daphne

Paralympic medallist Daphne Schrager insists she has “never cheated” after being given a two-year ban following an “unintentional” positive test for a banned substance.

Schrager, who won a silver medal at Paris 2024, tested positive for the banned substance Ligandrol, which selectively builds muscle and bone mass.

However, the ban has been backdated to start when she was initially suspended on 2 June 2025.

It will end on 1 June 2027, meaning Schrager could still compete at the 2028 Paralympic Games in Los Angeles. However, she has been left out of the England squad for the Commonwealth Games, currently taking place in Glasgow.

The substance was found after the 25-year-old completed an out-of-competition test last year.

UK Anti-Doping (UKAD) said Schrager argued that she had been exposed to environmental contamination with two possible scenarios.

She said she may have been contaminated at a gym that she had attended to receive a massage, or at a shared home address.

However, a UKAD tribunal found that while Schrager had not intentionally used a banned substance, she had not proved that it was an inadvertent environmental contamination.

In a lengthy statement on Instagram, external, Schrager said she had paid for hair and nail analysis as part of her attempts to prove her innocence – but because the exact source of contamination could not be proven, she had been banned.

“In June last year, I received news that turned my world upside down,” she said. “I had tested positive in an anti-doping test for a trace amount of Ligandrol, detected at 0.0006ng, resulting in my suspension from cycling since that time.

“I want to be very clear: I have never cheated, nor have I ever knowingly taken any banned substance. Facing the possibility of a four-year ban unless I could prove that the result was unintentional has been incredibly distressing.”

Schrager said the panel had confirmed she did not intentionally use or ingest Ligandrol, and she had proved that inadvertent environmental contamination from a minute trace of Ligandrol was to blame for the positive test.

She said the trace of Ligandrol would have provided her with no performance advantage. As a result, none of her results have been disqualified.

“In cases like mine, by the time an athlete is informed of their positive test, too much time has passed to identify the exact source of contamination with the certainty that the rules demand,” Schrager added. “That is not a failure of honesty or effort, it is simply too much of a burden to be met in every case.”

“This is one of the most difficult periods of my life. Losing my contract, my team and the structure that had long shaped my purpose and identity left me facing a level of uncertainty I had never known.”

Schrager, who has cerebral palsy, said the impact on her mental health has been “significant and at times overwhelming” – but vowed she would return to action in 2027.

She won Team GB’s first medal of the 2024 Paralympics with silver in the women’s C1-3 3000m individual pursuit.

She went on to win two gold medals at the Para-cycling Road World Cup in May 2025 in the C2 class – before being suspended a month later.

At the recent glitzy PEN America Literary Gala at the Natural History Museum in New York City the evening’s MC, B.J. Novak, declared that the crowd was there to celebrate more than just freedom of speech — they were there for “literary glamour.”

“Writing is glamorous,” he declared. “Reading is glamorous.”

For Novak, bestselling novelist Ann Patchett — who has also worked tirelessly on behalf of independent booksellers and in support of her fellow writers, and was one of the event’s honored guests — epitomizes that allure. “I think it’s great that Ann Patchett is a smoke show. She doesn’t have to be,” he quipped. “It’s just cool that she is.”

With “Whistler,” Patchett’s 10th novel, she definitively proves that the “smoke show” moniker, if at all relevant, is icing on the cake. This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love. It’s also an ode to New York City itself.

“Whistler” is narrated by protagonist Daphne Fuller, a 54-year-old English teacher married to Jonathan, a restlessly retired doctor and hospital administrator who dotes on his wife and whom he regards as “extraordinary.” When we first encounter the couple, they’re roaming the Metropolitan Museum of Art — which, one gets the sense, they know by heart. As Daphne ponders the sculpture “Two Horses,” by Charles Ray, Jonathan spots an elderly stranger eyeing his wife, casting glances in her direction. The stranger follows them from room to room fixated on Daphne. Jonathan’s curiosity is piqued, and he slips away from his wife’s side to get to the bottom of why they’re being followed — which is revealed to be the novel’s inciting incident.

Turns out that stranger is no stranger at all. He is Eddie Triplett, a long-lost stepfather whose divorce from Daphne’s mother, Abigail, remains an unhealed wound. Running into Eddie now for the first time in more than four decades, Daphne is startled by the rush of emotion she feels: “I hadn’t known there was something in me to break,” she reflects, “but there it was and break it did. I stepped into an open crack in time and fell backwards.”

Eddie, as it happens, is but one of Daphne and her sister, Leda’s, three dads. By the time Abigail marries her third husband, mild-mannered Lucas, and the couple go on to have three sons, Daphne has grown a protective shell. These facts are narrated with detachment by the protagonist herself. As she and Eddie gently unspool their memories and together fill in the blanks, their bond deepens. The “falling backwards” Daphne experiences in Eddie’s company — traversing time — soothes, softens and delights her.

As the novel unfolds, what becomes ever clearer is that Daphne and her author are undeniably similar, though Patchett has observed: “I am normally careful to make sure there is a big wall between my life and my fiction.” In “Whistler,” she throws that caution to the wind. Easter eggs are scattered throughout. Like Daphne, Patchett is married to an older man — also a doctor — whom she adores. She too had three dads, as she chronicled in a 2020 New Yorker piece aptly titled “My Three Fathers.” Patchett and her heroine also appear to share this enviable trait: They navigate life with grace, generosity and utter competence. IRL, Patchett returns emails on the day she receives them, is an outspoken advocate for free expression, is generally renowned for her good deeds. She’s also widely known for her many devoted friendships, though she doesn’t suffer fools. You’d want to be her ride or die. As you would … Daphne’s.

In an interview 10 years ago, Patchett observed that it wasn’t until she read a piece by Jonathan Franzen, “in which he insisted that the novelist had to do what scares him most, and for him, that had been writing about his family,” that she considered following that path in her fiction. “I thought ‘oh nothing would scare me more. I would happily ride down the Amazon in a canoe and deal with snakes’ ” (as she did for “State of Wonder”) “ ‘than face my family.’ ” In 2016 she wrote “Commonwealth,” which drew on her personal experience of divorce and dysfunction, themes she revisits in “Whistler.” But in “Whistler,” it’s as if Patchett herself is in the reader’s ear. (And, by the way, should you pick up the audio version of the book, she narrates and is literally in your ear.)

Patchett has said she had an ulterior motive for writing “Whistler.” She’d been in the midst of writing a different book, a novel about a Wyoming rancher and her horse, Whistler, but it wasn’t clicking. As she pressed on over the better part of a year, a second idea came to her “like a fever dream.” She immediately filed away the messy work-in-progress and began writing a fictional ode to a cherished friend, former publishing executive Jim Fox, to whom “Whistler” is dedicated. Fox had died two years before, on his 85th birthday, and Patchett was still grieving. Her aim, with “Whistler,” she has said, is to put down on paper how much they loved each other. Fox is reborn as Eddie Triplett in the book, a charming and erudite book editor who radiates joie de vivre and is among the loves of his stepdaughter Daphne’s life.

Patchett’s literary style isn’t of the show-offy variety packed with dazzling sentences and edge-of-your-seat cliffhangers. The drama is quiet. Her words accrue and gain power through their spareness and clarity, and a level of character development that forges an easy intimacy with the reader. There’s also a sly wit and sagacity that have become Patchett signatures, honed to perfection in “Whistler,” whether wrestling with the legacy of family trauma, or the human struggle to accept the transitory nature of it all. Or, as Patchett’s mother once admonished after the failure of her daughter’s first marriage: “Stop trying to make everything permanent. It doesn’t work.”

While Patchett has clearly drawn on actual events and individuals to produce this luminous work, she exhibits the expert novelist’s knack for following a plot where the imagination takes it. I don’t recommend consuming “Whistler” in one enormous gulp. I dipped in and out, savoring scenes, reflecting on them, occasionally shedding a tear. In other words, I didn’t want it to end.

Haber is a writer, editor and publishing strategist and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.