Book Reviews

One usually likes to think that scientists know what they’re doing. Here’s something that might shake your confidence. In bio-medical research, scientists often use cell lines. These are in vitro cells, originally taken from a human or animal donor, which can be experimented on to help develop new drugs or treatments. The problem is that, according to one review, in ‘at least 5 per cent’ of studies, the scientists have totally mixed up where the cells came from. This means that in at least one in 20 studies that were sent off for peer review the scientists were completely confused about the most basic element of their research. They thought,

This hefty book is more about context – the turbulent years of mid-19th-century Europe – than it is about its two protagonists. Details of the many popular uprisings of the time, plus the jockeying for position of the main players and the battles and intrigues involved, are so packed into its pages that teasing out the stories of the two empresses is not always easy. The early married life of Empress Elisabeth of Austria, known as Sisi, sounds appalling. Her older sister had been groomed to marry the young Emperor Franz Joseph, but the moment he saw Sisi, then only 15, she was the one he wanted. It was impossible

Gabriel Weston is an extraordinary writer. An ENT surgeon who now prefers to carry out excisions of skin cancers, she has found a niche in exploring moral dilemmas in medicine. Her first book, Direct Red (2009), examined such clashes as a patient’s need for empathy and a surgeon’s requirement to be steely. A serious problem at the time was how the punishing schedules of junior doctors made it virtually impossible for them to give patients the attention and compassion they so often needed. Weston’s second book, Dirty Work (2013), was a novel – and no less ethically probing. Nancy, its female gynaecologist protagonist, takes on her department’s unpopular abortion lists,

Jonathan Meades is, you might say, a baroque artist in a mannerist age. Whereas today’s younger and more widely feted writers think small – a Brooklyn sublet, a Camden Town love nest, the cracked mirror of the self – Meades goes big. And not just in physical terms (Empty Wigs tips the scales at nearly 3lb), but in scope. Where his contemporaries’ prose can be affectless and somehow skinless (a Paris Review interviewer said of Rachel Cusk, with apparent admiration, that her writing ‘feels contemporary, swift and “clean”’), Meades piles on the style, packing in metaphors, coinages and allusions until the crystals can’t take it, swooping between social classes, doing