Richard Preston: Panic in Level 4

One of the main figures in The Hot Zone is Lieutenant Colonel Nancy Jaax, an Army space-suit scientist who specializes in Ebola virus. I met Nancy Jaax during my first visit to Fort Detrick, on a warm spring day. She turned out to be a pleasant, energetic, articulate officer who seemed incredibly committed to her work. I learned that she was a mother of two children, who were then in high school. Her eyes were blue-green and active, with flecks of gold encircling the irises. About fifteen minutes into my first interview with her, I asked her if she had ever had a scary experience with Ebola virus. “Oh, sure,” she answered. “That’s where you realize that habits can save your life.”

“What sort of habits?” I asked.

She explained that when you’re working with a hot virus like Ebola, it’s essential to constantly check your space suit. A suit can get a hole in it. The person inside the suit might not notice the creation of the breach. Nancy Jaax had been trained to frequently check her space suit for leaks. One day, she was cutting open a dead Ebola-infected monkey, and her space suit was splashed with Ebola-infected monkey blood up to the forearms. Then, during a routine safety check, she discovered a hole in the arm of the suit, near the glove. Ebola-infected blood had run down into the hole and was oozing around inside her space suit and had soaked her arm and wrist. “I had an open cut on my hand, with a Band-Aid on it,” she said. She’d gotten the cut opening a can of beans for her children. The incident “fell into the category of a close call,” she said. In the end, she survived her encounter with Ebola only because her habit of checking her space suit for leaks enabled her to get out of the hot zone fast and remove her bloody space suit. Her narrative left me mesmerized.

There’s a useful technique for capturing important moments during an interview that I call the delayed note. When someone is saying something powerful, you don’t always want to draw attention to the fact that you’re writing down their words, because they may pull back and stop talking. So, on rare occasions, I may stop writing. I put down my notebook. I try to get a neutral expression on my face, as if I’m not that interested. Meanwhile, I’m trying to memorize exactly what the person is saying. When I sense that my short-term memory is getting full, I change the subject and ask a question that I expect will result in a dull answer. The person begins giving the dull answer, and I begin jotting delayed notes in my notebook. I’m writing down what the person said moments earlier, while I was not taking notes. (I learned this technique from John McPhee, who teaches an undergraduate writing course at Princeton University called The Literature of Fact. I had taken his course as a graduate student.) So, as Nancy Jaax began to talk about the blood in her space suit, I put down my notes and listened.

This was just the beginning of the research for a key scene in The Hot Zone, narrating how Nancy Jaax got a hole in her space suit and Ebola blood flowed inside it. At one point, much later, I spent twenty minutes sitting with Jaax at her kitchen table, taking notes on her hands. I examined her hands minutely, left and right, back and front, staring at them like a palm reader. Hands are a window into character. Jaax kindly submitted to my study of her hands, though I think it weirded her out just a little.

“Where did you get that scar on your knuckle?” I asked.

“Which one? That one? That’s where a goat bit me when I was nine,” she answered, touching the scar. It had been a goat on her family’s farm in Kansas, she explained, and she could still recall how much the bite had hurt.

Deep notes can also be notes on what a person is thinking. Of course, since you can’t read minds, you have to ask people what they are thinking or were thinking. After I’ve written a passage describing a person’s stream of thoughts—a type of narrative that fiction writers refer to as interior monologue—I always fact-check it with the person later. I read the passage aloud, usually on the telephone. I ask the person, “Do these sentences accurately reflect your recollection of what was going through your mind at that moment?”

Often, the person answers, “Not exactly,” and proceeds to correct what I’ve written to make it more faithful to their own memory. If it was an especially dramatic, emotional, or terrifying moment, the person can often give a consistent account of what they were thinking and feeling. (Witnesses to crimes often don’t accurately remember the facts of what they saw—but they do remember their feelings with clarity.)

After Jaax had realized that Ebola blood was slopping around inside her space suit, she had to make an emergency exit from Level 4. She went into the air lock and stood in the chemical shower, feeling the blood squishing around on her arm and hand.

“Were you thinking you would die?” I asked her.

“No,” she replied. Instead, she had been thinking about the fact that she had forgotten to go to the bank to get money for the babysitter who was taking care of her kids that day. If she was infected with Ebola, the authorities would lock her in the Slammer, and who was going to pay the babysitter?

I don’t think a novelist would be likely to invent this. And if it appeared in a novel, it might not ring true. Yet Jaax’s account of what she was thinking is completely believable because it occurs in a nonfiction narrative. It seems to reverberate with general human truth. It is a statement about mothers, children, and death, and it cut me to the heart when I heard it. I could not have made it up.

In the bloody space-suit scene, when Nancy Jaax emerged from the chemical shower and took off her suit to examine her hand, to see if there was any Ebola blood on it, I described her hands in detail as her gloves came off. Just a couple of sentences. These sentences were the result of the long examination of her hands at her kitchen table. I mentioned the scar on her knuckle and that she’d gotten it as a girl from a goat bite at her family’s farm in Kansas. The scar was a microstory. It told the reader that Nancy Jaax was a Kansas farm girl; she was Dorothy in Level 4.

While I often take photographs to supplement my notes, I almost never use a tape recorder. Apart from the fact that a tape recorder always seems to fail when it’s most needed, the device makes the person who’s being recorded self-conscious. An interviewee will stare at the tape recorder while his or her speech becomes awkward, not like the natural, lively voice of a person in real life. Indeed, cameras and sound recorders aren’t sufficient for deep notes. No electronic recording device can capture the interplay of the human senses. For capturing sensual reality, it seems that only an old-fashioned reporter’s notebook has sufficiently advanced technology. I take notes in longhand in little spiral notebooks. They are small enough to fit in a shirt pocket. I use a mechanical pencil.

TWO ARMY VIRUS RESEARCHERS walked down one of the long corridors of USAMRIID, at Fort Detrick. I had been hanging around with them that day. My shirt pocket had a magnetic security card clipped to it, with the word VISITOR on it. My shirt pocket also contained a small reporter’s notebook and a mechanical pencil. The walls of the corridor were cinder block, painted the color of sputum. Thick glass windows looked into sealed laboratory suites—Biosafety Level 2, Level 3, and Level 4. The corridor was filled with a weird, burning, moist smell. This smell, which will never leave my mind, was the odor of giant autoclaves—huge, pressurized steam ovens, full of equipment and waste from the labs, cooking the stuff at high heat and pressure, to make it sterile.