Read Panic in Level 4: Cannibals, Killer Viruses, and Other Journeys to the Edge of Science for Free Online Page A

apartment, looking at the things I’d described and asking the brothers many questions. At one point, he wanted to confirm that Gregory owned hand-sewn socks made of scraps of cloth, as I had written, so he asked Gregory if he could see his socks. Gregory wasn’t wearing them, so Espen ended up looking in one of the drawers of Gregory’s dresser, where he found the socks and verified my description of them. “He was a nice guy, but why did he have to rifle through my socks?” Gregory demanded. *1 If the names of the cathedral workers didn’t matter, their socks mattered even less. But Gregory Chudnovsky’s socks mattered deeply to me, for the same reason that the color of Nancy Jaax’s eyes and the scar on her hand mattered. The business of a writer, in the end, is human character, human story. Unlike a novelist, a narrative nonfiction writer cannot make up details of character. For the nonfiction writer, details must be found where they exist, like diamonds lying in the dust, unnoticed by passing crowds.
    In exploring biology, I moved my focus away from the smallest life-forms—viruses—and began climbing the coast redwood trees of California. The coast redwoods are the largest individual living things in nature. Redwoods can be nearly forty stories tall; they would stand out in midtown Manhattan. In order to climb a redwood, you put on a harness and ascend hundreds of feet up a rope into the redwood canopy. It’s like scuba diving, except that you go into the air. The canopy is the aerial part of a forest, and it is an unseen world, invisible from the ground. Once you have ascended into the redwood canopy, which is the world’s tallest canopy, you dangle in midair, in a harness, around thirty stories above the ground. You are suspended from ropes attached to branches overhead. You move through the air while hanging on ropes, sometimes going from tree to tree. The redwood canopy is a lost world, unexplored, out of sight, teeming with unknown life. After writing a book about it ( The Wild Trees ), I learned of the existence of an unexplored rain-forest canopy in eastern North America; I hadn’t known there were rain forests in the East. This eastern rain forest was being destroyed by parasites invading the ecosystem. It was an unseen world that was vanishing even before it had been explored by humans. Thus an interest in giant life-forms ended up returning me to a focus on small things: “A Death in the Forest.”
    “The Search for Ebola” is about the search for the unknown host of the Ebola virus, and it narrates an outbreak of Ebola in Congo. In researching it, I ended up talking with a medical doctor named William T. Close. Bill Close, who is the father of the actress Glenn Close, had been the head of the main hospital in Kinshasa, the capital of Congo (then called Zaire). Then, while I was staying late in the offices of The New Yorker on a Friday night—closing time, when the magazine is put to bed—I telephoned Dr. Close for a last-minute fact-checking conversation. In about ten minutes (I had been told) the magazine would be closed—finished—and would be transmitted electronically to the printing plant in Danville, Kentucky. That was when Dr. Close told me the story of a Belgian doctor who had performed a terrifying act that could be called an Ebola kiss, with a patient in an Ebola ward.
    “Oh, my God,” I blurted.
    I asked someone to go find Tina Brown, the editor, and see if the magazine could be held open for a little while, as a doctor was saying something. It was okay with Brown, but there was no time to take notes. I asked Close to tell me the story again, while I scrawled sentences describing the Ebola kiss on a sheet of paper. With Close waiting on the line, I carried the paper over to the make-up department (an office where the magazine’s compositors worked at computer screens) and I handed it to Pat Keogh, the head of make-up, who typed my scrawl into the master electronic proof.