine-based cryoprotectant solution that protects the tissues from freezing damage, and then it is slowly cooled again using cold carbon dioxide vapors. After it reaches dry ice temperatures, the body is cooled further to minus 196 degrees Celsius, which arrests further degradation or decomposition.
According to the Cryonics Institute Web site: “With a patient of ordinary size, we have been taking about a week to cool down to dry ice temperature (minus 79 degrees Celsius or minus 110 degrees Fahrenheit) and another week to get down to liquid nitrogen temperature (minus 196 degrees Celsius or minus 320 degrees Fahrenheit).”
After placing patients in cryostats, staff at the institute will care for them indefinitely. “They’re simply maintained in liquid nitrogen,” Ettinger says. “All that means is topping off the liquid nitrogen from time to time. We check them every day.”
Cool a body too quickly and it will crack; cool it too slowly and digestive enzymes in the cells will have time to begin breaking down the surrounding tissue. If cells are allowed to rupture, or swelling is not prevented, fluid migrating from within the cells to the spaces between them will expand on freezing, causing further damage. Either way, the result is extensive damage and, until this can be reversed, the bodies will remain in cryostasis under Ettinger’s watchful eye.
Injury to cells is not as severe as critics make out, Ettinger says, and many tissues, including human embryos, sperm, skin and bone marrow have been frozen in liquid nitrogen and have recovered when thawed. “There can be cellular damage,” Ettinger concedes, “but the most important damage probably is in the connections between cells, particularly the neurons.”
In the future, according to cryonicists like Ettinger, scientists will create tiny machines capable of trundling through the body to repair damaged cells molecule by molecule, and atom by atom, until proper function is restored.
“We haven’t tried to revive anyone yet because we’re nowhere near that capability,” he says. Meanwhile, the number of patients in long-term cryostasis increases yearly at the institute. “There is an extremely slim chance the anti-aging breakthrough will come in time for me,” Ettinger says. But resuscitation of patients will come sooner rather than later, he says.
“I guess the most common conjectures are anywhere between 50 and 200 years,” he says.
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“I grew up in the ’20s,” Ettinger recalls. “I just grew up taking it for granted that we would learn how to cure old age.” He first became interested in cryonics as a way of achieving this in 1931, after reading a story called “The Jameson Satellite” in a pulp fiction magazine. In the story, Jameson, a professor, has his body placed in a satellite and sent into Earth’s orbit, where it remains for millions of years until it is discovered by aliens and resuscitated. Inspired by the story, Ettinger was determined to make cryonics a reality.
In the late 1940s, Ettinger learned of French scientist Jean Rostand’s success in freezing and thawing frog sperm in glycerol without affecting its ability to fertilize eggs. To Ettinger, who spent the next decade obtaining master’s degrees in mathematics and physics, Rostand’s work was a sign that the same might be possible in humans. By 1960, with his mother still enjoying good health, Ettinger decided it was time to introduce a larger audience to cryonics.
“I wasn’t trained in biology and I wasn’t a celebrity of any kind and there was no reason to think people would be interested in what I had to say,” he says. Instead he tried to drum up interest by selecting “a couple of hundred” celebrities from “Who’s Who in America” and writing to them, outlining his theories. The outcome was disappointing, Ettinger says matter-of-factly.
“It received a meager response and I realized it had to be a book-length exposition,” he says.
The result was Ettinger’s first book, “The Prospect of Immortality,” which he published on his own in 1962 and distributed to friends and scientists. Two years later, the book was picked up by a major publishing house and quickly became a seminal text, the book that launched the cryonics movement.
In 1967, as a result of Ettinger’s book, psychology professor James Bedford became the first patient to undergo cryonic suspension. Meanwhile, Ettinger was busy forming the Cryonic Society of Michigan, which became the Cryonics Association, which became the Immortalist Society, which formed the Cryonics Institute, which was incorporated in 1976. Ettinger performed his first cryosuspension a year later, on his mother. Ten years after his inaugural suspension, he placed his first wife in cryostasis, and just last year, his second wife joined them.
As a result of Ettinger’s proselytizing, the Cryonics Institute is not the only company now offering cryonic suspension services. The Alcor Life Extension Foundation, based in Scottsdale, Ariz., is another. When potential customers call Alcor’s toll-free phone number, they are greeted by the following message: “Yes, yes, yes operator, collect calls are accepted. This is the Alcor emergency line; please use this line only in the event that an Alcor member is dying or has died. Please stay on the line, this call is being recorded. Our regular business number is (480) 905-1906, to repeat (480) 905-1906; however, if this is an emergency, continue to hold. DO NOT HANG UP.”
Seconds later, a phone rings and someone answers expectantly, finger hovering over a bank of buttons, ready to dispatch a team of trained technicians anywhere in the country to begin an ailing member’s suspension.
Essentially, Alcor offers services similar to those of the Cryonics Institute, but with a whole-body suspension costing around $120,000, its prices are significantly higher than Ettinger’s fee of $35,000. “There’s nothing wrong with Alcor,” Ettinger says. “They’re much more expensive and we think that some of the things they do are unnecessary.”
Alcor is not as forthcoming as Ettinger, either, charging journalists $2,000 for access to its facilities and asking that they sign a media agreement before granting interviews. Among other things, the agreement requires that corpses at the facility not be referred to as “corpses” but rather “patients” or “Alcor members.” Similar terms like “stiff” or “carcass” or “cadaver” are also unacceptable.
Unlike the Cryonics Institute, Alcor also offers members the option of neurosuspension, or preservation of the head only. After the cryoprotectant suffusion, the head is surgically removed and stored in liquid nitrogen and the rest of the body is buried or cremated. Long-term storage of a head costs $50,000. Although that’s significantly less than Alcor’s whole-body suspension, the customer is left with the task of trying to find a donor body if resuscitation ever becomes possible.
In a 1992 paper, Dr. Ralph Merkle, a member of Alcor’s board of directors, wrote: “In principle we need only repair the frozen brain, for the brain is the most critical and important structure in the body. Other parts of the body can simply be replaced; or, if we wished, the methods employed for the brain could be extended in the obvious way.” In other words, the technology used to repair the brain could be applied to the whole body, at a much higher cost.
The Cryonics Institute has never offered neurosuspensions. Companies that offer them are not helping the cryonics movement gain acceptance, Ettinger says. “The people that do that, they keep the head and sometimes only the brain,” he says. “We think it’s a public relations negative, and the primary advantage is cost cutting.” The cost of a whole-body suspension at the Cryonics Institute is already low, Ettinger says, sounding like a used-car salesman. And he’s right: With Alcor asking for $120,000 per whole-body suspension and Trans Time Inc. and the American Cryonics Society, both in California, charging $150,000 and $135,000 respectively, there is little competition in the area of affordability.
Only time will tell if Ettinger is right or wrong about cryonics. If he’s right, he will be heralded as a true scientific visionary; if he’s wrong, his customers will have lost nothing more than they were willing to pay for their peace of mind. Not content to rest on his laurels, Ettinger will continue to suspend patients and expects to attract criticism for doing so. He is unapologetic; he has a business to run and customers to care for. And he will do so until he dies, becoming just another patient as the race begins to cool his body in time and place it in a cryostat beside his mother and his two wives.
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On a still Hawaii morning, a telephone rings, cutting through the silence; a body has been found dumped in a sugar cane field. M. Lee Goff dresses, gathers his kit and drives to the crime scene to collect maggots, beetles and other insect species from the decomposing corpse. Goff’s movements are practiced, like a ritual; his hands are quick and confident. He has done this many times before.
A forensic entomologist at the University of Hawaii at Manoa on the island of Oahu, Goff uses insect evidence to help police and medical examiners solve crimes. He is one of only a handful of forensic entomologists actively working in the field and conducting forensic research studies — he calls the group the “Dirty Dozen.” In Goff’s recently published book, “A Fly for the Prosecution: How Insect Evidence Helps Solve Crimes,” he outlines some common methods and applications of forensic entomology.
The number of forensic entomologists working with investigators is small because insects are involved in relatively few cases, Goff says. “You’ve got a limited period of time during the year when insects get involved,” he says. “Some years I’ll do about 10 or 11 cases, and other years it will be about 20 or 25.” Despite variations from one year to the next, the average number of cases has increased over time, Goff says, as medical examiners and police have slowly begun to accept his sampling methods.
Goff first learned of forensic entomology in 1983 while attending a seminar about insect evidence and murder investigations as a young mite specialist. Intrigued, Goff contacted the local medical examiner and offered assistance whenever he heard about a suspicious death involving a badly decomposed body.
When the slick, humid rain forest offers up another bloated murder victim, Goff pulls on his boots and heads out with specimen-collecting gear in hand, eager to find some meaning in the insects that have made a home of the body.
It has taken many years for conventional crime investigators to accept forensic entomology as a useful tool, Goff says. “You are very much like a circus sideshow,” he says. As “an academic coming into a typical crime scene, you don’t necessarily think the same way [as the police].”
Depending on the species collected at the scene and their stages of development, insects can be used to establish several things about a body after death. Most commonly, forensic entomology is used to determine the postmortem interval, or the time between the death and the discovery of the body, but it also can help establish whether the body was moved after death and if poisons, drugs or toxins were involved. Further, since the advent of sensitive DNA testing, blood collected from the intestinal tracts of insects at the crime scene has been used to identify rape and murder suspects.
Goff usually finds numerous species of insects at a crime scene: blowflies, flesh flies and black soldier flies; moths, wasps, ants and mites; beetles, spiders and scorpions. Each species plays a unique and characteristic role in the decomposition of a body, he says. Flies are the first to arrive; attracted early by the smell of decomposition, they colonize soft parts of the corpse — like open wounds or the ears, mouth, nose and eyes. Next are the social insects such as predatory ants and wasps, which wait until after the maggots and flies on which they feed have settled in the body. Others, like the lumbering hide beetle, wait to feed on the cartilage and dried tissue that remain after most of the other species are gone.
This pattern, with different species invading the body in distinct waves, is called succession, a predictable enough phenomenon for Goff to use in establishing the postmortem interval.
Goff recalls a case from November 1996 in which the body of a young woman was found in a sugar cane field on the island of Kauai. “The body was very decomposed and not a lot of physical evidence remained,” he says. But using samples of insect evidence he collected, Goff estimated a postmortem interval of 34 to 36 days. “They didn’t have any suspects, but they did have one individual who said he had given the lady a ride 33 days ago,” he says. On the basis of Goff’s information, police obtained a search warrant and searched the individual’s home but found nothing suspicious. “Finally,” Goff says, “they went in and sprayed luminol,” a compound that glows when it binds to hemoglobin in the blood. After police sprayed the house, the outline of a body was clearly visible on the floor of the bedroom. There were traces of blood in other rooms too, left when the suspect dragged the body through the house to his car. “The trunk of his car just glowed,” Goff says.
During the trial, the jury heard the entomological evidence despite the defense attorney’s efforts to suppress Goff’s findings, query the validity of the search warrant and discount the luminol evidence. The suspect was found guilty of murder. As with many other cases, this one probably would have been solved in time. “But it’s a matter of when it would have been solved,” Goff says.
Once on the scene, Goff collects samples of every insect developmental stage present — eggs, maggots, pupae and adults — taking them back to his laboratory for identification, preservation and hatching. He incubates samples of maggots and pupae under suitable conditions, noting how long it takes for adult insects to emerge, and uses the results to date the time of death. Armed with photos from the scene, insect and weather data and pig decomposition studies as a reference, he calculates the time required for the body to reach the state of decomposition in which it was found, estimating the postmortem interval.
Without pig studies to provide clues to patterns of insect activity, very little of Goff’s work would be possible. With characteristic bluntness, he writes of an early investigation: “Since I was attempting to duplicate a homicide, in one of my first studies I wanted to shoot each pig through the head with a 38-caliber pistol.” Which he did.
To duplicate insect activity found in beached drowning victims, Goff threw dead pigs into the sea; he also strung up dead pigs in trees to imitate suicide by hanging, wrapped them in blankets to re-create concealed bodies and mimicked arson victims by dousing pigs in gasoline and setting them alight.
“It is disconcerting to be collecting maggots from one end of a pig and look up to find a mongoose eating at the other end,” Goff writes in his book, helpfully reminding readers to make sure the decomposing pig is sufficiently protected from noninsect predators. While carrying out a pig decomposition study, Goff visits the study site several times each night to monitor insect activity.
Although Goff’s research may sound like bad news for pigs, the decomposition studies provide him with invaluable archival data to compare with insect evidence found in criminal cases. With that data, he can extrapolate a postmortem interval to within a few hours, and he has frequently provided courtroom testimony discounting or supporting a suspect’s alibi.
Goff’s work takes him annually to the FBI Academy in Quantico, Va., where he teaches part of a weeklong course on the detection and discovery of human remains. He also travels extensively, investigating cases on the mainland and teaching training sessions worldwide. But Goff always returns to Hawaii, eager to conduct further studies to better understand the role of insects in decomposition. “I think I’ve got a lot more questions now than when I started,” he says.
In Oahu’s tropical environment Goff has found the perfect place to answer some of them. As night gathers and the tangled knots of vegetation tighten in the faltering light, the air becomes alive with insects.
A fecund and secretive place, the forest is like a machine, and as with all machines, it requires fuel to thrive. The same is true of the orderly sugar cane fields, the lazy coastal towns, the inland cities and almost any other environment. Dead organic matter is the fuel that drives any ecosystem, and insects, toiling away unseen, are the tools with which it is broken down and returned to the soil. “The whole pattern, the whole puzzle, is so complex and so intriguing,” Goff says. “These are very complex systems, and we’re part of it, sometimes in ways we don’t want to be.”
In several of Goff’s decomposition studies, insects began to colonize corpses within 10 minutes; and in some of his more gruesome studies, they did not even wait for death to occur before beginning to feed. His vivid descriptions of murder victims as centers of frantic insect activity are a reminder that we are just animals, as available and irresistible as roadkill to a passing blowfly.
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