{"id":1906,"date":"2019-10-22T17:54:08","date_gmt":"2019-10-22T17:54:08","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2019\/10\/22\/singular-moments-timeless-questions\/"},"modified":"2024-03-05T16:20:12","modified_gmt":"2024-03-05T16:20:12","slug":"singular-moments-timeless-questions","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2019\/10\/22\/singular-moments-timeless-questions\/","title":{"rendered":"Singular moments, timeless questions"},"content":{"rendered":" \n
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\n S<\/span>unday, December 28, 1986. An ordinary day, much like any other. Except in two operating rooms at Fairfax Hospital in suburban Virginia, where something extraordinary was about to happen.

In one lay a young man, his body split from neck to groin. There was a single bullet wound in his forehead. His name was Mark Willey. He was 19 and had murdered his girlfriend, Karen Ermert, who had rejected him, and then aimed a single .22-caliber rifle at the center of his forehead and pulled the trigger. He was dead, but his young heart beat on, powered by the “whoosh-gasp” of a \u00a0ventilator.

In another room, 30 yards away, lay Eva Baisey, a 20-year-old nursing student, alive but barely, sickened by an ailing heart so weak that it took her nearly an hour to walk a block and a half.

Gathered in these two rooms was a squadron of doctors, nurses and technicians who had been training on corpses for two years to prepare for a night they couldn\u2019t schedule. Now that night had arrived, and they would replace Eva Baisey\u2019s dying heart with the vibrant muscle still beating in Mark Willey\u2019s exposed chest.

This is the scenario depicted in \u201cThe Beating Heart,\u201d<\/a> a riveting narrative by Washington Post columnist Gene Weingarten<\/a>, published in the Post magazine on Sept. 30. It chronicles in exquisite and sometimes excruciating detail a still-rare heart transplant operation that occurred more than 30 years ago \u2014 a procedure that would save Eva Baisey\u2019s life, catapult the careers of two cardiac surgeons and expose dark truths about what Weingarten calls the \u201cabominable crime\u201d that brought this unlikely cast together.

I<\/span>n 2013, Weingarten had asked three strangers to randomly pull pieces of paper from his fedora. The paper strips held months, days and years. The three handed back to Weingarten: December. 28. 1986.

Weingarten had set himself a seemingly impossible task: He would find extraordinary stories that happened that single day across America. Consider the particular challenges of the date: a Sunday in a holiday week, when most institutional events are suspended. And more than a decade before Google, which meant the hunt for events had to be done the old-fashioned way.\u00a0 Or, as Weingarten writes in the introduction to his magazine piece: “Bad day, bad week, bad year.”

Yet \u201cThe Beating Heart\u201d is just one of dozens of stories he found.

\"\"<\/a>Weingarten is unapologetic about calling the idea a “stunt.” But if anyone had the chance to pull off this stunt, it was him; he’s the only person to win the Pulitzer Prize for feature writing twice. For \u201cPearls Before Breakfast,\u201d<\/a> published in 2007, Weingarten persuaded world-class violinist Joshua Bell to serenade rush-hour commuters at a D.C. subway station, then wrote about what happened. Two years later, he won his second Pulitzer for \u201cFatal Distraction,\u201d<\/a> the wrenching profiles of two different parents whose children died when they were left unattended in their cars for several hours \u2014 one in blistering heat and one in the March chill.

In both cases, Weingarten uses specific events to explore profound questions: Have harried, overworked Americans lost their ability to notice beauty? And what is the line between an unforgivable crime and a horrifying mistake?

\u201cThe Beating Heart\u201d is \u00a0excerpted from Weingarten\u2019s new book, \u201cOne Day: The Extraordinary Story of an Ordinary 24 Hours in America,\u201d<\/a> (published this week by Blue Rider Press). In that work, too, Weingarten uses specific, often small, events, to explore a timeless and eternal question. In this case, he says, he wonders \u201cwhether, in the insistent gyre of human experience, there even is <\/em>such a thing as \u2018an ordinary day.\u2019\u201d

W<\/span>eingarten\u2019s inventiveness and empathy are manifest in \u201cThe Beating Heart.\u201d It describes the tragic equation that links a murder-suicide to a young and poor single mother who became, surprisingly, one of the longest-living transplant patients on Earth. The narrative is discursive, circling back and forth from personal to medical history, around time and place and unforgettable major and minor characters, but never dizzying the reader. Weingarten is always in complete control, juggling multiple facets of his story without ever dropping one.

The resulting narrative is as elegant as it is intense: 11,000 words built along the spine of the hours-long operation to remove Willey\u2019s heart and sew it into Baisey\u2019s chest.

Weingarten is as knowing about the surgery and the history of heart transplant surgery as he is about the obsessive personality of Willey, who, faced with rejection, kills his girlfriend and then himself. For that part of the story, Weingarten draws on recollections from the girlfriend\u2019s mother and a cache of Willey\u2019s increasingly disturbed letters. To help lay readers understand the medical journey both patients and doctors are on, he wields metaphors and analogies like a deft scalpel.

We reached out by email to Weingarten to learn more about the origin of his book, the structure of \u201cThe Beating Heart\u201d and the role of his editor. It has been\u00a0 edited for clarity.

W<\/span>here did the idea for the book, \u201cOne Day,\u201d come from?
<\/strong>Desperation, mostly. I was casting around for an idea for a book, and sent an email to Tom Shroder<\/a>, my editor at the Post. It said, in its entirety: \u201cI wonder what happened on May 17, 1957.\u201d He called me a second later, and said, \u201cThat\u2019s a good idea.\u201d It wasn\u2019t. It took me four years longer than I had anticipated and nearly killed me from stress. (Editor’s note: May 17, 1957, was just a random date that popped into Weingarten’s head. Shroder’s response led to his quest for a truly random date, selected out of a hat by strangers, which led to his book.)

Why did you embark on this seemingly impossible reporting journey?\u00a0<\/strong>
I loved the conceit \u2014 that there is power in the ordinary, and sometimes extraordinary power \u2014 if you dig deeply. In essence, that there is no such thing as ordinary. It was a stunt, at its heart, but I love stunts.

How did you find all the characters for your story \u201cThe Beating Heart\u201d some 30 years after the fact? Was it difficult?
<\/strong>Not really. I first connected with the surgeon, Ed Lefrak, who put me in touch with most other people. The hardest interview was Ursula Ermert, the mother of the murdered young woman. I hated to make her relive this. The hardest person to find was Rich Lieb (a friend whom Karen had reached out to romantically as she was leaving Mark). I found him in the police report. Ursula hadn\u2019t even known of him; that her daughter had found a new love in the final days, and that it was related, tragically, to her death.

How did you determine the structure of \u201cThe Beating Heart? Did you consider other approaches and if so, why did you abandon them?<\/strong>
The structure of that story was determined by the structure of the larger book. The book is sequential, starting at the beginning of the day, and moving forward. But the concept was moving back and forward in time \u2014 sort of literally adding a fourth dimension to the narrative.

\u201cThe Beating Heart\u201d is about more than a murder-suicide, an operation and the people involved. It is also about the history of heart transplantation, told through the prism of one donor and one recipient. Was that deliberate?<\/strong>
Sure. I wanted the greatest breadth possible to the storytelling.

How long did you spend reporting this story?
<\/strong>This was the first story I did.\u00a0Took roughly six months.\u00a0 There are 19 more stories in the book, some equally complex.

What other work were you doing while reporting and writing the book?
<\/strong>My regular humor column in the magazine, mostly. Also a weekly chat.

The story brims with the confidence of a veteran storyteller. How did your work as a columnist influence the writing of the story?
<\/strong>Only in the sense that being able to try for humor regularly kind of underwrites the ability to bury myself in tragedy.\u00a0If I ONLY did stories on babies who die in cars or women killed by their boyfriends, I\u2019d be a melancholic, like Raskolnikov.

Walt Harrington<\/a> once said memory is a sieve.\u00a0 How can you be confident that your sources\u2019 memories were accurate?
<\/strong>I was constantly testing memories against other memories, against documents, et cetera.\u00a0At times I had to try to decide among slightly different accounts, based on what seemed most likely to me.

Who edited the story and what influence did they have?
<\/strong>Shroder. He wrote the final two sentences, the lines everyone is talking about. I hate him.

(EDITOR’S NOTE: Those two sentences, by the way? No spoiler here. Read the story,<\/a>\u00a0with this caveat: It contains some graphic descriptions of the murder scene and the surgery.)

 

 

 

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