18/04/2022, 14:28, CT Angiogram renal & abdominal

No vascular calcification.

No renal calculi.

The kidneys are symmetrical in size (right = 11.1 cm; left = 11.0 cm) and normal in morphology.

When I show up for New York Film Festival’s 9:30 P.M. opening-night screening of White Noise, Noah Baumbach’s adaptation of Don DeLillo’s 1985 novel, the lobby is already swarming with television executives, publicists, and Lincoln Center benefactors. No one seems to have known how to dress for either the event or the weather. (Puffer coat and sheer tights? Sandals and spaghetti straps? Sensible backpack or Prada bag?) “They told me the vibe was black-tie,” a woman in a sequined gown says to her husband guiltily. He has very clearly been forced to wear a tuxedo. I watch some groups trying and failing to cut the line by flashing the branded wristband we have all been given. I find my seat and settle in for a Q&A with Noah Baumbach and members of the cast, including Greta Gerwig, Adam Driver, Jodie Turner-Smith, and Don Cheadle. They crack self-deprecating off-the-cuff jokes, as if there had not been two previous screenings earlier this evening. (At one point Baumbach says the “nine o’clock crowd” is his favorite yet. People cheer.) 

Finally the movie starts, and I take in Adam Driver as Jack Gladney, the chairman of Hitler Studies at the College-on-the-Hill, complete with gaudy button-down, receding hairline, and prosthetic paunch. The film is divided into three sections punctuated by the climactic “airborne toxic event,” which, as in the book, is also the most exciting and easiest bit to follow (a car crashes into a train carrying noxious chemicals; deadly smoke shrouds the sky). As the movie’s abrupt cuts and ecstatic colors make me mildly seasick, I notice some cast members appearing and disappearing into an opera box to glance at themselves on the screen. Perhaps taking their cue from the cast, several audience members trickle toward the exits around the time Babette, played by Gerwig, tells Jack she is afraid to die. (They miss the best part of the movie, which is the extended credits-and-dance sequence in the supermarket, set to LCD Soundsystem’s “new body rhumba,” written for the film.) The lights come back on and the actors again appear in the opera box, applauding and waving to the crowd.

A little after midnight, a group of white-haired men in newsboy caps wander down 66th Street toward Central Park, in the general direction of the after-party. “That Adam Driver,” one of them says. “Poorly cast. He just isn’t what you’d call an everyman.” A few women walk beside me, discussing the odds of getting in without a wristband. “What if Noah Baumbach tells us to leave?” A long line leaks out of Tavern on the Green: women in pearls and staticky shawls, men in sport coats over T-shirts and loafers without socks. Someone ushers me toward the front and soon enough I’m holding a miniature cheeseburger, a tiny tiramisu, and a free negroni. A famous DJ plays and red strobe lights flash across walls lined with rows of Campari bottles. I watch a group of women attempt to order spicy margaritas from the bartender, who throws his hands up in exasperation—he can’t serve anything except Campari-based cocktails. The liquor brand is proudly sponsoring the event. 

—Camille Jacobson, engagement editor

It was only a matter of time before the “Don’t Say Gay” bill of Florida and the wave of similar anti-LGBTQ+ bills passed throughout the country made its way to the federal level.

Congressman Mike Johnson (Louisiana) introduced the “Stop the Sexualization of Children” Act into the House this week. The bill would “prohibit the use of Federal funds to develop, implement, facilitate, or fund any sexually-oriented program, event, or literature for children under the age of 10, and for other purposes.” The bill would disallow funding for any organization — from libraries to schools to medical facilities and more — offering any materials or programming related to “sexually oriented material” to people under the age of 10. The vagueness of this definition is precisely the point, as it would open the door for vast interpretation and would not only lead to censorship but would lead to the persecution of any individual who does not align with perceived notions of “appropriate.”

As writer Alejandra Cabarello points out, the provision within the bill for “Private Right of Action” is an open bounty for individuals to file lawsuits against anyone using federal funds, banning any and all discussion of LGBTQ+ people and topics wherein there might be children under 10.

This means a queer elementary school educator may be unable to do their job, simply because they are queer. Or because they show a film that one parent may disagree with and choose to interpret as sexual indoctrination.

It means a queer doctor in a public hospital could be sued simply for being queer. A logo that looks too suspiciously “like a rainbow flag” could trigger lawsuits.

In education there’s a distinct jargon used. Acronyms and idioms and particular turns of phrase. This isn’t unique to education, but ubiquitous in most occupations. While we do the best we can to reflect on our teaching processes and make corrections where necessary, sometimes we don’t even think about a term that needs to be examined because we’ve been using it for so long. This is not an excuse; it’s an explanation.

“Reluctant reader” is one of those terms. It’s still in use for a few reasons. One, it does describe people who are hesitant to read, and specifically, books or long passages. Two, it’s easy to remember and easily understood by non-educators. Parents, for example, understand what we mean when we call a child a reluctant reader. Whereas terms like 504 or scaffolding or IEP are not as accessible upon first hearing them. Finally, it’s alliterative. I don’t have to tell you that people who love literacy love alliteration.

It’s time for the expression to be closely examined and weighed. “Reluctant reader” does not have a positive connotation, for children or adults who identify with that term. In order to redefine reluctant readers, we first have to understand who they are.

It’s Monster Mash season, baby! My favorite time of year. Porches are decorated with pumpkins and ghouls, bowls of candy are everywhere you look, and the options for your costume are endless. And with that comes all of the scary movies, books, and comics just waiting at your fingertips. You want vampires, you’ve got them. You want aliens? You betcha. You want horror that’s also sad? Signed, sealed, delivered. Even for the scaredy cats, there’s lighthearted horror or the cozy aspects of the holiday. Hot chocolate and chocolate and sweaters to stave off the fall chill. There’s something for everyone at Halloween, that’s what makes it so great.

Sometimes working full time or taking care of a family makes it harder to get into the Halloween spirit. I love comics and audiobooks and even podcasts full of scares to get me in the monster mood. Comics and graphic novels are great to read during my lunch break or for 15 minutes before bed. I fall asleep with the images seared into my brain, gorgeous and gruesome in equal measure.

If you’re wanting more horror in your life, here are eight Halloween comics to read this scary season (or anytime really)!

I love big, sprawling, fantasy series as much as anyone. But for the past few years, I’ve also been craving more self-contained stories that don’t demand as much time and attention from me. Which is why I began reading standalones — and let me say that they are more than capable of telling complete and detailed stories with well-developed characters despite the shorter format. In fact, that’s exactly what makes them great reads for both fantasy newbies and genre veterans. We covered adult fantasy standalones recently here at Book Riot. So today I’m going to focus on standalone YA fantasy books.

A few things before we get to these amazing books. For today’s list, I chose eight great books with different kinds of fantasy elements. From mythology retellings, to mermaids, golems, witches, and even exorcists. There’s a book for everyone on this list! Plus, I chose to focus on more recent releases — the oldest one being from mid 2020. That’s because, now more than ever, standalone YA fantasy books are thankfully full of non-Western, non-white, and non-cis characters and settings. Which is something I wanted to focus on today.

So without further ado, let’s dive into eight great standalone YA fantasy books that are absolutely worth reading.

The mornings are crisp. The days are shorter. Tomatoes and peaches have been replaced by apples and pumpkins at the farmer’s market. And the fall books are here! Autumn is always a busy time of year for books, with publishers releasing their big titles in the hope of capturing the interest of readers shopping for the holidays or looking to curl up with a blanket and a good book as the temperatures drop. There’s something for everyone this season, with thrilling debuts, thoughtful nonfiction, stunning poetry collections, and so much more. Readers will be particularly excited to see new titles from favorite authors like Scholastique Mukasonga and Samanta Schweblin and translators like Emma Ramadan and Megan McDowell. But don’t sleep on some of the new and exciting voices on this list too.

I’ve poured over the catalogs and galleys and highlighted just some of the best fall 2022 new releases in translation, and because there’s just so much to choose from, I’ve added notes for others you should seek out as well! And whether it’s just something about publishing this year or my ever constant love for works of short fiction, but there are a lot of new short story collections that caught my eye. So if you’d like to dip in and out of some incredible short fiction in what can be a busy time of year, you’re in luck.

Fall 2022 New Releases In Translation

One of the things Asia is most known for is horror. In fact, Japan and South Korea have produced many horror films throughout the years. Who hasn’t been terrified by The Ring or Sadako? Or those films featuring scary Japanese dolls? How about the zombies in Train to Busan?

The Asian continent also has plenty of horror movies and TV series based on its culturally diverse urban legends. Unfortunately, there’s just far and few between when it comes to books. Luckily, I was able to dig up some gems that are written by Asians themselves.

In this list, you’ll find horror stories based on urban legends: a white lady who is said to be haunting a street, scary college tales in India, a girl killed and thrown into a well, babies tossed in coin lockers, and urban legend ghosts in Southeast Asia. But before we get to them, just a note: I was only able to include books in English, specifically, ones from majority English-speaking countries such as India, Singapore, and the Philippines. I’m sure that there are more of these out there but that they aren’t available in English.

Find below are eight urban-legend horror books by Asian authors. Get ready to be frightened by a different kind of horror this scare season!

Skulls, bones, and skeletons are classic book cover iconography, with symbolism for myriad tones or themes: horror, poison, death, humanity, and, you know, just general coolness. I’d like to think skull imagery became popular in the literary world thanks to our friend Hamlet and his pal Yorick — the exhumed skull Hamlet monologues at — and for that, I’m eternally grateful for the bard.

The real joy in curating this list of books with skull covers is the variety of genre and audience. Skulls are not tied to any one genre, though of course, they tend to be more popular in horror, fantasy, science, and crime books. In the land of middle grade covers, the skulls tend to be subtle or cartoonish, while young adult and adult covers go hard in trying to give you nightmares.

I’m ranking these covers by prettiness to eerieness, because that’s how I roll. We have skulls of all styles here, from floral arrangements and abstract shapes to realistic illustrations and haunting manipulations.

A note: I tried to track down the designers for these gorgeous skull covers, but a few were elusive. Apologies to those designers, and if you find this, let us know to add your name for proper recognition!

Before this September, I hadn’t heard from Yara in months. They’re an Iranian journalist who has reported for the country’s most prominent newspapers and publications. We first met in New York in 2018 and bonded over the difficulties that come with reporting on Iran: they were rightly afraid of being arrested for their work, and I’ve been afraid that I will no longer be able to return to the country where I was born due to writing about it from abroad. As the Islamic Republic began to escalate the crackdowns on journalists, activists, and civil society, Yara—a pseudonym I’m using to protect their identity—was forced to leave Iran. But when their father was diagnosed with cancer, they had to return. They messaged me to say they were going back and let me know I likely wouldn’t hear from them. If the authorities knew that Yara was communicating with me, an Iranian dual national who works for the New York Times, they could accuse them of conspiracy, spying, and a whole host of other nonsensical charges. I worried about Yara, but I knew their silence meant they were safe. 

In September, a twenty-two-year-old Kurdish woman named Mahsa Amini died after being detained in Tehran by the so-called Morality Police for breaking the “hijab rule.” On Twitter, a photographer named Niloofar Hamedi posted a photo of Amini unconscious in a hospital bed, with tubes coming out of her mouth, a swollen face, and dried blood on her ears. Her image enraged Iranians and sparked mass demonstrations. The protests are now in their fifth week and have spread to more than eighty cities and towns. It’s both the largest and most widespread uprising that the Islamic Republic has seen in its forty-three-year history. Many of us, familiar with the state’s history of lethal crackdowns, were waiting nervously for them to begin. Arrests have already started, as have periodic internet shutoffs. Hamedi is now in solitary confinement in Iran’s notorious Evin Prison.   

On September 26, during the third week of the protests, I finally heard from Yara. They had just been arrested and interrogated at the Ministry of Intelligence. “They will take me to jail for about two years due to my reports,” Yara wrote. “But I am not scared, something like hope is rising among us, hope for changes, for women, life, freedom, for visiting you in Tehran soon.” They said it may be a month or two until they have a court date and are sent to prison. In the meantime, they wanted to collaborate on another story. They sent me their notes and wrote, “Keep our fingers crossed that the internet will work tomorrow.” 

I first read Nancy Lemann’s novel Lives of the Saints in one sitting, on an airplane. I was spellbound, moved, and deeply charmed. Who was this woman? Why had I never read her before? How was she capable of articulating an experience of youth that, in all its wastrelness, was exactly like my own despite being completely different?

Lives of the Saints, first published in 1985, is a novel that undermines our expectations of narrative: Lemann’s fiction does not flow in the normal direction but loops in circles and rides along on digressions that resemble the chaos of real life. The book is remarkable for its restraint and for its lush detail. If it can be said to be “about” anything, it’s about a young woman named Louise who has returned to New Orleans from college in the North; she finds herself thrust back into the richly entangled social world of her childhood, back among the people she has always known, including Claude Collier, the only man who can break her heart “into a million pieces on the floor.” Lives of the Saints is peopled by eccentrics and doomed lovers and drunks and people who are always “Having a Breakdown.” It’s so rollickingly funny that in retrospect you might forget about its central tragedy, then reread it and get your heart broken all over again.

Like Cassandra at the Wedding and The Transit of Venus, Lives of the Saints has had a formidable afterlife, sustained not by support from the literary publicity machine but by a network of recommendations from die-hard fans, of which I am now one. (I don’t remember how or when I picked up my copy, but much of the current generation of fandom can be traced to Kaitlin Phillips’s 2018 recommendation in SSENSE: “Read this book in the bath.”) After finishing it, I ordered every single one of Lemann’s novels, and read them more or less back-to-back. It felt like absorbing a consciousness that suddenly made everything make sense. I, too, have Had a Breakdown. I, too, romanticize the impossible, the decaying, and the societies that have lapsed in a long slow deserved decline; I can be moved to tears by things like wisteria and particular angles of winter sunlight. One of her narrators even romanticizes the fall of the Ottoman Empire! 

Lemann’s story “Diary of Remorse,” in our Fall issue, has the same madcap, digressive quality that defines her novels as well as the same blend of humor, pain, and beauty. You can read a chat the two of us had on the phone in September below. We agreed, among other things, that youth is angst.

In 1994, the internationally acclaimed fiction writer Lucia Berlin met the New York School poet and librettist Kenward Elmslie at Naropa University’s Summer Writing Program, where they were both visiting writers. “We just clicked,” Berlin said in a 2002 interview. “We cut through right away into each other’s deep feelings. It was like falling in love, or going back to your childhood best friend in first grade, that kind of really pure friendship.”

That friendship developed through a faithful and frequent correspondence, a literary exchange of about two letters per week over the course of a decade. Lucia was living in Boulder, Colorado, and later in Los Angeles; Kenward was dividing his time between New York City and Calais, Vermont. Despite the distance between them, the two writers came to depend on their intimate friendship and deeply valued their correspondence.

In the following letters dated between May 28 and August 5, 2000, Lucia and Kenward discuss a New York production of Kenward’s musical play, Postcards on Parade, and the books each was working on at the time: Lucia’s memoir, Welcome Home, and Kenward’s fourteenth poetry collection, Blast from the Past, which he wanted to dedicate to Lucia. They write about the books they’re reading, Lucia’s recent move to a trailer park, and the thrilling poetic visuals she sees from her windows.

Clarence Larkin’s commentary on THE BOOK OF REVELATION is written LIKE THIS, crafted with occasional capitalizations to emphasize IMAGES and TERMS. Reading it doesn’t feel like being shouted at but rather kind and intimate, as though he’s DIRECTING our attention in the same way a CHILD is directed to look at CARDINALS and CATERPILLARS during NATURE WALKS. Larkin directs the reader to symbols like THE SEVEN SEALS, a kingdom made of STONE, and the NEW HEAVEN and NEW EARTH. As a writing style, its effect is in guiding the EYE to see ONE THING over another. Eventually we’re pointed to this: a vision of the New City. There shall be NO NIGHT there: they need no candle, neither light of the Sun; for the Lord God giveth them LIGHT; and THEY SHALL REIGN FOR EVER and EVER.

***

I grew up in Willoughby, Ohio, the supposed subject of the Twilight Zone episode “A Stop at Willoughby” (1960), in which a man falls asleep during his daily commute and DREAMS of a train station for a UTOPIAN TOWN. The opening narration begins: “This is Gart Williams, age thirty-eight, a man protected by a suit of armor, all held together by one bolt. Just a moment ago, someone removed the bolt, and Mr. Williams’s protection fell away and left him a naked target.” A naked target, the episode suggests, for virulent daydreaming. It’s a cold winter, and Gart is an advertising executive so beleaguered by both wife and boss that his only respite is the commute he spends dreaming of a better place. As his life spirals horrific—his wife thinks he’s a coward, he fails at his job—Willoughby from the window waxes idyllic: parasols, pushcarts, summertime in 1888. It is a backward-looking fantasy, one he indulges in daily while sleeping.

vladimir nabokov said:

i confess i do not believe in time
in BEING AND TIME, poor heidegger
didn’t finish the time part in time
to publish it with the being part
so everything-now must be not-being
there is a pine needle stuck in the screen
the side nearest me must be the being side
the one further away’s the time side
nabokov only said the first line
even when you have nothing to do
there’s not enough time in the day

there are 5 stinkbugs on the back porch—the stinkbugs don’t make you feel good or likable. but the one beautiful tree we have that i can see is still fulsome. in years past it’s always been the best & most long-lasting foliage tree & now, even in this year of all the leaves blown down & drabness, as i see it, it’s a glorious tree between the locusts, acting as if there’s not a stinkbug around.

Following the Attica uprising in September 1971, Celes Tisdale, a poet and a professor at Buffalo State College, began leading poetry workshops at the correctional facility—the first at a U.S. prison to be run by a non-inmate and an African American. Poems written by his students were published in 1974 as Betcha Ain’t: Poems from Attica, by Broadside Press, the first major Black-owned publishing house in America. Below are several noncontinuous entries from the diary Tisdale kept during that time, beginning with his first day at the facility.

May 24, 1972

4:30 P.M.
“Anticipation”

“I could hardly believe my luck in having found her,” Vivian Gornick writes of the persona she created for her pivotal 1987 book Fierce Attachments, a rich, genre-redefining portrayal of fraught maternal bonds that the New York Times has anointed the best memoir of the past fifty years. “It was not only that I admired her style, her generosity, her detachment—such a respite from the me that was me!—she had become the instrument of my illumination.” That shock of wonderment and good fortune is familiar to all Gornick’s readers, and especially to the many writers of nonfiction who still pass around The Situation and the Story (2001)—in which those words appear—like a talisman. It’s a thrill to read Gornick’s precise, elegant account of how a voice and a narrative are made, and to see that process so masterfully demonstrated in her own work is often (as she herself has said of reading and rereading the likes of Edmund Gosse or Joan Didion) to become “enraptured.” 

It’s in that spirit that the Review will present Vivian Gornick with the Hadada, our award for lifetime achievement, at our seventieth-anniversary Spring Revel on April 4, 2023. Her engrossing Writers at Work interview, which appeared in issue no. 211 (Winter 2014), was the magazine’s second ever to focus on the art of memoir. 

Gornick’s exceptional contributions to literature over the past several decades span autobiography, essays, and journalism. Her first book, In Search of Ali Mahmoud: An American Woman in Egypt—the research and writing of which she described, with characteristic élan, for the Review’s short documentary series My First Time—was a finalist for the 1974 National Book Award. As a contributor to The Village Voice in the years that followed, she became a leading writer of the feminist movement while developing a unique style of criticism that blended literary analysis with clear-eyed observations of her own experiences. This style came to fruition in books including The End of the Novel of Love (1997), a groundbreaking collection of essays that debunked the insidious ubiquity of romantic love as a metaphor for happiness, and The Men in My Life (2008), a compassionate study of the struggle for inner freedom that is shared across genders.