Kate Gross with her husband Billy in 2006. Photo: John Lawrence/Rex
Show Hide image

Robert Webb on Kate Gross’s Last Fragments: a beautiful act of resistance against cancer

Kate Gross began to write after her cancer diagnosis. She left behind her husband, Billy, their five-year-old twins, and this beautiful book.

Late Fragments
Kate Gross
William Collins, 256pp, £14.99

Kate Gross died on Christmas Day 2014 at the age of 36. She had worked as a civil servant – she was private secretary to Tony Blair and then Gordon Brown – and was the founding chief executive officer of the Africa Governance Initiative, a charity set up to provide practical advice and support to post-conflict African states. She left behind her husband, Billy, their five-year-old twins and this beautiful book.

Late Fragments, like the blog that preceded it, is Gross’s reaction to her terminal cancer. From her introduction: “I began to write straight after my diagnosis . . . Every­thing I wrote was a gift to myself, a rem­inder that I could create even as my body tried to self-destruct. And I wrote as a gift to those I love.” Unsure how much time she has, she finds herself “full of fears that I will have to stop before I can write down all the things I want to tell my boys when they are 35, not five. Before I can tell them who I am, and what I know, and the stories that make up my life.” So this, among other things, is a mother’s account of what life and her imminent death had taught her, for the benefit of her sons. As such – and with a different author – the book could easily have been unbearable. Instead, what we have here is a joy; indeed, a joyful act of love.

How do we criticise an act of love? We don’t. That’s not to say we have to put aside all objectivity because someone obviously very likeable just died. I would feel well disposed towards Kate Gross (pronounced to rhyme with “moss”) and her family even if she’d written a lousy book. As it happens, this is a very good one. Yes, she is communicating with her boys, but the general reader is more than just a collateral beneficiary. It helps that she writes so well. That sounds patronising but the suffering contained in the “Cancer Canon”, as Gross calls it, does not inevitably translate into insight. Here, it does. She makes a conscious decision that it must. She quotes a poem by Jane Hirshfield:

I moved my chair into sun

I sat in the sun

the way hunger is moved when

called fasting.

And she moves us into the sun with her.

Her tone is often witty, always serious, but rarely solemn. Her prose is grounded, unshowy and blessed with a casual poetry. We are spared the hours of chemotherapy (“a particularly inept vigilante marauding through my body”) and we don’t follow her down every twist and turn of her illness. To put it glibly, Gross simply doesn’t have time for the boring bits. No memoir is improved by the 12-page tribute to the subject’s parents’ courtship and Gross doesn’t trouble us with that either. I start to make a note that the chapters describing her careless childhood, self-loathing teenage years and self-rediscovery at Oxford make up less than a quarter of the book but then the pencil freezes in my hand as I realise that these years account for more than half of her life.

Just as well, then, that Gross was out of the blocks like a ramjet when the rest of us were still tying our shoelaces. At 26, she was briefing the prime minister for PMQs (I was tearing tickets in a local theatre) and at 30 she had founded an international charity, raising £20m to improve the lives of some of the poorest people in the world (I was thinking about buying a flat). With the change of prime minister in 2007, she was immediately responsible for advising Brown on the Haymarket and Glasgow Airport terror attacks: “I was notionally in charge . . . But by that point I had faked it enough times to know I could make it in the grown-up world.” No gentler figure than Damian McBride (Brown’s former Headbanger-on-Earth) remembers the same meetings on his blog: “She was utterly brilliant, almost mesmerising in her command of the facts and of Gordon’s brain, and reduced the rest of us – the supposed experts on working with the man – to stunned silence on the sidelines.”

If we are tempted even for a moment to withhold sympathy from such a kick-ass megastar, the feeling vanishes in the light of her own focus: on love, on finding wonder in the everyday, on the life of the mind, on empathy for others. Years of dealing with the nitty-gritty of public policy (“Those I admired . . . seek out messiness and complexity over neatness and order”), as well as her extensive travel and wide reading, have left her with a respect for our interdependency: “Yes, the threads that bind us together are fragile, easily ruptured by ties to self, to tribe, to race . . . But that they are there at all is reason for unconquerable gladness.”

To read this book is to learn what can be snatched back from death even as it takes everything else. Although Kate resists beatification – the book is nothing if not bloody-mindedly, almost dementedly honest – her attitude is worth the sky. The auth­or died ten minutes before her sons woke to unwrap their Christmas presents. Her book remains. It is vividly, beautifully alive. 

Robert Webb is a comedian, actor and writer. Alongside David Mitchell, he is one half of the double act Mitchell and Webb, best known for award-winning sitcom Peep Show.

This article first appeared in the 23 January 2015 issue of the New Statesman, Christianity in the Middle East

Show Hide image

Why does food taste better when we Instagram it?

Delay leads to increased pleasure when you set up a perfect shot of your dinner.

Been on holiday? Take any snaps? Of course you did – but if you’re anything like me, your friends and family didn’t make it into many of them. Frankly, I can only hope that Mr Whippy and I will still be mates in sixty years, because I’m going to have an awful lot of pictures of him to look back on.

Once a decidedly niche pursuit, photographing food is now almost as popular as eating it, and if you thought that the habit was annoying at home, it is even worse when it intrudes on the sacred peace of a holiday. Buy an ice cream and you’ll find yourself alone with a cone as your companion rushes across a four-lane highway to capture his or hers against the azure sea. Reach for a chip before the bowl has been immortalised on social media and get your hand smacked for your trouble.

It’s a trend that sucks the joy out of every meal – unless, that is, you’re the one behind the camera. A new study published in the Journal of Personality and Social Psychology suggests that taking pictures of food enhances our pleasure in it. Diners at the food court of a farmers’ market in Philadelphia were asked either to photograph their meal or to eat “as you normally would”, then were questioned about how they found it. Those in the photography group reported that not only did they enjoy their meal more, but they were “significantly more immersed in the experience” of eating it.

This backs up evidence from previous studies, including one from this year in the Journal of Consumer Marketing, which found that participants who had been asked to photograph a red velvet cake – that bleeding behemoth of American overindulgence – later rated it as significantly tastier than those who had not.

Interestingly, taking a picture of a fruit salad had no effect on its perceived charms, but “when descriptive social norms regarding healthy eating [were] made salient”, photographing these healthier foods did lead to greater enjoyment. In other words, if you see lots of glossy, beautifully lit pictures of chia seed pudding on social media, you are more likely to believe that it’s edible, despite all the evidence to the contrary.
This may seem puzzling. After all, surely anything tastes better fresh from the kitchen rather than a protracted glamour shoot – runny yolks carefully split to capture that golden ooze, strips of bacon arranged just so atop plump hemispheres of avocado, pillowy burger buns posed to give a glimpse of meat beneath. It is hardly surprising that 95 million posts on Instagram, the photo-sharing site, proudly bear the hashtag #foodporn.

However, it is this delay that is apparently responsible for the increase in pleasure: the act of rearranging that parsley garnish, or moving the plate closer to the light, increases our anticipation of what we are about to eat, forcing us to consider how delicious it looks even as we forbid ourselves to take a bite until the perfect shot is in the bag. You could no doubt achieve the same heightened sense of satisfaction by saying grace before tucking in, but you would lose the gratification that comes from imagining other people ogling your grilled Ibizan sardines as they tuck in to an egg mayonnaise at their desk.

Bear in mind, though, that the food that is most successful on Instagram often has a freakish quality – lurid, rainbow-coloured bagel-croissant hybrids that look like something out of Frankenstein’s bakery are particularly popular at the moment – which may lead to some unwise menu choices in pursuit of online acclaim.

On the plus side, if a diet of giant burgers and salted-caramel lattes leaves you feeling queasy, take heart: if there is one thing that social media likes more than #avotoast, it is embarrassing oversharing. After a week of sickening ice-cream shots, a sickbed selfie is guaranteed to cheer up the rest of us. 

Felicity Cloake is the New Statesman’s food columnist. Her latest book is The A-Z of Eating: a Flavour Map for Adventurous Cooks.

This article first appeared in the 25 August 2016 issue of the New Statesman, Cameron: the legacy of a loser