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The Poetics and Politics of Alzheimer’s Disease Life-Writing

by Martina Zimmermann, honorary Associate Professor in Pharmacology at Goethe University Frankfurt, with an MA in Literature and Medicine and a second PhD in Health Humanities at King’s College London.

I am a pharmaceutical scientist by training who specialised in neuropharmacology. For over 15 years, my research interests have been the molecular mechanisms that cause the death of brain cells in conditions like Alzheimer’s disease. While pursuing, and later supervising, laboratory based experimental projects, I more and more often wondered how patients actually experience the condition which I only knew from studies in cell culture and other disease models. The methodologies, models and approaches I used were unsuited to answering this question.

Still, Alzheimer’s patients would not write…

I began looking for patient accounts about a decade ago. At the time, I found only just over a dozen of books published in English, and one diary in French. I was astonished that there were so few, especially because I felt that the popular press had long preferred Alzheimer’s disease to any other subject in its health and wellbeing pages. Also, patients usually have five to ten years between diagnosis and death, and, at the time of clinically perceivable onset, can continue to articulate themselves proficiently in writing, as well as retaining figurative language. Still, Alzheimer’s patients would not write. Continue reading The Poetics and Politics of Alzheimer’s Disease Life-Writing

Experience: Working with Bahati Books

by Ralitsa Chorbadzhiyska. Ralitsa is an undergraduate student in the English Department in her third year, with research interests in Modernism and Contemporary culture. Ralitsa worked as an editorial and marketing intern at Bahati Books this summer as part of King’s Internship Summer Scheme. She also has a personal blog where she writes about books, music and art.

Ever since applying for university I knew I wanted to study English literature and use my degree to become involved with publishing. But I never knew which role would suit me best – an editor, an agent, a person in marketing or sales. I applied for my internship with Bahati Books before going into my third year as I figured that the best way to find what part of publishing intrigues me the most was to learn from experience.

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Instagram-friendly promotion for ‘WIne and Water’, by Hannah Onoguwe. Photo by Ralitsa Chorbadzhiyska.

Continue reading Experience: Working with Bahati Books

Dissertation stories: Don Quixote to cross-stitch

William Burgess and Felicity H-Mackie of the MA 18th Century Studies course organised a conference in conjunction with the Centre for Enlightenment Studies, as an opportunity for 18th Century MA researchers from King’s and Queen Mary to discuss the first stages of their dissertations with students and staff. They share with us here their dissertation research journeys.


A Rake's Progress (plate 8) 1735-63 William Hogarth 1697-1764 Transferred from the reference collection 1973 http://www.tate.org.uk/art/work/T01794
A Rake’s Progress (plate 8) 1735-63 William Hogarth 1697-1764 Transferred from the reference collection 1973 http://www.tate.org.uk/art/work/T01794

by William Burgess, MA 18th Century Studies

Like all good research journeys, my dissertation started with the discovery of a quotation that upended everything I thought I knew about literature.

Following my BA graduation, I spent the summer reading Samuel Johnson’s 1759 novel Rasselas. Aside from getting a lot of stick from my friends (most of whom were taking it easy with some crime fiction or re-reading Harry Potter) reading the novel revealed some unsettling complications to my idea of what literature means.

“If we speak with rigorous exactness, no human mind is in its right state. There is no man whose imagination does not sometimes predominate over his reason, who can regulate his attention wholly by his will […] all power of fancy over reason is a degree of insanity.”

Samuel Johnson is telling us that everyone, to some degree, is a bit ‘insane’. Not only that, but – as he goes on to insist – the act of writing fiction is by definition slightly mad.

Continue reading Dissertation stories: Don Quixote to cross-stitch

Book Review: Martino Sclavi’s ‘The Finch in My Brain’

by James Rakoczi, PhD researcher, Department of English

The cover image of Martino Scalvi’s ‘The Finch in My Brain’

Reading Martino Sclavi’s The Finch in My Brain (Hodder & Stoughton, 2017) took longer than expected. I found myself slowing down, re-reading passages, trying to work out how the text relates to itself, to its images, and to the people in Sclavi’s life.

My copy of the text is now defaced by marginalia, doodled over in an inky green.

Page 308, for example, tells me to re-read p. 215. I turn that page, and p. 216 directs me to p. 268, and so on. My copy has gone a bit rhizome: an ecology of self-citation…

In early 2011, living in LA, Italian film producer Martino Sclavi was experiencing bad headaches. He thought it was the coffee, or the stresses of script-writing to deadline. In fact, it was a grade 4 glioblastoma – an extremely severe brain tumour. During a script-reading, Sclavi became increasingly delirious. Driven to a hospital by a friend, Sclavi recalls how his friend’s words ‘stopped having a meaning for me… just sound with no information. A rhythm with no shape’ (p. 43). This loss of ‘meaning’ but retention of ‘shape’ characterised not only Sclavi’s immediate crisis but presaged the direction his life would take.

Continue reading Book Review: Martino Sclavi’s ‘The Finch in My Brain’

Early Modern Verbatim Theatre: A Reflection

by Lucy Munro, Reader in Early Modern English Literature at the Department of English, and Emma Whipday, Leverhulme Early Career Fellow at UCL

In 1624, a play entitled The Late Murder in Whitechapel, or Keep the Widow Waking was staged at the Red Bull playhouse in Clerkenwell. Written by Thomas Dekker, John Ford, William Rowley and John Webster, it was based on accounts of two recent crimes. The first was the murder of a Whitechapel woman, Joan Tindall, by her son, Nathaniel, which became the subject of at least two ballads, one of which survives. The second was the forced marriage of a 62-year-old widow, Anne Elsdon, to a much younger man, Tobias Audley.

tavern scene
A woodcut from Samuel Rowlands’s ’Tis Merry When Gossips Meete (c. 1613), showing a widow, wife and maid drinking in a tavern

Tobias lured Anne to a tavern, where he plied her with alcohol and tried to persuade her to promise to marry him – a promise that could be legally binding if it was said before witnesses. After several days he eventually seems to have got some kind of agreement from her, and a priest hired for the purpose married them. However, the ‘marriage’ became the subject of a series of cases in the secular and religious courts.

Continue reading Early Modern Verbatim Theatre: A Reflection