This Man's Pill
Sex, Kunst und Unsterblichkeit
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Beschreibung des Verlags
Dem Autor ist am 15. Oktober 1951, in einem kleinen Labor in Mexico City der entscheidende Schritt zur synthetischen Herstellung des Hormons Gestagen gelungen, was die "Antibabypille" ermöglicht hat.
In diesem Buch verfolgt Djerassi genauer, als er das bisher getan hat, die Geschichte der "Pille" mit ihren Vorstufen, etwa den Forschungen und Ergebnissen des Innsbrucker Biologen Prof. Ludwig Haberlandt aus den zwanziger Jahren, schildert die Auswirkungen seiner Erfindung auf Gesellschaft und Politik und sinniert über die sich abzeichnende Trennung von Sex und Fortplanzung. Auch persönliche Erinnerungen an die turbulenten fünfziger und sechziger Jahre breitet der vorzügliche Erzähler Djerassi vor dem Leser der zwölf Essays aus.
Aus dem Amerikanischen von Ursula-Maria Mössner
PUBLISHERS WEEKLY
"Until 1969, I would have described myself as a 'hard' scientist, the proudly macho adjective employed by chemists and other physical scientists to distinguish their work from the 'soft,' fuzzy fields such as sociology or even psychology," writes Djerassi, whose historic synthesis of a steroid contraceptive in 1951 revolutionized human reproduction. In this learned memoir, he describes the turning point as the publication of his first public policy article in Science magazine, an event that he says marked the beginning of a life change attributable ultimately to the pill. The first part of this memoir is a well-reasoned apologetic on the pill's origins and its benefits to women, where Djerassi follows familiar debunkings: of fundamentalists, on the one hand, who regarded the pill as "a symbol, if not an agent, of what they perceived as a pervasive moral decline," and of feminists, on the other, who he says viewed the manmade contraceptive as the supreme gesture of patriarchy. The balance of this book, however, explores how the pill altered the rules of the author's own life, raising his awareness of "the social consequences arising from scientific and technological developments" and leading him down unexpected creative avenues; Djerassi, now in his late 70s and an emeritus professor of chemistry at Stanford, has since become a prolific playwright and author of five novels and a book of poetry. His meditations on "science-in-theater" and other aspects of the writing life (along with frequent quotations from Djerassi's favorite authors) are sprinkled through the book, giving this winning, disorganized set of reflections depth and heart.
