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The significance of being portuguese in the context of personal achievements and choices, as portrayed in the experiences of an individual named anna b. The text delves into the various phases of portuguese immigration to canada and the societal challenges faced by immigrants. It also highlights the role of a chilean filmmaker, marilu mallet, in documenting the social integration of a portuguese family in quebec.
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Onesimo Teot6nio Almeida, Brown University
Nancy T. Baden, California State Univ., Fullerton
Francisco Fagundes, Univ.Massachusetts, Amherst Jose Martins Garcia, Brown University Donaldo Macedo, Boston University Victor Pereira da Rosa, Universite d'OUawa Nelson H. Vieira, Brown University
Alice Clemente, Smith College Eduardo Mayone Dias, Univ. California, Los Angeles Manuel da Costa Fontes, Kent State University George Monteiro, Brown University Geral Moser, Penn. State University Mario J. B. Raposo, Universidade de Lisboa Raymond Sayers, University of Wisconsin Frederick Williams, Univ. California, Santa Barbara
Jose Francisco Costa, Brown University Luis de Miranda Correia, Brown University Rogerio Silva, Brown University
Govea-Brown is published twice a year by Gavea-Brown Publications sponsored by the Center for Portuguese and Brazilian Studies, Brown University. Manuscripts on Portuguese-American letters and/or studies are welcome, as well as original creative writing. All submissions should be accompanied by a self-addressed stamped envelope to
Editor, Govea-Brown Center for Portuguese and Brazilian Studies Box 0, Brown University Providence, R.I. 02912
Capa de Rogerio Silva
Documentos/Documents
John Dos Passos: New Portuguese Letters........ .... ...... ..... ....... ......... 123 George Monteiro "Nha" Belmira Nunes Lopes - Some Memories of a Cape Verdean- American............................. ............................................. 127 Maria Luisa Nunes
Poesia/Poetry
Cinco Quadras ...................................... "'................................... 131 Joao Teixeira de Medeiros Gringo ......................................................................... ,........... 132 Manuel L. Ponte Torna-Viagem .......................................................................... 133 Jose Francisco Costa
Arte/Art
Colagem............. ;.................................................................... 134
. Rogerio Silva
Con to/Short Story
o Cao Catolico..................................... :................................... 136 Urbino de San-Payo
Recensoes Criticas/Book Reviews
Grace M. Anderson and David Higgs, A Future to Inherit........... ........ 140 Ann B. Denis Hans Howard Leder, Cultural Persistence in a Portuguese-American
Eugene L. Mendonsa
Gilbert Cavaco
Barton Levi St. Armand
Edgar C. Knowlton, Jr.
Community................................................... ..................... 142
Leo Pap, The Portuguese Americans.............................................. 144
Thomas J. Braga, Portingales....................................................... 146
John Henry Felix and Peter S. Senecal, The Portuguese in Hawaii......... 147
Cinema/Cinema
Les Borges, de Maribu Mallet....................................................... 148 Victor'fyf. Pereira da Rosa
A PORTFOLIO:
On doing scientific research,
Anna Brito, and June Goodfield's
An Imagined World
Editorial Note
How does a portfolio on scientific research fit the aims and purposes of a journal devoted to Portuguese-American literature and scholarship? This question would seem to be the most natural question to come to any of our readers' minds. Our answer: because Anna Brito, a Portuguese immunologist doing research in America, happens to have been June Goodfield's choice as subject for an account of the everyday life of a scientist. Goodfield, a writer sociologist who followed Anna Brito closely for almost five years, has pro duced a marvelous portrait of a' person who though engaged passionately in science, appears as a rather remarkable human being who happens to be a woman, a scientist, a Portuguese native, a creative artist with a broad interest in human issues, and, particularly, a poet. An Imagined World was and is still being reviewed extensively in publica
Supplement and the New York Times Book Review, to the Village Voice, 1 Ms. magazine,2 and the Wall Street Journal.3 Many have compared the book favorably with James Watson's The Double- Helix, and there has been expressed almost unanimous empathy with Anna Brito, the principal subject of the book. Other reviews will undoubtedly follow in professional journals in the sociology of science, the social sciences and related fields, but Govea Brown wants to bring out still more of her. Beyond the creative scientist, we seek to uncover something more of the accomplished artist, the poet, the woman, the native Portuguese in a foreign land.
EDITORIAL NOTE 77
these closed houses these chestnut trees these white walls these dark church towers these people the people we are and are no longer this constant leaving this land we come from and can only visit thi3 being and not being these good byes my Father crying
Oh, John the hurting the hurting of this, our chosing.^8
The attentive reader will notice that there seem to be two Annas: one Por tuguese (Ana), another English (Anna). Two hetenonyms? One jam, a second , marmalade? Fernando Pessoa, the great Portuguese poet, who spun himself out in a series of heteronyms, looms large among her intellectual companions. Gdvea-Brown decided to enrich this portfolio on scientific research with essays on Goodfield's book from three points of view: those of the philosopher of science, the biologist, and the sociologist of science. Since it was decided to print each contribution in its original language, the full ap preciation of the portfolio remains reserved to those readers who are bilingual in Portuguese and English. The cartoon hero Dennis the Menace once said that a "bilingual" is someone who can say the same thing twice and you only understand it once. The rule not to translate is Gdvea-Brown's. It has not been enforced to add to "the mystery of Anna Brito." M. F. Perutz fears for the romantic, idealistic, and poetic mind of Anna Brito. Obviously, since she does not fit his "respectable" view of the scientist, he misses the importance of her womanhood (a strong factor in her behavior, even if she does deny gender to imagination, as she appears to do in the poem which opens this portfolio) and of her identity as a Southern European, a Por tuguese, an artist, and a poet. In today's scientific world "Anna of the Spirits," as the reviewer and biochemist Candace Pert calls her, is a welcome denial of the stereotype. And it is this Anna, the inspirational subject of An Imagined World, that Gdvea-Brown is pleased to present here in depth and in multi-dimension.
O.T.A.
Notes
1 Vol. 26 (April 1981), p. 38. 2 Vol. 10 (July 1981), p. 28"
78 O.T.A.
3 Vol. 197 (May 26, 1981), p. 32, and Vol. 198 (Dec. 2, 1981), p. 28. 4 Candace Pert, "Anna of the Spirits," Science 81, Vol. 2 (March 1981), pp. 110-113. S Who would have guessed it? Nobel laureate M. F. Perutz, who finds her naive and romantic for a scientist, would be the first one surprised at her inclusion of the great craftsman, the anti romantic Hindermith. in her list of musical preferences. See his review of An Imagined World, "Iron Lady," London Review of Books (September 17-30, 1981), pp. 8·9. 6 This issue, pp. HO, and 108.
7 The expression is quoted from the navigational diary of Pero Lopes de Sousa (lS3()"IS32), an explorer of Brazilian rivers and·colonizer.
8 Original Portuguese in this issue, p.I20.
80 ANNA BRITO
For only a few among all male and female creatures carry wombs on their shoulders and their words, unlike their cells, shall shed no telling antigens shall hear no visible chromosomes, their words like their thoughts shall keep multiplying helplessly into poem into prose at dawn at night behind drawn curtains in the bath in the bed waiting for the bus watching the bank managers and the ways of other devourers
multiplying helplessly into theories we all shall share for the most part, unaware, until the day, in nuclear horror, we all shall die; words forever silenced chromosomes forever damaged a few intact molecules scattered perhaps among ashed bones holding on to futile telephones.
March, S
The Mystery of Anna Brito
Most people these days know about science only through its products. Some of them are the gadgets we use without understanding how or why they work. Others are the theories we read about in textbooks and popular magazines without understanding how or why they were created. Behind the products, almost invisible, are their producers, the scientists, remote figures in white coats. In the popular imagination, they tend to be seen through stereotypes and regarded with ambivalence. Like Dr. Frankenstein, they seem to be both creators on a grand scale and transgressors against a sacred order. Contemporary biologists, probing the secrets of life and death, are particularly likely to evoke responses of awe mingled with fear. In reality, of course, a scientist's life and work are at once more humdrum and more interesting than the mythological imagery suggests. Such things ought to be better understood, and it is to June Goodfield's credit that she has attempted in several books to aid our comprehension of how science gets done now. A sense of what contemporary biological research work means to those who engage in it is what Goodfield tries to capture in a fascinating new book called An Imagined World: A Story o/Scientific Discovery.} In order to write this book, Goodfield spent five years observing close up the trials and tri umphs of a ,ingle research group directed by a biologist, called 'Anna Brito' in the book to preserve her anonymity. One gets the impression that Goodfield and Brito began by liking one another and developed a great deal of mutual respect, trust and admiration over the years. This enabled Goodfield to obtain tapes and letters which tell a fascinating story about a process of scientific discovery and reveal an impressive amount about the thoughts and feelings of an unusually creative scientist..
THE MYSTERY OF ANNA BRITO 83
the rewards of making a scientific discovery, she exclaims: "The mystery. When you do an experimentg that proves your point. That is the orgasmic mo ment. It is an exciting and most intimate moment" (p. 230). In short, Brito's scientific work seems to evoke in her the mixture of enthusiasm, joy, anxiety and frustration that typically characterizes the inner lives of creative people in all walks of life. If Goodfield had been able to show us no more than this, she would still have drawn for us a picture of science being done with a human face. But in many ways Anna Brito is not a typical scientist, and perhaps the most fascinating aspect of Goodfield's story is what it tells us about what makes Brito special. She was born and raised in Salazar's Portugal. By the time she studied geometry in secondary school, she had already developed a passion for scientific thinking. She exclaims: "That lot, on those Greek islands, who invented the triangles and spent all those years ... just thinking'" (p. 8). Since earning a medical degree, she has had to live away from Portugal, in Britain and the United States, in order to have the opportunity to do biological research on the frontiers of science. She shows signs of having an unusually sharp and vivid visual sense, which must have something to do with her success in making scientifically fruitful observations; her first scientific discovery was the result of looking through a microscope with a fresh eye and seeing something nobody had noticed before. Throughout the book she is quoted as illustrating points with apt references to works of visual art by such people as Henry Moore (p. 14), Max Ernst (p. 39), Salvador Dali (p.39). Whistler (p. 54), Renoir (p. 60) and Picasso (p. 232) as well as to striking natural scenes such as the forms of flat black stones on the top of a mountain in Province (p. 70) and the clarity of whitewashed houses and blue skies in St. Barbara de Nexe (p. 150). Sharp sight and the ability to transform what is seen into food for thought shapes both her scientific work and her more general reflections on science and culture. These general reflections are articulate, wit ty, sometimes astringent, and usually insightful; they are also illuminated by frequent allusions to music, poetry and theater. Here we see the thoughts of no narrow specialist but of a capacious mind at home in a variety of cultural forms. Yet, beneath all this, one catches glimpses of pain and of regret at oppor tunities foregone and sacrifices made. One reviewer describes her as a woman scientist of the old school for whom the laboratory "is her cloister; her voca tion, like that of a nun, is all consuming," and speculates that her Iberian heritage, "where, for a woman, a religious vocation was one of the few accep ulble alternatives to marriage," accounts in part of this.^2 I, however, sense something darker and more troubling implicit in the way Brito talks about herself. Describing her scientific training in England, she says: "It is like sculpture. The scientist I am^ today has been carved down from the person I was. Cut, cut, cut; all the extraneous mess cut right away" (p. 29). Images of amputation and, perhaps, mutilation come immediately to mind. Brito tries to
84 PHILIP L. QUINN
characterize the disparity between how she appears to others and how she sees herself in this fashion: "I am a young face in a young body in a young form, laughing and happy all the time. But really I'm an old woman inside, old from so many experiences. I still resonate to the' purity. and the clarity. I'm a mathematical formula, and I long to die" (p. 149). Apparently there is a wound here so painful that at times death seems an attractive way out. Some passages hint at sexual troubles: "The longing is vaginal and naked. Saying, like Anne Sayre, that Rosalind Franklin's sacrifice was not to have children. Rubbish!" (p. 65). Others suggest more general emotional difficulties: "There is no time or space in this city for emotion that paralyzes, for emotion that hurts. No time for ecstasy, just not time orspace in this city" (p. 152). These motifs are, perhaps, best woven together in this interchange between Brito and Goodfield:
"You know I've spoken a great deal about making love and making understanding. Well, now I really know the difference. Love is light, warmth, and com fort. Understanding is just light." "I could never be a scientist," I told her. "Why not?" "Because I don't have the inner strength. I need warmth". "I am glad you said that. I'm glad you recognize the problem for what it is" (p. 148).
The sense of loss and sacrifice communicated in this fragment of conver sation is almost palpable. But what exactly was the sacrifice? Here stands revealed the mystery of Anna Brito. One reviewer is uncomfortable with the revelation. He says: "The curtain is parted and the reader has a sense of being a voyeur, learning things that should only be revealed to friends or in some cases only to the self."3 I disagree. Though it must have required courage and trust on Brito's part to open herself up to Goodfield in th~s manner and to allow the result to go into print, the mystery is treated with delicacy and reserve. I am not inclined to cheapen it by applying the categories of psychological or sociological theories in the vain and vulgar hope that they could produce in me a better understan ding of Brito's predicament than she herself has and expresses. But I think we have here a striking and singular biographical example of what a scientific vocation may demand from a person and of the price a person may willingly pay to satisfy the passion for doing scientific work. And surely Brito would be right to suppose we could not really understand her life in science unless we were allowed some glimpse like this into its deeper and darker human dimen sions.
An Imagined World: A Sociological
Perspective
"To raise new questions, new possibilities, to regard old problems from a new angle requires creative imagina tion and marks real advances in science." Albert Einstein
Frances Cook Macgregor
An Imagined World is not a story of the glamor of scientific discovery. It is one of the endless hours, days, months and even years of laborious and meticulous work, of loneliness, self-doubt, and discouragement, of false starts, repetitions of experiments and dead ends, of occasional moments of high excitement, of the skepticism of one's peers, that so often characterize the search for answers to complex questions. In the case of Anna Brito, a scientist at work, whom June Goodfield follows in this book, the search was for answers to the questions how and why cells of the lymph system go around and how this relates to cancer in human beings. The focus of attention in this story is on the process of scientific research. But, as it turns out, the process was in the hands of a person singularly gifted with creative imagination. When Goodfield selected a scientist to follow in order to describe the "process" of scientific research, she did not know (nor probably did Anna Brito) that it would also include rare insights into the dimensions of creativity. In addition, it would demonstrate the difference between the average artisans of research and the creative scientist - a difference that, among many other elements, is the ability to make sense of a phenomenon by asking the right questions; by finding a problem, rather than engaging in problem solving. This is what Anna Brito did. About the immuno-deficiency in Hodgkin's disease on which she was working, she asks: "Where do the white blood cells go?" And later, with an intiuitive leap, she connects aspects others had assum ed to be unconnected and asks: "What is the relationship of iron to cells of the lymph system?"
AN IMAGINED WORLD: A SOCIOLOGICAL PERSPECflVE 87
Those concerned with the personality characteristics of creative scientists will find in Anna Brito many of the ingredients that go into the making of a creative mind. For example: a searching curiosity, the capacity to be puzzled by the obvious, originality, motivation and the passionate desire to solve a problem, innovativeness, nonconformity, perseverance, independence with respect to cognition and judgement, and intellectual and emotional commit ment. While these are the "givens" for the creative scientist and in turn for the scientific process and the product, there is yet a fourth dimension - the exter nal or situational factors that are strongly correlated with fostering or hinder ing creativity. Although these latter are not major concerns of this book, we nevertheless are able to see in microcosm, for the one who is peculiarly gifted, something of the precarious nature of pursuing science in our society today. For the most part, medical research in our country is conducted in ins titutional and bureaucratic settings and largely funded by federal government and private agencies. Although a good deal of lip service is given to promoting creativity; the individual with exceptional talents is faced with requirements and constraints that frequently do more to impede than to promote his or her work. There are, for instance, the demands for quick results and impatience with long-term projects. Energies are diverted to meet the institution's pressures for findings and publications, with quantity the measure of achieve ment rather than quality. And in the struggle to do one's work, there are the administrative and teaching duties, the endless task of writing grant proposals to support the research and the disruptive effects on productivity and morale generated by changes in directors or administrators, accompanied as they fre quently are by new directives, new philosophies, new staffs, and spatial rear rangements. But the overriding sense of insecurity and anxiety of all, is the matter of funding. This is, as Brito observed, the "Sword of Damacles." For, unless grant proposals are prepared, submitted, and funded, neither laboratory, staff, nor work can be maintained, no matter how close to a breakthrough one might be. Although the problem of funding for research is a common one for scientists, for the creative investigator who needs the freedom to pursue original and daring ideas obtaining grants is especially difficutl. Most granting agencies, goverment ones in particular, are wary of taking what they consider as chances especially on one who, because he/she is'creative, does not fit solidly into the mainstream of investigators and whose ideas seem, as they did to some of Pasteur's and Einstein's contemporaries, to be quite mad. Indeed, to avoid risk-taking, most agencies require of applicants that in their grant ap plications they clearly outline, in advance, not only the research problem, but the expected outcome as well. For the creative scientist this is an impediment of major proportions for, if work is to be creative, it can neither be predeter mined nor guided by precise foresights. Moreover, to advance knowledge, there must be room to explore, to be puzzled by the unexpected, and to follow
AN IMAGINED WORLD: A SOCIOLOGICAL PERSPECTIVE 89
vides little or no opportunity for the discovery or development of those who might be creative. Despite these strictures, I had observed that in almost every class there were a few atypical students who manifested some of the characteristics of an imaginative and research-minded person. They were analytically minded, more preoccupied with ideas and temperamentally more suited to dealing with these than working at the bedside. They were the students who questioned policies, annoyed instructors by asking "why?", and who dared to suggest alternatives to established procedures. I noted also that, by the time they were graduated or had spent a few years in practice, whatever enthusiasm and capacity they may' have had for independent and original thinking had either become muted or entirely dissipated. Whether they remained in nursing or left it, nursing was the loser. Working on the premise that what was crucial for needed breakthroughs in medicine and nursing is the early identification and training of the excep tional student, I proposed and eventually conducted, an experimental program having two main objectives: to devise (1) ways of identifying those senior students who might have creative imagination and the potential for scientific research, and (2) methods by which this potential might be systematically developed. Initially this proposal was met with less than enthusiasm by ad ministrators, faculty and the granting agency, l^ the major reason being that such selection and training were more appropriate for graduate nurses of greater maturity and experience and "post-masters" students. But this, I pro tested, might be too late for the unlearning of old and prescientific patterns of thinking after years of training and practice in the cultivation of a therapeutic approach. As for the immaturity of the students, the history of scientific creativity is replete with examples of youthful achievers: Galileo, 18, when he developed the pendulum; Pascal, 16 when he wrote of conic sections; Jenner, 19 when he first considered the scientific possibilities concerning cowpox.^2 Nor, coming down to the present time, was it by chance that the modal age at which eminent social, biological, and physical scientists decided on science as a career was during the last two years of college.^3 It is neither the purpose nor within the scope of this paper to describe the project which has conducted for four consecutive years with a total of 19 students.^4 It is enough to point out that the results more than justified our time and efforts. But more important, the records of achievement since then, e.g. Ph.D.s, university professorships, inventions and publications have been pro of positive that by being alert to, and encouraging the young among us who are creative, society has much to gain. But society also has an obligation: to see to it that the working scientists, such as Anna Brito, who may seem visionary and impractical and to some even "crazy" are neither consciously nor un consciously oppressed, else what sparks or untrammelled thoughts may be in their minds may never come to light.
90 FRANCES^ COOK^ MACGREGOR
Not e s
I American Nurses Foundation 2 Camac, C.N.B., ed. Classics of Medicine and Surgery. New York, Dover Publications,
3 Roe, Anne. "A Psychological Study of Eminent Psychologists and Anthropologists and a Comparison with Biologial and Physical Scientists." In Social Structure and Personality: A Casebook. Yehudi A. Cohen. New York, Holt, Rinehart and Winston, 1961. p. 220.
4 This may be found in detail in Macgregor, Frances Cooke, "Research Potential in Col legiate Nursing Students; Developing a Research Attitude and Creative Imagination A Preliminary Report," Nursing Research 13:3 Summer 1964, pp. 259-264 from which I have drawn for this discussion. For more details of the results of the project see Macgregor, Frances Cooke, "Talent Salvage in Nursing: Report of an Experiment, Nursing Outlook, August 1968, pp. 33-37.