Siddhartha Mukherjee: The Emperor of All Maladies: A Biography of Cancer

In November 2010, NPR’s Fresh Air featured a story, “An Oncologist Writes a Biography of Cancer.” Oncologist Siddhartha Mukherjee was treating one of his patients, a woman with advanced abdominal cancer who had relapsed multiple times, when she asked him what seemed like a simple question. "She said, 'I'm willing to go on, but before I go on, I need to know what it is I'm battling,' " Mukherjee tells NPR's Terry Gross. But, as Mukherjee explains, describing his patient's illness wasn't so simple. Defining cancer, he says, is something doctors and scientists have been struggling to do since the disease's first documented appearance thousands of years ago. Mukherjee's new book, The Emperor of All Maladies: A Biography of Cancer, grew out of his desire to better understand the disease he treats, through examining the way cancer has been described and treated throughout history. He chronicles the ways therapies evolved, particularly in the 20th century, as more treatment options became available and scientists worked to understand the underlying genetic mutations that caused the disease.

“A breast cancer might turn out to have a close resemblance to a gastric cancer. And this kind of reorganization of cancer in terms of its internal genetic anatomy has really changed the way we treat and approach cancer in general.”

- Siddhartha Mukherjee, author of the book: The Emperor of All Maladies: A Biography of Cancer

“What does it mean to be an oncologist? It means that you get to sit in at a moment of another person’s life that is so hyper-acute, and not just because they’re medically ill. It’s also a moment of hope and expectation and concern. It’s a moment when you get to erase everything that’s irrelevant and ask the most elemental questions — about survival, family, children, legacy.”

- Siddhartha Mukherjee, author of the book: The Emperor of All Maladies: A Biography of Cancer

In November 2010, The Economist published “With hope, farewell fear: The long struggle to understand cancer.” It is said that when the good burghers of Amsterdam were first presented with a rhinoceros—armored, horned, three-toed, with a prehensile lip—spectators shook their heads in disbelief. Cancer provokes a similar bafflement. So protean are its forms and so varied its features that even specialist prognoses of aggressiveness, invasion and response to treatment have typically generated more exceptions than rules. Apparently, identical cancers in two patients may behave so unlike as to appear utterly different diseases. Siddhartha Mukherjee’s “The Emperor of All Maladies” tells of the search for a “unifying theory” of cancer, the common attribute of all types of malignant cell growth that might reveal its cure. The arc of this rich and engrossing book matches Mr. Mukherjee’s personal evolution as an oncologist, beginning on the first day of his hospital residency. It seems that the diversity of this implacable, shape-shifting foe will defeat him. He is faced with dead-end discoveries, therapeutic disasters and revelations that lead only to more mysteries. But with the perceptiveness and patience of a true scientist he begins to weave these individual threads into a coherent and engrossing narrative.

“If there's a seminal discovery in oncology in the last 20 years, it's that idea that cancer genes are often mutated versions of normal genes. And the arrival of that moment really sent a chill down the spine of cancer biologists. Because here we were hoping that cancer would turn out to be some kind of exogenous event — a virus or something that could then be removed from our environment and our bodies and we could be rid of it — but as it turns out, cancer genes are sitting inside each and every one of our chromosomes, waiting to be corrupted or activated.”

- Siddhartha Mukherjee, author of the book: The Emperor of All Maladies: A Biography of Cancer

Dan Charnas: The Big Payback: The History of the Business of Hip-Hop

In December 2010, an NPR Staff writer wrote, “How Hip0Hop Became a Cash Machine” for the show, All Things Considered. Thirty years ago, hip-hop was background noise at small house parties in Harlem and the South Bronx. Now, it's a multibillion-dollar empire. A new book, The Big Payback: The History of the Business of Hip-Hop, tells the story of the genre's humble beginnings — from one person behind a few turntables and a microphone — and how it morphed into a way of life, with designer clothing lines, political movements and vast wealth. But in the early days of rap, a lot of the money stayed with the label owners, not with the musicians. Charnas notes that some hip-hop dignitaries railed against "how onerous recording contracts were and how tilted the relationship was between artists and record companies."

“Sometime in the middle to the end of the last decade, BusinessWeek estimated that the hip-hop business had grown to, on the music side, about $1 billion a year, and on the fashion side, $2 billion a year.”

- Dan Charnas, author of The Big Payback: The History of the Business of Hip-Hop

“For the first time, black artists were really not only embracing but insisting on their own self-worth.”

- Dan Charnas, author of The Big Payback: The History of the Business of Hip-Hop

In December 2010, Jim Farber wrote “'The Big Payback: The History of the Business of Hip-Hop' by Dan Charnas follows the money” for the New York Daily News. The story of hip hop has been told from many points of view, but never from those who've had the strongest power over its destiny. That would be the corporate backers and entrepreneurial enablers, those market forces that finessed a street trend from New York's most embattled neighborhoods into a global phenomenon. Dan Charnas has done a real service to pop history by following the money -- a pursuit which ultimately tells a far larger tale: In hip hop, it seems, cash isn't just a matter of bling. It's the currency that gave this once outsider art -- and by extension, a marginalized race -- a louder, clearer and more important voice all over the world.

“I think Sugar Hill saw themselves as riding out a fad. I don't think they had any particular belief that this was a powerful culture that had staying power. We'd just come off of the disco era, which turned out to be very, very short-lived, and I'm sure that a lot of people, including Sylvia and Joe Robinson, thought that the same would happen to this rap stuff. The difference was that Russell Simmons did not like the records that Sugar Hill was turning out because they didn't sound to him like the hip-hop that lived in the streets and the parks and the clubs, which was very raw, very beat-oriented, and didn't sound like disco at all. And so Russell Simmons' key innovation, when he made Run-D.M.C.'s first record, was to basically order his producer-partner Larry Smith to take out all the music. 'I just want to hear a beat,' he said.”

- Dan Charnas, author of The Big Payback: The History of the Business of Hip-Hop

The Rise and Fall of Information Empires from KERA's Think Podcast

[2010-12-13 12:00:00] Who actually owns the internet and all the information that flows freely on the world-wide-web? We'll explore issues surrounding net neutrality this hour with Tim Wu, the Columbia Law Professor and policy advocate who coined the term. His new book is "The Master Switch: The Rise and Fall of Information Empires" (Knopf, 2010).

Download the podcast here. See also: Who Controls the Internet?: Illusions of a Borderless World