Points Bookshelf: “Bottle of Lies” by Katherine Eban

Editor’s Note:  Today’s post comes from contributing editor Brooks Hudson, a PhD student in history at Southern Illinois University. As part of our Points Bookshelf series, he reviews Bottle of Lies: The Inside Story of the Generic Drug Boom (Ecco, 2019). 

Screenshot 2019-08-07 at 4.49.07 PMKatherine Eban previews Bottle of Lies: The Inside Story of the Generic Drug Boom with shocking statistics on the state of pharmaceuticals: “Roughly 40 percent of our generic drugs are manufactured in India. A full 80 percent of the active ingredients in all our drugs, whether brand-name or generic, are made in India and China.” China is the sole source for many of America’s essential medicines, including those used in anesthesia and the treatment of cancer and HIV/AIDS. It is the world’s only source for antibiotics. One drug importer explained to her that “without products from overseas, not a single drug could be made.” 

Bottle of Lies’s popularity and positive press stems from Eban asking what appears, at first blush, to be a naïve set of questions: What are generic drugs? How are they made? Where are they made? And what are the consequences? If you surveyed the American people’s knowledge of what a generic drug is, they would probably say something to the effect of “generic drugs are the cheaper version of the name-brand.” “Patients” Eban writes, “tend to assume that their generic drugs are identical to brand-name drugs in part because they imagine a simple and amicable process: as a patent expires, the brand-name company turns over its recipe, and a generic company makes the same drug, but at a fraction of the cost.”

It doesn’t happen this way. Instead companies, “erect a fortress of patents around their drugs, sometimes patenting each manufacturing step—even the time-release mechanism, if there is one. At any point, they can tweak a drug “declare it new, to add years to their patents, a move known as ‘evergreening.’” Whatever generics hit the market, they arrived there “not with help from brand-name drug companies, but in spite of their efforts to stop them.”

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Fiction Points: Sarah Stone

stoneSarah Stone is the author of the novels The True Sources of the Nile (Doubleday 2002) and Hungry Ghost Theater (WTAW Press 2018). She co-edited with Ron Nyren, her spouse and writing partner, two instructional fiction-writing texts. Stone holds an MFA from the University of Michigan and teaches creative writing in the Warren Wilson MFA Program for Writers and Stanford Continuing Studies. She has received fellowships from the Bread Loaf and Sewanee writers’ conferences. Her writing has appeared in the Believer, the Millions, Ploughshares, the San Francisco Chronicle, and elsewhere.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

I love that these nuns and this penguin are out on the town. I want to hear all about them and how they got here. Once they tell me their story, if they insist on hearing about my work, I might tell them I write about family, about artists and activists, about people who want to save the world but get in their own and each others’ ways, about the construction of identity, about mental illness and addictions of various kinds. My newest novel, Hungry Ghost Theater, has four generations of a half-Jewish family wrestling with these questions. The book has multiple pieces that move around in time and place, from San Francisco to Seoul, from theater spaces to psychiatric hospitals, from Zanzibar to the Santa Cruz Mountains, and into and through a series of Sumerian and Tibetan hells. It’s the first book of a trilogy – I’m currently working back and forth between the other two books. I would love to talk to the nuns and the penguin about the ineffable and actual, animals and humans, and how they conceive of reality.

Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?

The mixture of self-awareness and self-deception in addicts and alcoholics and in everyone around them. A lot of the psychological mechanisms of alcohol and drug addiction show up in my fiction among characters who know their own vulnerabilities but are also full of denial. They’re honest with each other and also deceptive and self-deceiving. They’re idealists, artists, activists, scientists – they wrestle with their addictions but aren’t defined by their addictions. There’s much more to them than their weaknesses. I’m especially interested in the predicaments of those who are self aware but vulnerable to the emergence of self-destructive selves, pleasure-or-oblivion-seeking selves. And therefore vulnerable to relapse, despite all their knowledge. 

What led you to write about drugs and alcohol in the first place?

Family history, as with so many other writers. Addiction, both drug and alcohol, moves down through the generations in predictable and sometimes unpredictable patterns. The mechanisms of addiction and codependence feel so common, but every person, and every family, has their own story, their own particular ways of living this out. One of my characters, a mother, is so tired of being the enabler. In her next life, she thinks, she’s going to be the perpetrator.


How would you describe the way that drugs function in your work, whether in terms of thematic concerns or the choices you make about how to craft a narrative? Do you think there are things that you wouldn’t be able to explore as successfully if drugs weren’t in your writing arsenal?

Although the language in my work tends to be clear and straightforward, the structures are often fragmented: a collage of different versions of the truth. Drugs and alcohol are only one manifestation of addictive living. Probably I wouldn’t see the world in this way if I came from a different family background. 

What do you personally find most interesting about how drugs work in your writing, and where do you see that interest leading you in future projects?

Hungry Ghost Theater moves among different kinds of addictive experience – the longing for drugs and resistance to those longings, the deceptive self-talk, the family member reassuring herself that she’s not looking at someone in the middle of a relapse. And it looks at the connection between altered experience and mental illness, from the way drug use can be self-medication for mental conditions to the long-term cognitive effects of substances. I especially like having a big range of perspectives. And there’s some question about the boundaries of reality and imagination. The book doesn’t completely vote on what’s real, what’s theater, what’s hallucination.


BONUS QUESTION: Let’s hope that Hungry Ghost Theater gets made into a major motion picture. If you have your choice, which is it, and what song do you fantasize about hearing as the credits roll?

The chapter I could most see as a movie is the one in which an affective neuroscientist and her lawyer/war historian husband go to Seoul to try to rescue their daughter from her newest meth relapse. It’s about the triangle between them, about what this episode (and all those that have come before) have done to their relationship, and about the difference between the lives we imagine for ourselves and those we actually live. Credits song: Björk’s “Human Behavior.”

Wanted: Author for New Title on Contemporary Debates Surrounding Legal and Illegal Drug Use

Editor’s Note: Today’s post is from Kevin Hillstrom, the Senior Acquisitions Editor for Government, Politics, and Issues at the publishing house ABC-CLIO. He’s looking for an author to work on a factual book about the debates surrounding legal and illegal drug use. This could be a great opportunity for an early career historian looking to get some publishing experience, or a more established historian hoping to correct some of the misinformation that’s always floating around. Hillstrom’s contact info is at the bottom of this post if you have any questions.

The ABC-CLIO reference publishing company is seeking a qualified scholar to author a “fact-check” book on illegal and legal drug use in America, past and present.

For more than 60 years, ABC-CLIO and its Praeger and Greenwood Press imprints have delivered award-winning collections of digital and print resources for secondary education, higher education, and public libraries. Our mission is to support educators and librarians in their work to foster 21st-century skills, independent critical thinking, and genuine exploration and understanding of the complex issues of our world—past, present, and future.

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Fiction Points: Jamie Beth Cohen

jamiebethcohenJamie Beth Cohen is the author of Wasted Pretty (Black Rose Writing 2019), a YA coming-of-age novel that explores growing up as a girl in a pre-#metoo era. Cohen earned a BFA in English from George Mason University and a master’s degree in higher education administration from City University of New York. Her work has appeared in the Baltimore Sun and Washington Post, at Teen Vogue, in the anthology Crossing Limits: African Americans and American Jews, and elsewhere. She lives in Lancaster County, PA.  

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

I’d probably quote my own bio and say, “I write about difficult things, but my friends think I’m funny!” Seems like a punchline to a joke, right? Hopefully they’d laugh, and if they let me expand, I’d explain that because I’m both a fiction writer and a non-fiction writer, I get to write about a wide range of topics I find interesting. My published non-fiction includes essays on parenting, feminism, Judaism, politics, end of life issues, and more. My published fiction generally centers on teens and twenty-somethings going through growing pains. My debut novel, Wasted Pretty, published by Black Rose Writing in April 2019, is the story of a sixteen-year-old girl who is noticed for her appearance for the first time and all the things that are exciting, annoying and, in her case, dangerous about that moment.

Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?

Alice, the main character in Wasted Pretty, is not a big drinker, but her best friend Meredith is. Meredith experiments with diet pills and recreational drugs as well. But Chris Thompson, the college guy Alice has a crush on is sober. He crashed and burned during his freshman year, largely due to excessive drinking, so he’s working hard to put himself back together. The more time Alice spends with Chris the more her friend’s substance use bothers her.

Also, Alice’s dad is a gambling addict in the throes of his addiction. There are interesting parallels and counterpoints between what Chris went through as a teenage alcoholic and how he’s handling it and what Alice’s dad is going through as an adult who does not have a handle on his addiction.

Additionally, in one scene, Alice wants to make a “bad” choice. She knows it’s wrong, but she’s determined to do it anyway, so she gets drunk, as if to have some plausible deniability after the fact. However, she’s not prepared for the reality that her bad decision has unintended and far-reaching consequences. Continue reading →

Chipping Away: Opioids, Autowork, and the UAW Yesterday and Today

Editor’s Note: Today’s post comes from one of our newest contributing editors, Dr. Jeremy Milloy. Milloy is the W. P. Bell Postdoctoral Fellow at Mount Allison University. A scholar of work, capitalism, addiction/substance use disorder, and violence, he began studying substance use and the workplace while researching his first book, Blood, Sweat, and Fear: Violence at Work in the North American Auto Industry, 1960-80, published in 2017 by the University of Illinois Press. His current book project investigates the historical relationship between work, capitalism, substance use, and recovery in Canada and the United States, considering how wage labor has influenced substance use, anti-addiction efforts focused on work, the creation of employee assistance programs, workaholism, drug testing, and methadone programs. You can reach Jeremy on Twitter (@jeremymilloy) or by email (jmilloy@mta.ca). And you can look forward to reading more of his work on Points!

Among the historian’s most valuable contributions is the knowledge that many current phenomena that seem new have actually been around for quite awhile. So it is with the current opioid crisis, which many have pointed out is a continuation of, not a departure from, longstanding trends in substance use and dependence in North American life. 

The automotive industry is a good example. Today, both the major North American automakers and the UAW have identified opioid-related harms as a significant threat to their workforce, membership, and communities. As journalist Jackie Charniga has shown, the U.S. areas dealing with the most severe opioid-related harms overlap with the areas of the Big Three’s major American manufacturing facilities. Ford and the UAW in 2017 started the Campaign of Hope, which aims to educate and inspire workers to avoid the misuse of drugs. The UAW is bargaining with the Big Three to make more help available for workers and make it easier to access that help while keeping their jobs. Unionists and Ford are even working together to pilot a medical device that could possibly relieve some of the agony of withdrawal. 

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Fiction Points: Sophia Shalmiyev

Sophia-Shalmiyev_c-Thomas-TealSophia Shalmiyev’s first book, Mother Winter (Simon & Schuster 2019), is a memoir of immigration and motherhood. She holds an MFA from Portland State University and a second master’s degree in creative arts therapy from the School of Visual Arts. Shalmiyev was born in the Soviet Union; emigrated from Leningrad to New York in 1990; and now resides in Portland, Oregon with her two children.

Two nuns and a penguin approach you at a bar, and you tell them you’re a writer. When they ask you what you write about, how do you answer?

I write about feminism across genres because closets, gag orders, hangers, boys’ clubs, and a fear of jogging in the park at night are still weapons used against us. Also, inconsolable loss.

Points is a blog primarily for drug and alcohol historians. What do you think this audience would find most interesting about your work?

That my mother was seen as a lost cause, especially because she was a woman with a familial history of alcohol abuse, and no one knew how to help her or have empathy for her plight. I have a line in my book where my father’s university professor back in the Soviet Union instructs him to steal me away from her and give up on his wife getting sober because of some made-up diagnosis called Stage II Severe Alcoholism in Woman. She was considered terminal. I am a product of that traumatic theft, but I also lived without the added chaos of addiction in my household. The violence, poverty, and emotional instability from my father was challenging enough.

What led you to write about drugs and alcohol in the first place?

First of all—a drunk girl is the biggest target for violence. The men who willfully and casually misuse their power will find the sloppy girl with falling lids and swoop in (and there is nothing wrong with being that girl, yet we are judged way more harshly for losing control). What if even one woman ever thought in such a predatory way about men? Not that it has to be that bad, because men just interrupting our fun when we are out and following us around and acting creepy because they hope our defenses are down is scary and a real drag, to say the least. The irony of taking a substance to get loose and forget your troubles only to find more of the same trouble in the form of sexual violence or even a coerced or manipulated experience is my nightmare.mother-winter-9781501193088_lg

I spent my twenties trying to get closer to my estranged mother by taking drugs and drinking to black out. I didn’t know how to survive being motherless and wondered if I am doomed to be just like her–so much of what we are told about addiction is that it is genetic–and, yet, I came through mostly all right somehow. It wasn’t my cross to drag on my back, it turned out, though I do tend to have problematic drinking from time to time.

How would you describe the way that drugs function in your work, whether in terms of thematic concerns or the choices you make about how to craft a narrative? Do you think there are things you wouldn’t be able to explore as successfully if drugs weren’t in your writing arsenal?

I do write in a feverish way, but with a lens trained on reconstruction and a posed, theatrically bratty tone around serious issues–no one with money actually cares that much about studying women’s health. Hahahaha. So, let us die, I guess. Our holes of mystery are vast when it comes to estrogen, socialized subordination, and emotional labor women perform and how that folds into substance abuse and recovery. I have this great insight, through never having to reject my mother because I was taken away from her, the shamed and shunned alcoholic, that allows me empathy and nuance. I often say that a useless woman is a dead woman. That’s a mother under the influence. She must heal herself through community and self reflection, which requires the luxury of alone time and the grace of a collective, but we insist that she shut up and be nice and take care of us instead, dammit. A useless man is a man waited on and soothed; his self-destruction is stoic or romantic. We [women] are garbage if we fail at being clean and come clean as good worker bees and maternal influences.

What do you personally find most interesting about how drugs function in your writing, and where do you see that interest leading you in future projects?

My interest in bringing to life discarded and desecrated bodies will keep being a thread in my next book, a novel called I Married the Butcher to Get to the Bone. Addiction is also about trying to mute the ringing bells of fight or flight so that one can feel peace and ease rather than an alarm going off at all times, screaming hold me. I am fragmented. I also see charm and sense of humor and the adventure my mother (and sometimes I) chased when drinking socially. I took drugs almost exclusively due to peer pressure–welcomed peer pressure. I wanted to bond at all costs, and I wanted to fall down a well in a pile of like-minded bodies with heads dangling.

BONUS QUESTION: Let’s hope that Mother Winter gets made into a major motion picture. If you have your choice, which is it, and what song do you fantasize about hearing as the credits roll?

X-Ray Spex, “Germ Free Adolescents

Points Interview: David Courtwright

Editor’s note: Points author interviews begin with a set question: Describe your book in terms your bartender could understand. David Courtwright said he preferred conversations with bartenders. He talked to his about The Age of Addiction: How Bad Habits Became Big Business (Belknap Press, 2019). 

Screenshot 2019-07-16 08.40.48Bartender: I hear you have a new book.

Courtwright: Just came out in May. I’ll have the draft IPA.

What’s the book about?

How addictions multiplied throughout human history. Even before civilization people discovered pleasurable drugs and pastimes like alcohol and gambling. They went on finding new ones. They traded, refined, manufactured, and digitized them to the point that we live in an age of addiction. Think about it. When you heard the word “addiction” forty years ago, what came to mind? 

Drugs. Heroin. Junkies. Juicers, only back then we called them alcoholics. 

Google the word now and you’ll find addiction to sugar, video poker, computer games, social media, internet porn, shopping, tanning, you name it.

Could be hype.

Some of it is. And some of it is science. Nora Volkow, the director of the National Institute on Drug Abuse, promotes food-addiction studies.  

What’s food got to do with drugs?  

Our brains—well, some brains—react to food packed with sugar, salt, and fat like it was booze. People can lose control over eating the way they lose control over drinking. They join groups like Food Addicts in Recovery Anonymous

They’re like AA? 

Right down to the lingo. And it goes beyond eating.  When I told friends I was writing a history of addictions, they all said, “You’ve got to include kids glued to their phones.” So I did. Behavioral addictions have become social facts.

What’s history got to do with social facts?

Historians explain their origins and how they changed over time. In The Age of Addiction, it’s a long time.

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