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What a wonderful woman and scientist.
16/02/2026

What a wonderful woman and scientist.

In 1937, a nineteen year old woman graduated summa cm laude in chemistry. She applied to fifteen graduate schools. Not one offered her funding. She was told laboratories did not hire women. She never earned a PhD. She later received the Nobel Prize and helped save millions of lives.
Her name was Gertrude Belle Elion, and history nearly overlooked her.
She was born on January 23, 1918, in New York City, to Jewish immigrant parents. Her father, Robert, had come from Lithuania at twelve and worked his way through dental school. Her mother, Bertha, arrived from what is now Poland at fourteen. They lived in a modest apartment connected to her father’s dental office in Manhattan. When Gertrude was six, her brother Herbert was born, and the family moved to the Bronx.
She was a remarkable student from the start. She skipped two grades and graduated from Walton High School at fifteen. She loved learning with what she later described as an insatiable appetite, excelling in every subject and asking questions about everything.
Then, in the summer of 1933, her life shifted.
Her grandfather, the person she had been closest to since early childhood, was dying of stomach cancer. She watched him endure months of suffering. She watched doctors try and fail. She watched illness take someone she loved, and she could do nothing to stop it.
She later said she had no particular interest in science until her grandfather’s death. After that, she decided no one should have to suffer so much.
That autumn, at fifteen, she enrolled at Hunter College, the free women’s college of the City University of New York. Her family’s savings had been wiped out in the 1929 market crash, and free tuition made her education possible. She chose chemistry with a clear goal in mind: to help cure cancer.
She graduated in 1937 at nineteen, summa cm laude and Phi Beta Kappa. She was gifted, focused, and ready to continue.
The world, however, was not prepared to welcome her.
The Great Depression had left few jobs available, and the laboratory positions that did exist were largely closed to women. She applied to fifteen graduate programs seeking financial support. None offered it.
She spent time in secretarial school. She accepted a short term position teaching biochemistry at the New York Hospital School of Nursing. When that ended, she found herself unemployed again. Rather than wait, she took an unpaid laboratory assistant role to gain experience. After a year and a half, she was earning twenty dollars a week.
Still, she kept studying.
In 1939, she began graduate work in chemistry at New York University, attending classes at night while teaching high school science during the day. She was the only woman in her courses. In 1941, she earned her Master of Science degree.
She later reflected that World War II, which created a shortage of male chemists, allowed opportunities to open slightly. Doors that had been shut to women cracked open because so many men were away.
In 1944, she joined Burroughs Wellcome as a laboratory assistant to biochemist George Hitchings. That decision changed her life.
Hitchings recognized what others had failed to see. She was not merely competent. She was exceptional.
Together, they pursued a new approach to drug development known as rational drug design.
At the time, many medications were discovered through trial and error. Hitchings and Elion instead studied the biochemistry of disease at the molecular level. They analyzed how cells reproduced and then created compounds designed to target differences between healthy and diseased cells. They aimed for precision rather than chance.
While working full days in the laboratory, she also pursued doctoral studies at Brooklyn Polytechnic Institute, commuting long distances for night classes. In 1946, she was told she could no longer continue part time and would have to leave her job to complete her doctorate.
It was a painful choice. She chose to remain with her research. She never earned the PhD.
Then came the breakthroughs.
In 1950 and 1951, she synthesized compounds including 6-mercaptopurine, or 6-MP, the first drug shown to effectively treat childhood leukemia. Before 6-MP, a diagnosis of childhood leukemia almost always led to death within months.
While 6-MP alone brought temporary remission, combined therapies began producing lasting survival. Children who once faced certain death began living longer, then growing up.
She went on to help develop azathioprine, the first immunosuppressant that made organ transplantation viable. Previously, transplanted organs were rejected by the immune system. Azathioprine allowed that response to be controlled, making kidney and heart transplants possible and extending countless lives.
In the 1970s, her team developed acyclovir, one of the first effective antiviral drugs. It demonstrated that viruses could be targeted with specificity, changing treatment for infections such as herpes simplex, Epstein-Barr virus, chicken pox, and shingles.
Her earlier research on DNA and RNA interactions also contributed to the development of AZT, the first effective treatment for HIV and AIDS. Even after retirement, she played a role in that effort during the height of the AIDS crisis.
Amid these achievements, she carried private loss. Before joining Burroughs Wellcome, she had become engaged to Leonard Canter. He developed subacute bacterial endocarditis, an infection then without treatment, and died.
She never married. She later said no one could match what she had lost. She devoted herself to her work and to her extended family, becoming beloved by her brother’s children and grandchildren.
In 1967, she became head of the Department of Experimental Therapy at Burroughs Wellcome, serving until her retirement in 1983. Retirement did not slow her. She continued as Scientist Emeritus and Consultant and became a Research Professor at Duke University, mentoring medical students and publishing papers alongside them.
In 1988, the Nobel Prize in Physiology or Medicine was awarded to Gertrude B. Elion and two colleagues for their discoveries of principles that transformed drug treatment.
She was seventy. She had spent more than forty years in research. She was among the few science laureates who had never earned a doctorate. Brooklyn Polytechnic later awarded her an honorary PhD.
In 1991, she became the first woman inducted into the National Inventors Hall of Fame. President George H.W. Bush presented her with the National Medal of Science. Universities across the country granted her honorary doctorates in recognition of achievements that exceeded conventional credentials.
She continued mentoring young scientists, especially women, speaking openly about discrimination and encouraging change. She served on advisory boards for major medical and global health organizations and held more than forty five patents.
Gertrude Belle Elion died on February 21, 1999, at eighty one.
By then, her medications had saved millions. Children with leukemia reached adulthood. Transplant recipients lived years they would never have had. Patients with viral infections recovered. Those living with HIV benefited from treatments built on her work.
Her influence extends beyond specific drugs. She helped shift medicine from guesswork to targeted design. Modern cancer therapies, antiviral drugs, and molecularly precise treatments trace part of their lineage to the methods she and Hitchings developed.
She once said it is remarkable how much can be accomplished when credit does not matter.
Gertrude Elion deserves to be remembered alongside the most celebrated figures in medical history.
She was the young woman who vowed to fight cancer after watching her grandfather suffer. The scientist turned away by fifteen universities. The researcher who chose her laboratory over a doctoral title and changed medicine regardless. The innovator whose brilliance reshaped science, even without the credentials others said were essential.

Very interesting. I think I’ll retackle this one.
17/01/2026

Very interesting. I think I’ll retackle this one.

For 400 years, every English translation of The Odyssey was written by men. Then in 2017, the first woman translated it—and readers discovered how much the story had been quietly rewritten. Emily Wilson, a classical scholar at the University of Pennsylvania, published her translation of Homer's Odyssey in 2017. Within weeks, it became a New York Times bestseller—unusual for ancient Greek poetry. Readers and scholars were discovering something remarkable: for four centuries, they hadn't been reading what Homer actually wrote. Take the very first word Homer uses to describe Odysseus: "polytropos."Previous translators—George Chapman in 1614, Alexander Pope in 1725, Robert Fitzgerald in 1961, Robert Fagles in 1996—rendered it as "resourceful," "versatile," or "of many ways." These sound admirable. Heroic. Emily Wilson translated it as "complicated. "That single word changes everything. Odysseus isn't just clever—he's morally ambiguous, manipulative, difficult. Someone who lies even when truth would serve better. A survivor who does whatever it takes without always feeling remorse. That's what Homer's Greek actually conveys. But for centuries, translators smoothed the edges because heroes were supposed to be noble. Wilson's translation raised an immediate question: What else had been quietly edited for 400 years? The answer was startling: almost everything involving women. Consider the enslaved women in Odysseus's household. When he returns home after twenty years, he discovers that some of these women have been forced into sexual relationships with the suitors occupying his house. Odysseus and his son Telemachus execute these women—hanging them in a brutal mass killing. Homer uses a specific Greek word: "dmôai" (δμῳαί). It means enslaved women. People who were property, with no rights, no choices, no agency. But English translators struggled with this. Instead they wrote: "maids." "Maidservants." "Girls." "Women of the household. "George Chapman called them "disloyal maids." Alexander Pope called them "guilty maids." Robert Fitzgerald wrote about "women who made love with suitors. "Notice the pattern? The translators made it sound like these women chose to sleep with the suitors. That they were disloyal. Guilty. Deserving of ex*****on. Emily Wilson translated the word accurately: "slaves. "Suddenly the scene transforms. This isn't justice for disloyalty. This is Odysseus murdering enslaved women who were sexually violated by men who invaded his house. Women who had no power to refuse. That's what Homer wrote. But English readers didn't know this for four centuries because translators rewrote it. Or consider Penelope, Odysseus's wife who waits twenty years for his return. Earlier translators emphasized her faithfulness, purity, patient suffering. She became the ideal Victorian wife: passive, chaste, devoted. But Homer's Greek describes Penelope as "periphron"—circumspect, prudent, strategic. Wilson's translation emphasizes this consistently. Her Penelope isn't just waiting—she's strategizing. She manipulates the suitors, buys time, gathers intelligence, positions herself politically. When Odysseus reveals himself, Wilson's Penelope doesn't collapse in grateful tears. She tests him. She's suspicious. She demands proof. Because she's intelligent. Homer said she was intelligent. But translators kept making her passive because intelligent, strategic women made Victorian readers uncomfortable. Then there's Calypso, the goddess who holds Odysseus on her island for seven years. The Greek word Homer uses is "katechein"—to hold back, to restrain, to detain. Many translators wrote that Calypso "loved" Odysseus, that she "wanted him to stay," that they had a "relationship. "Wilson translates it directly: Calypso "kept" Odysseus as her captive. She "owned" him. The scene clarifies: Odysseus was imprisoned. This wasn't romance. It was captivity and sexual coercion—with reversed genders from the typical pattern. Homer said this. But translators softened it because it complicated the heroic narrative. Emily Wilson, born in 1971, grew up in England and studied at Oxford before joining the University of Pennsylvania faculty. She'd spent her career researching how translation shapes meaning, how cultural assumptions become embedded in supposedly objective linguistic choices. When she decided to translate The Odyssey, she knew the challenge she faced. Every major English translation had been done by men—scholars who were often brilliant but worked within cultural assumptions they didn't question. Wilson questioned everything. She returned to the Greek and asked: What does this word actually mean? Not what Victorian translators thought appropriate, but what would it have meant to Homer's original audience? She imposed strict rules on herself: Consistency. If a Greek word means "slave," translate it as "slave" every time—not "slave" for men and "maid" for women. If a word means "complicated," don't soften it to "versatile" because it sounds more flattering. Translate what Homer said, not what later cultures wished he'd said. The result was revelatory. Wilson's Odyssey uses iambic pentameter—the same rhythm as Shakespeare—making it feel both ancient and accessible. It reads faster than earlier translations, sharper, less ornate. More importantly, it's honest about what the poem contains: violence, slavery, sexual coercion, moral ambiguity, intelligent women, and a protagonist who survives through cunning, lies, and ruthlessness. That's actually what The Odyssey is about. But English translations had been quietly editing it into something more comfortable. When published in 2017, Wilson's translation became an immediate bestseller. Critics called it revelatory. Classicists praised its accuracy. General readers discovered they could finally understand what Homer was saying. But there was backlash. Some scholars argued Wilson was "modernizing" Homer, imposing contemporary feminist values on an ancient text. Wilson's response was straightforward: Read the Greek. Every choice she made was defensible from the original language. She wasn't adding feminism—she was removing centuries of anti-feminist bias that previous translators had inserted. Consider the scene where Odysseus's men die because they eat the Sun God's cattle despite explicit warnings. Earlier translations described them as "foolish" or "reckless. "Homer's Greek says they were "starving." They were desperate men who'd been at sea so long they couldn't think clearly. Wilson translates it accurately. Suddenly Odysseus's leadership looks questionable—why did he let his men become so desperate? That's in Homer. But translators edited it out because leaders were supposed to be competent. Or the moment when Odysseus kills all the suitors occupying his house. Earlier translations made it sound like justice—righteous vengeance. Homer's Greek is more ambiguous. The suitors are slaughtered like animals. Blood pools. Bodies pile up. It's graphic, brutal, disturbing. Wilson doesn't flinch. She translates the violence as violence—not as heroic triumph. Readers must confront something uncomfortable: Is this justice? Or is this a powerful man slaughtering younger, weaker men who technically hadn't broken laws? Homer doesn't answer. He just shows the blood. But translators kept making it sound noble because heroes were supposed to be unambiguously good. For 400 years, English-speaking readers thought they were reading Homer. But they were reading Homer filtered through Victorian morality, Edwardian gender assumptions, and mid-20th-century heroic ideals. They were reading translations that quietly judged women more harshly than men. That excused male violence while condemning female survival strategies. That romanticized slavery and sexual coercion. Not because that's what Homer wrote—but because that's what translators assumed audiences wanted. Emily Wilson didn't modernize The Odyssey. She de-Victorianized it. She removed 400 years of accumulated bias and let Homer's Greek speak for itself. The result is an Odyssey that's sharper, stranger, more unsettling—and more honest. Odysseus isn't a noble hero. He's a complicated survivor who does terrible things and good things without always knowing the difference. Penelope isn't a passive ideal wife. She's a strategic thinker navigating impossible circumstances. The enslaved women aren't guilty maids. They're enslaved women murdered by their owner. Calypso isn't Odysseus's lover. She's his captor. That's what Homer said. We just didn't know it because for 400 years, no one translated it that way. Because one woman finally had the opportunity to translate this foundational text, we can read what Homer actually wrote. The Odyssey turns out to be a better, more interesting, more morally complex poem than we thought. Not because Emily Wilson added anything. But because she stopped letting centuries of translators quietly edit the women out of their own story.

Sequence is a fun concept to explore. Discovering what has been sequenced by size, amount, time, importance or in an arb...
23/12/2025

Sequence is a fun concept to explore. Discovering what has been sequenced by size, amount, time, importance or in an arbitrary manner is great.
As things about the house/classroom get rearranged over/after the holiday period it can be fun getting input from kids as to how things might best be arranged.
You can also explore what arbitrary means -useful for spelling!
How do you like your books arranged?

I have permission to share this photo-a young lad who enjoyed his Lego while his mother and her friend enjoyed their cof...
22/12/2025

I have permission to share this photo-a young lad who enjoyed his Lego while his mother and her friend enjoyed their coffee.
My children would often play cards when out and about.
What do your children enjoy?

Having read about locks on canals allowing boats to go up and down levels, I enjoyed seeing them work here in Scotland.N...
21/12/2025

Having read about locks on canals allowing boats to go up and down levels, I enjoyed seeing them work here in Scotland.
Next week I’m looking forward to exploring water hydraulics here at our beach with our grandchildren.
Water play is a lot of fun.

One Christmas season, I was learning an acapella version of ‘It’s beginning to look a lot like Christmas’ and I came upo...
20/12/2025

One Christmas season, I was learning an acapella version of ‘It’s beginning to look a lot like Christmas’ and I came upon the lyric ‘…take a look in the five and ten…’ I knew this related to a store of some kind, but without experience I couldn’t picture anything more.
The next year I was travelling in Scotland and came across a Nickel and Dime store and realised this was also known as a Five and Ten.
As this version of money went out just before I went to school, Nickel and Dime being related to 5 and 10 was not obvious.
Now our learners of today (in my country) would have even less clues.
It’s important to remember that prior knowledge and experience have a large part of in reading comprehension.
If you’re looking for short texts to practise reading comprehension, it can be fun to look at song lyrics, and poems. Chritmas songs can be a fun place to start. I remember explaining what a manger was to a friend whose first language was not English.
It’s certainly - looking a lot like Christmas - in my region at the moment.

Just what I needed to hear today. On the lead up to Christmas family festivities activities and planning can get a bit o...
19/12/2025

Just what I needed to hear today.
On the lead up to Christmas family festivities activities and planning can get a bit overwhelming.
My plan is just keep pedalling and keep deep breathing.

This week I experienced some medical tests where I needed to stay as still as possible for up to 30 minutes at a time, w...
18/12/2025

This week I experienced some medical tests where I needed to stay as still as possible for up to 30 minutes at a time, while machines rotated, moved me back and forth either with very loud clanking and buzzing or silence.
During this busy holiday season, why not take time for you and your learners to lie very still, with no stimulus for a timed period, then discuss the experience.

I’ve posted this graphic before-it’s very powerful for those who’ve struggled to relate to learners who consistently, ar...
17/12/2025

I’ve posted this graphic before-it’s very powerful for those who’ve struggled to relate to learners who consistently, are inconsistent in recognising these letters.
Until all letters are fully mastered-any word with a confusing letter in it, is affected.

The older I get, the more find myself searching for a word and using one of these. I’m always trying to find the whatcha...
16/12/2025

The older I get, the more find myself searching for a word and using one of these. I’m always trying to find the whatchamacallit!
I wonder how many of my young learners have heard any of these.

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