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terça-feira, 25 de fevereiro de 2020

Onze anos atras, um alerta sobre uma pandemia desde a interação homem-animal - Nathan Wolfe (The Edge)

WAITING FOR "THE FINAL PLAGUE"

Nathan Wolfe [1.30.09]

  • The Edge, January 30, 2009


[ED. NOTE: In January 2009, I sat down in Los Angeles with virologist Nathan Wolfe for a wide-ranging discussion on his studies concerning the biology of viral emergence. Within a few months, the world was in a panic about the H1N1 swine flu epidemic that lasted most of 2009. Several months later in "How to Prevent a Pandemic," he wrote:
"The swine flu outbreak seems to have emerged without warning. Within a few days of being noticed, the flu had already spread to the point where containment was not possible. Yet the virus behind it had to have existed for some time before it was discovered. Couldn’t we have detected it and acted sooner, before it spread so widely? The answer is likely yes—if we had been paying closer attention to the human-animal interactions that enable new viruses to emerge.
"While much remains unknown about how pandemics are born, we are familiar with the kinds of microbes—like SARS (severe acute respiratory syndrome), influenza and HIV—that present a risk of widespread disease. We know that they usually emerge from animals and most often in specific locations around the world, places like the Congo Basin and Southeast Asia.
"By monitoring people who are exposed to animals in such viral hotspots, we can capture viruses at the very moment they enter human populations, and thus develop the ability to predict and perhaps even prevent pandemics." 
Unfortunately, that eleven-year-old conversation, reprised below, is evermore relevant today. —JB]

NATHAN WOLFE is the Lorry Lokey Visiting Professor of Human Biology at Stanford University and directs the Global Viral Forecasting Initiative. His research combines methods from molecular virology, ecology, evolutionary biology, and anthropology to study the biology of viral emergence. Nathan Wolfe's Edge Bio Page.

WAITING FOR "THE  FINAL PLAGUE"
In a general sense what I'm interested in is very much a biological universe parallel to our own, which is the universe comprised of microorganisms. Of particular interest to me are viruses, but also bacteria—fascinating organisms—and a range of parasites.
These exist in the same moment in history that we exist, in the same space that we occupy, but inhabit a very different world. Yet, they respond to many of the exact same pressures we do, but in a much shorter time span. Of course, they are subject to natural selection. They are incredibly important to our planet, to us as a species, and the reality is that we understand very little about them. We are actually in a very interesting space with respect to the technologies that we have now, and these are some of the things that have come about through molecular biology.



For example, we have metagenomic techniques, where we can take a drop of water or a drop of plasma and understand the incredible diversity of nucleic acids and different organisms that exist in those fluids, or in solids, in soil or in feces, or in saliva, whatever it is that you want to do.
For a biologist it is a fascinating point in time because we're not required to culture every one of these organisms. We can understand the genetic nature of them much more simply, so we have the luxury of going back and being natural historians in trying to explore the diversity of these microorganisms that we really understand very little of. Our knowledge of viral diversity on the planet is trivial. We don't even know the size of the iceberg. We know that most viral diversity is completely undiscovered and unknown. We don't know exactly what percentage of it is under water but it is probably a very high percentage.
That is my interest, and I am really just a biologist and a natural historian who happens to be interested primarily in microorganisms, but in the context of human evolution and in the context of mammalian diversity and biogeography. But I think it is a wonderful time when we really can go back and have the luxury of basic discovery. We discover novel viruses all the time. You can't discover new primates all the time. We have discovered most of them, but that is not the case with viruses.
Obviously, there is a tremendous interest in viruses that are deleterious. One of the things I would point out, first of all, is that there is so much diversity of viruses: most of them are probably neutral, many of them are ecologically important, some of them are actually mutualistic with their hosts. Having said that, there is a huge fascination with negative viruses, and negative microorganisms, that can spread like the 1918 influenza and HIV—SARS had the potential to do this. These are all agents, which have the potential to relatively quickly have a devastating impact on human populations.
Generally, if you look at global disease control, which is done mostly not by biologists and not in the realm of science, but instead is very much applied science and medical science, public-health science, effectively it is disease control. It is waiting for pandemics to occur, and it is doing the best that we can to try and control them once they have already happened.
But one of the things that we have found in analyzing the diversity of important infectious diseases is that most of them have animal origins. The way that almost all of these important diseases started is as diseases of animals that bubble up into humans who for whatever reason are exposed, through contact with water, mosquitoes, blood, by hunters, which is a lot of the work we do. They are exposed to these agents, these agents are constantly bubbling up, and you have this constant chatter, this viral chatter, individuals who are exposed to these agents.
Most of those things will go nowhere. They will almost instantaneously go extinct in either those individuals or, if they spread from person to person, which is really when these things start to have the potential to be very important and potentially dangerous, even those will mostly go extinct, burning out within local populations. You have to have the conditions be just right really to effectively jump through. At that point these agents are not perfectly adapted to humans. That is where most of the action occurs in these pandemics.
Yet global disease control only focuses on the very few that get to the top of the pyramid but have spread globally. If you think of HIV as an example, go back to 1981, right here down the street at UCLA where the first cases of AIDS were really sort of identified as a syndrome. But in 1981 it is estimated that there were at least 100,000 global infections with HIV, probably many more.
So you have missed a critical period where you could have really addressed this pandemic. By then it is too late. Obviously, this is an African disease, an African virus that has made its way to individuals at UCLA Medical Center. At that point it took three years to even identify the agent HIV that causes AIDS. It took seven years for the President of the United States to be able even to use the word ‘AIDS’.
Now I would like to spin a slightly different scenario. Let's say we had been studying more comprehensively this interface between humans and animals and trying proactively to predict these pandemic. We would have known about a neglected virus that existed in Central Africa. We would have known that it was transmitted through many, many different routes in Africa, most commonly through heterosexual forms of transmission. We would have potentially had diagnostics. It would have been a neglected tropical disease. But then when cases started really hitting, for example here in the United States, we would have had a tremendous head start.
If you think of this as the benefits of compounding interest, every month, every year of early warning that we get for these pandemics has huge gain in terms of the ultimate outcome. Now we are 30 years into this pandemic—we are really many more years, if you count when the thing really crossed over to humans, which is probably sometime in the early 20th century. In 50 or 100 years when people look back on this period of history, they will see that what we are doing is in some ways how we were treating heart disease in the '50s and '60s. We weren't preventing it. It wasn't about measuring cholesterol levels. It wasn't about measuring blood pressure and trying to change smoking activity. It was effectively waiting for a heart attack. When it comes to pandemics, we wait for the heart attacks.
The bold idea is that we should be and we can be doing a much better job to predict and prevent pandemics. But the really bold idea is that we could reach a point—and this is a distant point in the future—where we become so good at this that we have the "final plague," and where we are really capable of catching so many of these things that new pandemics become an oddity. That is something that we should certainly have as an ideal. And if you ask most people doing public health, they won't even have thought about whether we could have prevented HIV, let alone whether can we reach a point at which there won't any more plagues, which we don't have to think about going back and trying to eradicate.
Eradication right now in public health is the ideal. And obviously there is vaccination. I can't sit here as someone in this field and dent on eradication or vaccines. But on the other hand these are very reactive responses. They are certainly more cost effective than treatment but they are certainly a lot less cost effective than preventing the plague in the first place.
I'm in the process of looking for large amounts of resources to set up listening points around the world to actually monitor individuals who are highly exposed to wild animals, to catch this viral chatter, this movement of these agents from animals into humans and use this to get a sense, first of all, of what is out there.
What is the diversity of agents that are circulating? You can kind of think of this as the virome, or the microbiome. What is the diversity of microorganisms that are present in humans and the animals that we have contact with?
First of all, just to have a list so that in the future when we see things, we will be able to know what it is. And, second of all, to be able to catch things as they try to move into the space where we can have a preventative system for doing this. This is a particularly costly endeavor, but no matter how much we spend on it, all we have to do is catch one and we have instantly paid for this entire system. For SARS, which really at the end of the day affected only about 1,500 - 2,000 individuals, the estimates are billions of dollars of economic impact from even that, which was an aborted pandemic. It was a very short and aborted pandemic. Really what my work is about is trying to aim at this objective of achieving the final plague.
The way that I go about it is I study how pandemics are born, how they die and how we can move towards forecasting;prediction and prevention of these pandemics.
On one level, the final plague is an ideal. If you take a look at the 20th century, there is constant chatter and there will always be constant chatter. Every time you walk down the beach in Venice and you see somebody licking their dog. I'm not saying that is a dangerous activity but you're seeing an exchange of microorganisms. It's happening constantly. There is constant movement of microorganisms from individual to individual, within a species and between species.
As I said, most of those are unimportant. But still, if you look within the 20th century, there are a number of agents, many of which were never even caught, which had this movement from animal to human, and spread globally. Some of them may not have caused tremendous disease. Some of them may have been confused with other things that we knew were diseases and we thought it was probably just that. There is entirely new malaria, which is now spreading in Southwest Asia, which is a malaria of macaques, an Asian monkey, called Plasmodium knowlesi.
When people in public health actually diagnose malaria, they look under a microscope and they are forced to call a parasite as one of four human parasites, so all these things were misdiagnosed. You couldn't know it unless you went back and you studied the thing. Lo and behold, Plasmodium knowlesi was spreading and it was just identified as another kind of parasite. It is a deadly malarial parasite of animals.
During the 20th century I can't even tell you how many pandemics there were, but there were many pandemics. The point is, if we get good at these sorts of things, and probably we will never be focused on the things that don't cause disease. For example, one out of every three to five individuals is infected with a virus called GBV virus. It is a virus that is very transmissible. It doesn't cause much in the way of disease. Maybe the prevalence is slightly lower. But whatever it is, it's a pandemic virus. Who cares?
It's interesting to know about and in the future it could be something of significance, but really at the end of the day we are interested in the ones that are causing disease. If we start on a course where we get better at predicting and preventing these things and aren't just focused on controlling them, then over time the idea is that the century-by-century rate of novel pandemics will decrease. I'm not saying that we will be able to really nail it at a moment—"OK, this is the final plague"—but our objective should be not only eradicating existing diseases but really eradicating novel diseases. It is going to take a long time to get there, but we need to change our conception to the point where that is the objective. Eradication can no longer be the ultimate objective.
If you want to think about my work, one way to think of me is as a curator of microbial collections. I have these massive repositories. I have sites all around the world that are aimed at collecting interesting microorganisms, and then I enter into collaborations with different groups. Instead of coming to look at my beetle collections, I send them specimens that I think they are likely to find of interest, and they study them for novel agents. Really it's sort of a microbial museum. As a consequence, I have a very low footprint in the USA. I have an office not much bigger than your suite. It's not huge. Even though my enterprise is very costly to sustain, it is very easy for me to move around.
I don't actually do all of the lab work myself. What I do is find experts in the world who are either using techniques to do work to identify novel agents, like Forest Rohwer or Joe Derisi or Eric Delwart, or who study specific groups, like the best flavovirologists in the world or the best molecular parasitologists. In addition to the laboratories I have in field sites throughout the world, I have 12 different collaborating labs, each of which I send specimens to.
My work is a counterpoint to HIV vaccine development. When HIV was discovered, we were promised by the Secretary of Health and Human Services, that within one year there would be a vaccine against HIV. This is 30 years later. A range of organizations have spent billions of dollars on research to come up with a HIV vaccine. The benefits of this investment has been questionable.
To make a long story short, it is really hard to create vaccines. The easy vaccines are actually ones that aren't really created by humans. They are ones that are discovered. Vaccinia, smallpox vaccine: it's not like we did anything technical to it. All we did was we took a cowpox virus, and what we do today is really not much more complicated than what Pasteur did, scraping a little bit, scraping it into an arm and it's a closely related virus. The person has a viral infection, and it protects him against the next one.
I got started when I went to Harvard to work with Marc Hauser and Richard Wrangham. I was Marc Hauser's first doctoral student. I was interested in the evolution of consciousness. I was fascinated by evolution. I had read Dawkins's The Selfish Gene in high school and was captured by it, and honestly that was probably was one of the things that made me fascinated by biology. I came into it with interest in evolution and ecology more than mechanism. I'm not mechanistically focused. Sometimes I have to use those tools or think about mechanism.
I studied biological anthropology at Harvard. I started working with Richard and thinking about self-medicating behavior of chimpanzees. Richard encouraged me to understand what the chimps may be treating, and so I starting thinking about what are the viruses, what are the microorganisms of chimps that they may be consuming plants in order to treat. Then I never really came back from that.
At the time I was frustrated in my reading and thinking about the evolution of consciousness. I just felt like it was a moving target. As soon as people would try to say, "OK, we see evidence in this species” the bar would shift … I have left this area. I was frustrated with the methods to really capture the questions that I was most interested in that area. And then viruses—they are fascinating stories, they evolve very rapidly.
I got to viruses because I was looking at self-medicating behavior and I started looking into the viruses of chimpanzees. The stories were so phenomenally interesting. The story of HIV origins—it's a fascinating story and it was just alive and vibrant at that moment. It hadn't quite been captured.
Everyone was close to discovery of the origins of HIV but they hadn't quite captured it. And even malaria parasites. That was when I became interested in the origins of malaria. How is it that with something that is so profoundly important to human populations, we can know such excruciating detail about the intricate processes of malaria as an individual organism yet we have little clue as to where it came from?
I believe that is partially just a function of the biases in laboratory science in organizations like NIH, which are much less interested in big questions. They're interested in small questions. Not to say that there is anything wrong with small questions, if you have good scientific policy.
What I would love to do with this work is to make the study of pandemics a subset of biology. Not that what I care about is disciplinary boundaries, but I think what it needs is biologists to tackle it. A physician is very biased. Physicians are going to be like the people on the street who think viruses are all negative. A good virologist 20 years from now, or 50 years from now, if the field goes in the proper direction, will be like a herpetologist, like somebody studying snakes, who acknowledges that maybe the public is most interested in the venomous snakes, but would never delude themselves into thinking the venomous snakes weren't more than just a small percentage of their species and that there is much more of importance in the taxa.
This whole other range: they are ecologically important, they are fascinating organisms. The reason we think of viruses as negative entities is that physicians are the drunks looking under the lamppost for their keys. If you're just looking for negative viruses, that is all you're going to find. I think physicians have a lot to offer, but generally in a specific context. We're looking at biological phenomena and so it should be biologists who study them.
I will be honest with you. I try to go where my mind takes me, and I try to focus on the things I find of interest. For whatever reason, I am more interested in stopping the next malaria and understanding where malaria is from. I'm not as focused on trying to stamp malaria out. There are a lot of people who do that, and you have to make it your expertise to be good at it, and I'm not that interested in it.

The Edge Conversations
To arrive at the edge of the world's knowledge, seek out the most complex and sophisticated minds, put them in a room together, and have them ask each other the questions they are asking 
themselves.

Bolsonaro, a Amazonia e a China - Heriberto Araújo and Melissa Chan (WP)


How Bolsonaro’s risky bet on China in the Amazon could backfire

Heriberto Araújo is a reporter who is currently working on a book about the human and environmental costs of the Amazon’s destruction. Melissa Chan is a reporter focused on transnational issues, often involving China’s influence beyond its borders. They were both previously based in Beijing. Their recent trip to Brazil was supported by the Pulitzer Center.

The cowboys and prospectors of the Amazon couldn’t be any happier. One year into his tenure, Brazilian President Jair Bolsonaro is delivering on his campaign promise to reinforce, at whatever the cost, Brazil’s status as an agricultural colossus. In 2019, Brazil recorded its second highest ever soy production numbers and exported more than 50 percent more soybeans than the United States. Beef sales jumped 15 percent to reach an all-time high, including over $7 billion sold overseas.
China, the country’s largest trade partner, has driven this meat and grain boom, buying $31 billion worth of its food commodities last year. The partnership seems to work well: Brazil has the land, and China the demand. But Bolsonaro might want to think twice about this relationship.
Before his election, Bolsonaro had run on an anti-China platform. “The Chinese are not buying in Brazil,” he warned during the campaign. “They are buying [up] Brazil.”
Since then, his posture has radically changed. Last October, he visited Beijing and declared that Brazil and China “were born to walk together.” His powerful minister of agriculture, Tereza Cristina, has even established a special China department to cater to Brazil’s largest customer.
This hasn’t turned off his supporters — for now. On China, “when he is wrong, he recognizes it and changes course. He isn’t ashamed of this,” Agamenon da Silva Menezes told us when we stopped by his office. The cattleman and representative of one of the most vocal ranching associations in the Amazon had supported Bolsonaro in the election.
For Bolsonaro, economic prosperity trumps environmental preservation. Agriculture and deforestation are the main drivers of emissions in the country, and logging the Amazon’s trees for timber, then converting that cleared land to expand the boundaries of soy fields and cattle pastures in order to sell more to China has become, in Bolsonaro’s mind, part of the country’s manifest destiny.
He has mostly ignored the global outcry to save the Amazon, which is critical to fighting climate change due to its ability to store massive amounts of carbon emissions. He has also cut the budget of the government’s environmental protection agency, hamstringing its ability to police the jungle, and sent the army in to finish paving the more than 800 miles of a highway bisecting the region, meant to facilitate the transport of grain to China through the Amazon basin. Deforestation rates in the Amazon reached a 10-year high in 2019 and jumped a staggering 183 percent between December 2018 and December 2019.
Meanwhile, China — a signatory to the Paris agreement on climate change — has kept quiet over its contribution to the crisis. When it comes to Brazil, Beijing has put its food security priorities ahead of its environmental commitments and chosen to do business with no questions asked.
Yet Bolsonaro’s bet on China may backfire. Meat prices in Brazil haveskyrocketed domestically, fueling inflation. That’s a worrisome trend in a country where churrasco (barbecue) is almost a religion and where inflation sparked massive demonstrations in 2013 that threatened to derail then-President Dilma Rousseff’s bid for a second term. Experts and officials agree that the rising cost of beef at home is a direct consequence of record beef sales to China, where a devastating swine flu that has halved its pig population has led many Chinese to buy more beef as a replacement protein.
This hasn’t just come at the expense of Brazilian consumers. In some cases, it has even come at the cost of Brazilian sellers. Powerful Chinese state-owned enterprises recently bullied Brazilian exporters, renegotiating contracts at the last minute and pushing them to sell meat at a loss.
Now, Bolsonaro’s ambitious trade plans with China might face further jeopardy. Brazil had benefited from the trade war between the United States and China, stepping in to sell more soy and beef to the Asian superpower as U.S. farmers got cut out. But the boom times may be over, with the new trade deal essentially a purchase agreement with a pledge from Beijing to buy $36 billion worth of agricultural products from the United States this year, much of it soy, and $43 billion the next.
In order to honor its commitment, China has no choice but to pivot back to the United States. As a result, Bolsonaro’s staunchest supporters — farmers — may face a soy surplus this season, just when the harvest is forecast to reach an all-time high. In January, Brazil’s soy exports dropped more than 26 percent from the same period last year.
The coronavirus also looks set to severely hit China’s domestic growth and, in turn, demand for Brazilian food commodities. With many workers still under quarantine and on unpaid leave across the country, appetite for expensive, imported beef will — and already has — start to wane.
Bolsonaro now faces a dilemma. He can take a step back from the vagaries of Chinese demand and do what his admirers claim he’s good at: learning from his mistakes and changing course. He can work on preserving the Amazon; environmentalists say it is possible to develop the region sustainably. Or, he can double down on his partnership with China — and put Brazil’s, and the world’s, future prosperity at risk.

Thomas Cromwell, na ficção histórica - Hilary Mantel (NYTBooks)

Para quem gosta de romances baseados na história real, eis aqui uma história real – a do promotor da reforma anglicana, de Henrique VIII, e que pereceu por ela, decapitado pelo rei – por quem pesquisa minuciosamente a vida do seu personagem antes de produzir um romance histórico em torno dela.

For Hilary Mantel, There’s No Time Like the Past

“Wolf Hall” and “Bring Up the Bodies,” the first books in her Thomas Cromwell trilogy, have sold millions. Now the two-time Booker Prize winner is finishing the job with “The Mirror and the Light.”
Ellie Smith for The New York Times
BUDLEIGH SALTERTON, England — Hilary Mantel has a recurring anxiety dream that takes place in a library. She finds a book with some scrap of historical information she’s been seeking, but when she tries to read it, the words disintegrate before her eyes.
“And then when you wake up,” she said, “you’ve got the rhythm of a sentence in your head, but you don’t know what the sentence was.”
As deflated as she feels upon waking, the dreams have been instructive, Mantel said.
“There’s always going to be something slightly beyond your comprehension, but you must go reaching for it,” she told me last month. “If you thought the record was the whole story, the dream is teaching you how fragile the record is.”
To an unusual degree for a novelist, Mantel feels bound by facts. That approach has made her latest project — a nearly 1,800-page trilogy about the 16th-century lawyer and fixer Thomas Cromwell — more complicated than anything she’s undertaken in her four decades of writing.
The trilogy, which began in 2009 with “Wolf Hall,” traces Cromwell’s unlikely rise, from his origins as a blacksmith’s son to the court of King Henry VIII. It concludes with Mantel’s next book, “The Mirror and the Light,” an account of the last four years of Cromwell’s life, as he amasses more wealth, influence and power but loses the king’s favor and later, his head.
The Cromwell series has turned Mantel into a literary celebrity and something of a national icon. The first two books collectively sold more than five million copies and have been translated into more than 30 languages. Both “Wolf Hall” and its 2012 sequel, “Bring Up the Bodies,” won the Booker Prize, making Mantel the first woman to win twice, and the first author ever to win for a sequel. The books were adapted into an award-winning pair of plays by the Royal Shakespeare Company and a BBC mini-series. In 2015, Prince Charles anointed Mantel with the title of Dame Commander, Order of the British Empire, the equivalent of knighthood, prompting some in the press to sneeringly draw comparisons between the modern-day royals and the louche, back-stabbing behavior of the Tudors.
Henry Holt and Company, via Associated Press
Throughout her rise to prominence, Mantel has remained aloof. She’s never been part of the London literary establishment and seems to prefer the company of her long-dead characters to the demands of being a public figure. For the past decade, she and her husband Gerald McEwen, a retired geologist, have lived in Budleigh Salterton, an idyllic village on the coast of Devon.
She’s far from shy, though. A staunch iconoclast, Mantel has occasionally stirred controversy with her heterodox attitudes about British royalty and politics. In 2013, the tabloids pounced on comments she made during a lecturein which she called the Duchess of Cambridge “a shop-window mannequin” with no personality. A year later, she angered conservative British politicians and set off another media maelstrom when she published a short story that imagined the planned assassination of Margaret Thatcher by an I.R.A. sniper.
“She was imprisoned in her own home for a week while the press went absolutely bonkers,” said her literary agent Bill Hamilton, who called the episode “incredibly funny, if inconvenient for her.”
More recently, Mantel has been hounded by the British press over the delayed publication of “The Mirror and the Light,” which is due out next month but was originally planned for release in 2018. The lag set off speculation that Mantel suffered from writer’s block, or was distracted by the stage and television adaptations, or was procrastinating because she couldn’t bear to kill Cromwell. Expectations for the novel, which were high to begin with, are now stratospheric, and Mantel felt pressure to deliver a worthy ending.
“The reason it took so long is that it’s difficult, and that is a totally sufficient explanation,” Mantel said, sounding bewildered and slightly irritated. “But that’s not an explanation that has any news value, so people are looking for a dramatic story of the whole process breaking down.”
Writing “The Mirror and the Light,” which at nearly 800 pages is the longest and most intricately plotted book in the trilogy, was at times a grueling undertaking. In the final months of writing, Mantel, who is now 67 and has endured chronic pain and illness throughout her adult life, kept herself on a punishing schedule. She didn’t realize what a toll the project had taken on her until she was done.
Now that she’s finished the grim final chapter of Cromwell’s story, Mantel says she’s done with historical fiction and plans to focus on writing plays, an entirely new medium for her. She’s abandoning the genre in part because she feels she doesn’t have the stamina to take on a big research project, and because she can’t imagine finding another historical figure as appealing as Cromwell.
“I’m not going to meet another Thomas Cromwell, if you think how long he’s been around in my consciousness,” she said.
◇ ◇ ◇

‘They’re more real and solid to you than actual people.’

Mantel and I met over two wet, windy days in Budleigh Salterton, where she lives with McEwen. Their apartment looks out on a stretch of rocky beach, and the choppy waves were gray and a dull red, stained from the eroding sandstone cliffs.
Apart from a few knickknacks — a stuffed lion and dog perched in a window seat, as if guarding the premises — and a robust library full of classics by Jane Austen, T.S. Eliot, Gustave Flaubert and Fyodor Dostoyevsky, their apartment felt like a secular shrine to Tudor England, with shelves of books on Cromwell and his contemporaries, and titles about medieval fashion, food and metallurgy. Hanging in the hallway was a photograph of Mantel standing in front of the famous Hans Holbein oil painting of Cromwell: stout, beady-eyed, vaguely threatening. (In “Wolf Hall,” when Cromwell worries that the portrait makes him look like a murderer, his son replies, “Did you not know?”)
With her pale skin, wispy graying blond hair and wide, arresting light-blue eyes that are ringed with a deeper blue, Mantel has an almost ethereal appearance. She moves deliberately, a habit she acquired after living for decades with chronic pain, and seems to glide rather than walk. She spoke slowly and so softly at times that I worried my recorder wouldn’t pick up her voice over the rumble of the waves and rain.
Talking about the book feels surreal after years in near isolation, she said. “I’ve been like someone in a religious order who’s taken a vow of silence. It’s strange, because all that time I was listening to the past, and now I’m almost talking for a living, and it feels very frivolous and empty compared to the stillness that there used to be in every day.”
Though I expected to find her in mourning, it became clear as Mantel began to talk about Cromwell that for her, he isn’t really gone. She writes and speaks about him in the present tense. After finishing the final novel, she began working on a stage adaptation of “The Mirror and the Light,” so Cromwell is still very much in her head.
John Lamparski/WireImage, via Getty Images
“She talks with him as if he’s a living presence,” said Ben Miles, who played Cromwell in the 2014 Royal Shakespeare Company stage adaptation and is expected to resume the role when “The Mirror and the Light” has its premiere. “She seems to know him intimately but is always striving to understand him.”
During rehearsals, Miles and Mantel acted as each other’s muses. He asked her questions about Cromwell’s childhood, family life and religious beliefs, and her detailed answers informed his performance. In turn, his queries and insights into the character helped to shape the third book, sometimes sending her on a different trajectory than she’d been planning and leading her to an even deeper investigation of Cromwell’s psyche.
They’ve become such close collaborators that when Mantel decided to adapt “The Mirror and the Light” herself, rather than handing it off to a playwright, she chose Miles to co-write it with her.
Mantel has never written for the theater before, and she is taking an unorthodox approach, using her source material to develop something almost entirely new. “If you’re an adapter, you feel so bound to the original text, but I don’t have to put in a single word from the book if I don’t want to,” she said. “Most of what I’ve written now is completely fresh. It’s not obliged to the book.”
Mantel’s work on the play has also kept Cromwell and his contemporaries vivid in her imagination. Even when she’s not at her desk writing, she can still hear them chattering away.
“Once those voices begin, it’s like having the radio on in the background for 15 years. It never actually fades. It runs continuously with whatever else you’re doing, and that means you’re never off duty to the book, you never stop working on it. You fall asleep with it, you wake up with it,” she said. “There’s a point where you’re living with these people and only with them. They’re more real and solid to you than actual people in your life.”
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‘I am used to “seeing” things that aren’t there.’

Mantel in many ways is perfectly suited to the task of excavating and reanimating the past. Ever since she was a child, she’s been prone to visions of ghosts and spirits. “I am used to ‘seeing’ things that aren’t there,” she writes in her memoir, “Giving Up the Ghost.”
Growing up in an Irish Catholic family in Hadfield, a village in Derbyshire, Mantel was obsessed with myths, folklore and the supernatural. Before she was old enough to read, she insisted that relatives read to her tales from King Arthur and the Knights of the Round Table. “I had a head stuffed full of chivalric epigrams, and the self-confidence that comes from a thorough knowledge of horsemanship and swordplay,” she writes.
At 18, she went to the London School of Economics to study law, with the hope of becoming a barrister, but she couldn’t afford to continue with professional training. By then, she’d met McEwen. They married when they were 20 and moved to Manchester, where he found a teaching position and she worked various jobs and started writing.
Around that time, Mantel’s health began to deteriorate. A doctor dismissed her symptoms as a bid for attention and referred her to a psychiatrist. The psychiatrist gave her tranquilizers and an antipsychotic drug and told her to stop writing.
Years later, when Mantel and McEwen were living in Botswana, she researched her symptoms and diagnosed herself with endometriosis. Doctors confirmed her suspicions, and when she was 27, she had surgery to remove her uterus and ovaries. The pain didn’t abate, and Mantel suffered from complications that still afflict her: her weight increased, her legs swelled, she felt exhausted and alien to herself.
Her illness made a normal day job impossible: “It narrowed my options in life, and it narrowed them to writing,” she said.
Mantel finished her first book, a novel about the French Revolution titled “A Place of Greater Safety,” in 1979, and sent it to publishers and agents, but no one wanted a 700-plus page historical novel by an unknown writer. She wrote a second book, a brisk, darkly comic contemporary novel, “Every Day Is Mother’s Day,” which became a critical success when it was published in 1985.
Over the next two decades, she published seven other novels and developed a cult following. Though her books vary in their subject matter, style and tone, they are bound by recurring themes: her fascination with transformation and the unseen realm, with myths and archetypes.
When she was writing her novel “Beyond Black,” about a medium who channels the voices of the dead, Mantel realized she was creating a road map for the Cromwell trilogy. “I was thinking, this isn’t just about a medium,” she said, “it’s about how to induce the necessary frame of mind to let the past enact itself.”
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‘The real story is better than anything I can come up with.’

When she began writing “Wolf Hall” in 2005, Mantel was still relatively obscure. She was also entering a saturated marketplace for Tudor historical fiction, territory that had already been mined by novelists like Philippa Gregory, Antonia Fraser and Alison Weir.
Mantel had been fascinated by Cromwell for decades, ever since she learned, while she was attending a convent-run high school in Cheshire, about Cromwell’s role in dissolving the country’s monasteries. In her research, she found he was often reduced to a thuggish caricature. “I realized that some imaginative work is due on this man,” she said.
She deployed the same methods she used for “A Place of Greater Safety,” gathering as much historical evidence as she could find, then using the facts to stitch together a narrative. Whenever she hit a roadblock, she would write another section of the story.
In her office, in an apartment up the hill from her home, Mantel showed me the card catalog she used to keep track of Cromwell’s whereabouts, so that she didn’t mistakenly put him in the wrong place at the wrong time. A card I pulled out at random read, “31 July 1536, TC could be at Cookham or Sunninghill.”
Even though as a novelist, she has license to invent, Mantel dreads the thought of contradicting an available historical fact. “If you started out with the attitude that the truth is optional, I couldn’t take any pleasure in it at all,” she said. “I know that the real story is better than anything I can come up with.”
By bringing a historian’s rigor to her fiction, Mantel has had a profound impact on history itself. Before “Wolf Hall,” Cromwell was often cast as a cartoonish villain who persecuted the pious and helped a lustful king dispatch of unwanted wives. Mantel rehabilitated Cromwell, depicting him as a strategist and visionary, and convincing some scholars to re-evaluate his place in history.
“Hilary has reset the historical patterns through the way in which she’s reimagined the man,” said Diarmaid MacCulloch, an Oxford theology professor who published a new Cromwell biography in 2018. “It’s fiction which is extraordinarily probable, and it’s remarkably like the Cromwell I’d been excavating myself.”
There was never any question how Cromwell’s story would end. Not long after she wrote the opening of “Wolf Hall” — a young Thomas Cromwell lies bleeding on the cobblestones, beaten by his abusive father — she wrote about his beheading.
“All I had to do was fill in the middle,” Mantel said, then laughed. “There wasn’t a day when I woke up and thought, ‘Today I have to kill Cromwell,’ because I’d already killed him and brought him back to life so many times.”
As Mantel spoke about Cromwell and how he endures for her, it reminded me of a moment in “The Mirror and the Light” when Cromwell realizes that he’s losing the king’s confidence, and thinks of his beloved master, Cardinal Wolsey, who still speaks to him from the grave.
“The dead are more faithful than the living,” Cromwell thinks. “For better or worse, they do not leave you. They last out the longest night.”

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Setor público: peso nas despesas, no emprego - Paulo Gala

Abordagem do economista é correta mas tem lacunas, por exemplo não diz que País rico tem mais gente trabalhando em Saúde e HOME care, que é o atendimento aos idosos  (mais idosos e atendimento universal) e por isto aumenta o numero de servidores públicos. Também, na Segurança o numero é maior. 
Brasil que não tem nada disto, usa 12% de sua população empregada trabalhando no setor público. 
Outra coisa é o gasto e a produtividade destes funcionários. Nos Estados Unidos e outros países, o gasto é menor por funcionário e assim por diante, fazendo mais com menos, tendo mais produtividade. A produtividade do setor publico brasileiro é baixa e o funcionário ganha bem, muito melhor do que iniciativa privada, e tem estabilidade, que
uma espécie de imunidade contra qualquer erro e baixa produtividade. Está errado .
Roque Callage

Qual é o tamanho do setor público no Brasil?

O Brasil é um dos países que menos têm funcionários públicos em relação ao número de trabalhadores total em comparação com o mundo desenvolvido, os últimos dados referem o Brasil com cerca de 11,9% dos seus empregados trabalhando para o governo. Enquanto que na Noruega e na Dinamarca, a cada três trabalhadores, pelo menos um deles é funcionário do Estado, no Brasil, temos um funcionário do estado a cada 9 trabalhadores. Essa tendência verificada nos países escandinavos se repete na maior parte dos países de alta complexidade econômica, pois 18,1% de todos os trabalhadores da OCDE também são funcionários do governo. Os Estados Unidos tem 15,3% de seus trabalhadores como funcionários do Estado. O Chile tem uma taxa de funcionalismo público praticamente igual à brasileira.
Outra variável interessante é quanto o governo de cada país gasta para manter seus funcionários públicos. No Brasil, os 11,9% de funcionários públicos do país custaram cerca de 12,11% da despesa do governo. Nos EUA, seus 15,3%, custaram 9,74% da despesa. Na Noruega, seus 30%, custaram 15,53% da despesa e no Chile, seus 10,7%, custaram 20,86% das despesas do governo. Os valores são muito oscilantes porque essas variáveis dependem muito da arrecadação (receitas) de cada governo nacional. Ou seja, se um governo arrecada menos, mesmo que ele tenha menos funcionários públicos, ele vai gastar uma maior parte dessa arrecadação com o custeio desse funcionalismo que um governo que arrecada mais. Um exemplo claro é a diferença entre Noruega e Chile. O governo Norueguês tem 54,8% do seu PIB como receita. Já o governo do Chile, tem somente 22,45% do seu PIB como receita. O governo Norueguês tem o triplo de funcionários públicos do Chile e só gasta ¾ daquilo que o Chile gasta com seus funcionários públicos.
Não se pode simplesmente afirmar que os trabalhadores públicos do Brasil são caros ou baratos, há de se considerar o quanto o governo nacional tem de dinheiro para “gastar”. Então, estados grandes, como o Norueguês, tem muitos funcionários públicos e gastam menos com funcionalismo que estados pequenos. E estados pequenos, mesmo com pouco funcionalismo, gastam mais de sua arrecadação. Podemos também fazer uma análise de onde estão alocados os gastos do governo. Por exemplo, o Brasil, em 2017, gastou 32,1% de sua arrecadação federal com o custeio de juros da dívida pública. Em comparação, para o mesmo ano, o Estados Unidos gastou 12% da sua receita com juros, o Chile 3,7% e a Noruega, somente 0,7%.

REFERÊNCIAS:
NOTA: Nesse texto, os dados para Brasil e Chile foram retirados do “Government at a Glance Latin America and the Caribbean 2017” com dados referentes ao ano de 2014 e os dados para Estados Unidos e Noruega foram retirados do “Government at a Glance 2017” com dados referentes ao ano de 2015. Em relação aos dados sobre a despesa com juros e funcionalismo foram retirados da página oficial de dados do Banco Mundial, respeitando os anos publicados pela OCDE