Dr. Abraham Verghese
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Literary Arts

Dr. Abraham Verghese

Past Event: Wednesday, February 10, 2010

At Benaroya Hall — S. Mark Taper Foundation Auditorium

Sponsored by Swedish; University Book Store.

Dr. Abraham Verghese was drawn to medicine through fiction, through the idea that medicine, like fiction, was a “mysterious, noble, romantic and highly desirable quest” for knowledge, a way to deeply understand suffering and the human condition.

This idea came to Verghese from his reading of Somerset Maugham’s Of Human Bondage. His instructors at the Madras Medical College in India reinforced the connection, teaching that each patient tells a story. When a person is sick she will give her doctor pieces of information about how she feels; a bit like reciting one paragraph of a novel. The doctor’s job is to understand the whole story—what happened before or around this paragraph. And so the doctor, like the writer, must listen, observe, and bring the details of a story, a life, together.

After medical school in India, Verghese traveled to the United States for a residency, spending three years in Johnson City, Tennessee. It was there that he witnessed the first signs of AIDS, and the physical, emotional, and societal impact the disease’s spread had on his community. In 1991, he earned his M.F.A. at the Iowa Writers Workshop and also published “Lilacs,” a story about AIDS, in The New Yorker. This led to his first book, My Own Country: A Doctor’s Story (1994), about arrival of the AIDS epidemic in rural Tennessee. A few years later, working in Texas, he met David, an intern who became the subject of his second book, The Tennis Partner: A Story of Friendship and Loss (1998), which is about addiction and suicide.

But fiction always was his first love, and his inaugural novel, Cutting for Stone (2009), brings together storytelling, medicine, and a search for understanding. Verghese writes of two generations of doctors in Ethiopia and America, two very different settings for the practice of medicine. “In Africa,” he says, “nothing separates doctor and patient, no layers of paperwork, technology or specialists. In that setting, I wanted to put very human, fallible characters. … To take it to America was to contrast this world with Western medicine, with the power and beauty and science, but also its failings.” The book is also, in his words, “about the danger of losing yourself in the profession and not keeping a handle on your personal life or, as Yeats said, balancing ‘perfection of the life, with perfection of the work.’”

Since 2007, Verghese has served as senior associate chairman and professor of the theory and practice of medicine in the Department of Medicine at Stanford University, while he continues to write. At Stanford, he encourages medical students to practice a keen development of the senses—both from practice and from reading. “The humanities are vital in helping students maintain empathy with their patients,” he says. “I use Tolstoy’s The Death of Ivan Ilych to teach about end-of-life, and Bastard Out of Carolina to help students really understand child abuse. A textbook rarely gives them the kind of truth of understanding achieved in the best fiction.” On the flip side, it might also be said that being a doctor has made Verghese a better writer.

Excerpt from Cutting for Stone (2009)
Life is full of signs. The trick is to know how to read them. Ghosh called this heuristics, a method for solving a problem for which no formula exists.

Red sky in the morning, sailors take warning.
Pus somewhere and Pus nowhere means Pus in the belly.
Low platelets in a woman is lupus until proven otherwise.
Beware of a man with a glass eye and a big liver…

Across the outpatient department, Ghosh would spot a breathless young woman, her cheeks flushed, contradicting her general pallor. He’d suspect narrowing of the mitral valve of the heart, though he’d be hard-pressed to explain exactly why. It would make him listen carefully for the soft, rumbling murmur of mitral stenosis, a devilish murmur which, as he said, “you’ll only hear if you know it’s there,” and then it was only audible with the bell of the stethoscope lightly applied over the apex of the heart after exercise.

I’d developed my own heuristics, my mix of reason, intuition, facial appearance, and scent. These were things not in any book. The army soldier who’d tried to steal the motorcycle had an odor at the moment of his demise, and so, too, had Rosina, and the two odors were identical—they spoke of sudden death.

But I didn’t trust my nose when I should have, when it picked up signals from Ghosh that put my nerves on edge. I wrote it off as being a function of his new job as a professor, a side effect of his new suits and new environment. When I was around him it was easy to be reassured. He’d always been upbeat, a happy soul. But now he was even more jovial. He’d found his best self. For a man who prided himself on “the three Ls: Loving, Learning, and Legacy,” he’d excelled in all three.

On the anniversary of Hema and Ghosh’s marriage, I woke myself at 4:00 a.m. to study. Two hours later, I walked over from Ghosh’s old bungalow to the main house…Hema was still sleeping. The hallway bathroom door stood open, steam coming out. Ghosh stood in front of the washbasin, a towel around his waist, leaning heavily on the sink. It was early for him. I wondered why he was using this bathroom. So as not to wake Hema? I could hear his labored breathing before I saw him and, certainly, before he saw me. The effort of bathing had winded him. In his reflection in the mirror, I saw his unguarded self. I saw terrible fatigue; I saw sadness and apprehension. Then he saw me. By the time he’d turned around, the mask of joviality which had fallen in the sink had been slapped back on, not a seam showing.

“What’s wrong?” I asked. I felt my stomach flutter. The scent was there.

Selected Work

Cutting for Stone (2009)
The Tennis Partner: A Story of Friendship and Loss (1998)
My Own Country: A Doctor’s Story (1994)

“Health Care’s Next Crisis,” Daily Beast, March 24, 2009
“Why Isn’t Obama White,” San Francisco Chronicle, October 2008
“AIDS at 25,” New York Times, June 2006
“Close Encounter,” New York Times, September 2005
“On Death and Dying,” Wall Street Journal, August 2004

Dr. Abraham Verghese’s homepage
Emory postcolonial studies biography
Physician returns to the art of healing in medicine

Event Details

Benaroya Hall — S. Mark Taper Foundation Auditorium

200 University Street
Seattle, WA 98101

View directions.

Transportation & Parking

This event will be held in the S. Mark Taper Foundation Auditorium, the largest event space at Benaroya Hall. 

Benaroya Hall is located at 200 University Street, directly across Second Avenue from the Seattle Art Museum. The public entrance to Benaroya Hall is along Third Avenue.

By Car

  • From Southbound I-5
    Take the Union Street exit (#165B). Continue onto Union Street and proceed approximately five blocks to Second Avenue. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.
  • From Northbound I-5
    Exit left onto Seneca Street (exit #165). Proceed two blocks and turn right onto Fourth Avenue. Continue two blocks. Turn left onto Union Street. Continue two blocks. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.
  • From Northbound I-5 via Westbound I-90
    Take the 2C exit for I-5 North. Follow signs for Madison Street/Convention Place and merge right onto Seventh Avenue. Turn left onto Madison Street. Proceed three blocks and turn right onto Fourth Avenue. Continue four blocks. Turn left onto Union Street. Continue two blocks. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.

By Public Transit (Bus & Light Rail)

Benaroya Hall is served by numerous bus routes. Digital reader boards along Third Avenue display real-time bus arrival information. For details and trip planning tools, call Metro Rider Information at 206.553.3000 (voice) or 206.684.1739 (TDD), or visit Metro online. The Downtown Seattle Transit Tunnel, served by light rail, has a stop just below the Hall (University Street Station).


The 430-car underground garage at Benaroya Hall provides direct access from the enclosed parking area into the Hall via elevators leading to The Boeing Company Gallery. Enter the garage on Second Avenue, just south of Union Street. Maximum vehicle height is 6’8″. ChargePoint charging stations are available for electric vehicles. Visit the Benaroya Hall website for event pricing.

Parking is also available at:

  • The Cobb Building (enter on University Street between Third and Fourth avenues).
  • The Russell Investments Center (enter on Union Street between First and Second avenues).
  • There are many other garages within a one-block radius of Benaroya Hall, along with numerous on-street parking options.


Open Captioning is an option for people who have hearing loss, where a captioning screen displaying the words that are spoken or sung is placed on stage. This option is present at every event at Benaroya Hall in our 2021/22 Season.

Closed Captioning is an option for people who have hearing loss, where captioning displays the words that are spoken or sung at the bottom of the video during an online event. Captioning is available for all online events; click the “CC” button to view captions during the event.

Assistive Listening Devices (ALDs) are devices that people with hearing loss use in conjunction with their hearing device (hearing aids or cochlear implants). Benaroya Hall has an infrared hearing system, which transmits sound by light beams. Headsets are available in The Boeing Company Gallery coat check and the Head Usher stations in both lobbies.

Sign Language Interpretation is available upon request for Deaf, DeafBlind, and hard of hearing individuals for both in-person and online events. To make a request for interpretation, please contact us at boxoffice@lectures.org or 206.621.2230×10, or select “Sign Language Interpretation” from the Accessibility section during your ticket checkout process and we will contact you to confirm details. Please note: we appreciate a two-week advance notice to allow us time to secure interpretation.

Wheelchair Accessible Seating and Accessible Restrooms are available in all sections at our venues, and our venues are fully accessible to ticket holders with physical mobility concerns. Among other features, Benaroya Hall has designated parking spaces adjacent to elevators in their parking garage. Elevators with Braille signage go to all levels within the Hall. To reserve seating for a specific mobility concern, you may select “Wheelchair Accessible or Alternative Seating Options” during ticket checkout, and we will contact you to confirm details. For more details on their accessibility features, click here.

Guide and service dogs are welcome.

Gender neutral restrooms are available.

We are pleased to offer these accessibility services at our venues, and they are provided at no additional cost to ticket holders. Please contact us with any questions and feedback about how we can be more accessible and inclusive. Our Patron Services Manager is available at boxoffice@lectures.org, or Tuesday-Friday, from 12 noon–5 p.m., at 206.621.2230×10.

For more accessibility information, please head to lectures.org/accessibility. If you would like to make accessibility arrangements you do not see listed here, please contact our box office or select “Other Accommodations” from the Accessibility section during your ticket checkout process, and we will contact you to confirm details.