Samuel Shem (1978) The House of God.

You might have read, Adam Kay’s This is Going to Hurt: Secret Diaries of a Junior Doctor, or Jed Mercurio’s Bodies (before he became a multimillionaire screenwriter). You know what to expect an insider account of naïve young men and women moving outside the world of books and into a cult into which they will work day and night, with little sleep and little idea what they are doing, while wearing a white coat that marks them out as being special and chosen. The House of God does all of those things—and more. It’s an insider-insider’s book, described as ‘the bawdy cult classic’, with a forward written by John Updike in April 1995.

Set during the fall of the Nixon era and the President’s impeachment, the centre cannot hold and things are following apart.

‘The House of God had been founded in 1913 by the American People of Israel when their medically qualified Sons and Daughters could not get good internships in good hospitals because of discrimination.’

The intern was at the bottom of the medical hierarchy. They didn’t sign contracts because that might legally limit the number of hours they might work, or assure them of rights. In a year in which they are both students and doctors learning new procedures on Jew bodies that are old, but refuse to die. For the House of God is a geriatric hospital, and that’s what makes it so relevant, because in the modern world with an aging population, all hospitals become care of the elderly hospitals.

Roy Basch is the narrator.  Aged 30, he’s ‘old as dirt’. But he’s got the right credential to join the cult of junior doctors. He’s been to Harvard and been a Rhodes Scholar at Oxford. Medicine is just one more notch on his belt.

To reach the pinnacle of the medical profession and get hugely wealthy, ‘You had to lick your way up… like an ice cream cone… to [the] next uppermost ass…those few at the top were all tongue’.

The anti-hero and narrator’s guide through their initial year in the cult is Medical Resident, The Fat Man.

Life is like a penis:

When it’s soft you can’t beat it;

When it’s hard you get screwed.

Truth in the House of God does not depend on naturalism, but surrealism reveals a deeper reality. Despite the cartoonish Carry on Doctor view of nurses as a walking and talking sex menu, which belong to a bygone age, The Fat Man provides the laws of The House of God. He suggests how the intern should navigate the cult of the slurpers and retain his soul.

Slurpers being House Academics striving to lick their way to the top of the medical cone, and gain enormous wealth and prestige as the Chief.

The laws stand as an antidote to the cult of the Slurpers.

Rule I: Gomers don’t die.

People die. Gomers don’t. They only hang around and stink up the place.

GOMER is an acronym. Get Out of My Emergency [Room]. All other rules are derived from Rule I.

The intern’s job isn’t to admit patients, but to keep them out. Anyone hoping to get medical treatment knows these strategies. Here they’re named. BUFF and TURF.

BUFF is the triage system employed. Charts and patients are buffed so they can be sent somewhere—anywhere—else.

Rule X. The only good admission is a dead admission.

Rule XIII. The delivery of medical care is to do as much nothing as possible.

Rule XII: If the Radiology Resident and BMS both see a lesion on the chest x-ray, there can be no lesion there.

During Covid, in Scotland, for example, hospital wards were emptied and GOMERs were sent to fee-paying old folk’s homes to infect everybody else. BUFF and TURF at work in a modern setting.

Rule X: If you don’t take a temperature, you can’t find a fever (if you don’t test for Covid, you can’t find it).

The House of God calls for a more humane way of working, while acknowledging that those that have joined the cult of the white coats have invested too much of themselves, too much of their lives and have become dependent on it. For Medicine read capitalism. It’s a celebration of brashness of wealth and knowledge. Only the suckers don’t know the story. Only the slurpers do. Read this and you will too. Read on.

John Updike (2000 [2003]) Great Loves. The Women Who Got Away.

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This is a book of five short stories – Natural Color, New York Girl, Licks of Love in the Heart of the Cold War, The Women Who Got Away and Transaction –  about man’s priapic need to love women, come what may and whatever the cost to existing marriages or children. A man that thinks with his dick is a man I can believe in. And I ask myself a simple question is this a true story or not? If I’m not really sure whether it’s fact or fiction then the stories are coins of true worth. I guess there’s every kind of women here, but only one kind of man.

Eddie Chester, for example, in Licks of Love in the Heart of the Cold War is a banjo player from the Blue Ridge Mountains of Virginia (which reminds me of the Laurel and Hardy sketch). He’s hitched a gig on a cultural exchange programme during the Khrushchev era of 1964 and during a briefing in Washington he meets up with Imogene, ‘one of the receptionists a little black haired coffee-fetcher from that afternoon’s briefing came up to me as if her breasts were being offered on a tray.’  It seems like bad manners to resist and like the other narrators being away from home and children means different rules apply. Imogene, Eddie finds, is an easy lay.

I like to press my face into a girlfriend’s nether soul, to taste the waters that we must all swim out to the light. I strove to keep my manly focus, amid the juggling caused by government-issue alcohol, my wondering what time it was, the jostling of my conscience…

In other words they have sex or make love. And that become Eddie’s problem. He sees it as the former and she regards it as the latter – flooding the diplomatic pouches with her missives and plans which follow Eddie from Moscow to the Caucasus.  Eddie’s not an unreasonable man. He just wants to be left alone and he’s got a bit of a thing for Nadia his KGB, translator.

There would be a moment, towards the end of a long public day in, say Tashkent, when her English would deteriorate, just shy of weariness from drawing on a double set of brain cells, and her eyelids and the tip of her long white nose would get pink…and she would give me the handshake, not the palm and meat of the thumb, but four cool fingers, aligned like a sergeant’s stripes.

The narrator is a man that loves women as does, I suspect the author, who has a propensity for it seems for long white noses and hiding from former beaus in shop doorways. Jane, the New York Girl,  for example, is an artist and a bit of a klutz, ‘with a bony face, high cheekbones and powdered over freckles, seemed a little tugged to the one side.’ Stan travels  Route 17 to New York on the train, leaving his wife and kids behind, to measure up her art for the aluminium frames he installs. He’s shy, but she’s got his measure and he’s got hers. They have a working affair. When he’s working in New York, she meets him and gets a baby sitter for her boy.

Updike is good at when sex becomes love and usually the kick is the narrator looking back with regret and the high of nostalgia for what had been and what could have been. The past is the future in reverse. Yeh, I get that. It’s a man’s world that is constantly expanding, but the choices for women, well, that’s a different story. Try Elena Ferrante for that one. Or if you stick your hands over your ears for the over-exuberant rant try Caitlin Moran, How to be a Woman.