A new stage adaptation of Malorie Blackman’s 1997 children’s novel, Pig Heart Boy, visits the Coventry Belgrade Theatre this month as part of a national tour. It’s the story of 13-year-old Cameron, who has a heart condition and is in need of a transplant. Desperate to take part in normal activities, like other children of his age, Cameron must decide how far he will go to get his life back - and whether it’s better to have a pig's heart that works than a human heart that doesn't. Multi-award-winning author Malorie  here talks about the joys of seeing her novel adapted for the stage…

What originally inspired you to write Pig Heart Boy, Malorie?

Pig Heart Boy originally came about because I read a newspaper article by a doctor predicting that we'd soon have to start using animal organs for heart and kidney transplants due to a severe shortage of human donors - and I thought, what a wonderful idea for a story!

Before I started writing, I did a lot of research on transplants. There weren’t many books about xenotransplantation at the time, but I was fortunate that a TV documentary called Your Life In Their Hands was airing, which provided useful insights into surgery and transplants. 

The fact that Pig Heart Boy is now being adapted into a stage play is just amazing. When you read a book, you imagine the characters and their inner lives, but there's something magical about seeing real actors bring those characters to life on stage. It's almost like peeking into somebody's window and seeing that life unfold before you - and that’s really special.

How does it feel to revisit this story such a  long time after you wrote it?

I wrote Pig Heart Boy in the mid-90s, and back then xenotransplantation was still an idea the doctors were speculating about: would it ever happen? This type of transplant was still perceived as science fiction when I wrote the book. But then, a couple of years ago, surgeons in the US performed the first pig heart transplant. Unfortunately, I think the patient died a couple of weeks after the operation, but the doctors learned important lessons from it. 

I've always loved science and exploring the subtle line between what's possible and what's probable. Many things once deemed ‘science fiction’ - like mobile-phone technology, for example - have now become reality. This evolving potential is what fascinated me about xenotransplantation.

What challenges did you face writing a children’s story that deals with complex medical and ethical issues?

I had to make sure all medical details were correct, so I watched documentaries and read extensively about transplants. To keep the story relatable, I narrated it from [the main character] Cameron’s perspective; a teenager facing these dilemmas. I also visited a lot of schools and talked to many children about how they felt about this subject. For me, there was no right or wrong; what I wanted to explore was ‘what would you do in Cameron's shoes?’ Many had reservations about animal transplants, even if they weren’t vegetarians, which sparked lively debates about the ethics of it. 

What I wanted to do with the book was to present Cameron and his own experiences. These are the choices he made; good or bad, right or wrong, these are his choices. What would you have done? Where do you think he got it right, where do you think he got it wrong? I hope the play sparks debate about xenotransplantation and how people feel about it, and what choices they would make. I think this approach is much more engaging than dictating what’s right or wrong, especially for young readers.

What do you hope audiences will take away from the stage adaptation?

First and foremost, I’d like audiences to enjoy the show. But if there's a takeaway, I’d like it to be the importance of empathy and understanding for others who may be going through similar life experiences. I’d love audiences to consider not just the science, but also the ethics behind xenotransplantation, and ponder ‘Would I be comfortable receiving an organ from an animal if needed? How would I feel about it?’ I really hope audiences will understand why Cameron and his family made the choices they made, and feel connected to the story.

Do you think Pig Heart Boy can be used as a tool to discuss complex topics like this in the classroom?

I think teachers will be able to use both the novel and the play to spark discussions about these topics in a way that feels less intimidating. It’s easier to discuss gritty topics when you're talking about somebody else, whether a real person or fictional characters. I think the idea of being able to watch a character, in this case Cameron, and what he's going through - why he decides to have the pig heart transplant and what it does to his life - makes it easier to discuss than just saying ‘Let's talk about xenotransplantation’ in the abstract. I think this makes the subject matter much more engaging and accessible.

When writing the book, how did you make sure your work would resonate with your audience?

I engaged with my target audience directly. I visited a number of schools and asked students questions like ‘How would you feel about receiving an organ from an animal? Would you go along with it? If not, why?’
This always led to interesting debates, with roughly half the room open to the idea and the other half opposed. As always, there was no right or wrong answer - I was just genuinely interested in their opinions. I wanted Cameron’s thoughts on xenotransplantation to mirror how a real teenager might think. His family dynamic plays a role, too - he’s aware of his own mortality, even as the adults around him try to shield him from it. Capturing that mix of maturity and vulnerability was essential for me. 

When I was Children’s Laureate, I spent a day at Great Ormond Street Hospital, where I saw how much the children understood their situations and prognoses. I believe it’s crucial to give young people the chance to talk about or read about these issues, allowing them the space to express and process their feelings.

Pig Heart Boy shows at Coventry’s Belgrade Theatre from Wednesday 2 until Saturday 5 April and Wolverhampton Grand Theatre from Tuesday 8 until Saturday 12 April

Photo credit: Ali Wright