[{"id":275505,"date":"2026-08-18T04:37:10","date_gmt":"2026-08-18T08:37:10","guid":{"rendered":"https:\/\/lithub.com\/?p=275505"},"modified":"2026-08-17T22:37:42","modified_gmt":"2026-08-18T02:37:42","slug":"joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today","status":"publish","type":"post","link":"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/","title":{"rendered":"Joby Warrick, LaToya Watkins, Katy Simpson Smith, and more: 20 new books out today!"},"content":{"rendered":"<p style=\"text-align: left;\">August zooms on, or trickles on, depending on how you look at it. We&#8217;re reaching a quieter moment of the publishing cycle: a few weeks of slowness and peace before the onslaught of September. But until then, enjoy the numberous treats that still await us in August. Such as Joby Warrick&#8217;s work of nonfiction about a legendary terrorist, Katy Simpson&#8217;s new novel, and many more. Read on, and happy Tuesday!<\/p>\n<p style=\"text-align: center;\">*<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273181\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/81cuvf6qbdl-_sl1500_\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_.jpg\" data-orig-size=\"988,1500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Joby Warrick, The Jackal\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_-674x1024.jpg\" class=\"alignnone size-medium wp-image-273181\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_-198x300.jpg\" alt=\"Joby Warrick, The Jackal\" width=\"198\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_-198x300.jpg 198w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_-674x1024.jpg 674w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_-768x1166.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/81cUvf6QBDL._SL1500_.jpg 988w\" sizes=\"auto, (max-width: 198px) 100vw, 198px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Joby Warrick, <a href=\"https:\/\/bookshop.org\/a\/40\/9781668070550\" target=\"_blank\" rel=\"noopener\"><em>The Jackal: The Rise and Fall of Carlos, the World&#8217;s First Super-Terrorist<\/em><\/a><\/strong><br \/>\n<strong>(Scribner)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A riveting portrait of the larger-than-life man who invented the role of celebrity terrorist\u2014and of the journalists, ideologues, spymasters, and dictators who helped elevate him to prominence.&#8221;<br \/>\n<em>\u2013<\/em>David McCloskey<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275309\" data-permalink=\"https:\/\/lithub.com\/the-book-of-chuck\/attachment\/9780593854549\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780593854549.jpg\" data-orig-size=\"600,906\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"The Book of Chuck\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780593854549.jpg\" class=\"alignnone size-medium wp-image-275309\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780593854549-199x300.jpg\" alt=\"The Book of Chuck\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780593854549-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780593854549-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780593854549-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780593854549.jpg 600w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>LaToya Watkins, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593854549\" target=\"_blank\" rel=\"noopener\"><em>The Book of Chuck<\/em><\/a><\/strong><br \/>\n<strong>(Tiny Reparations)<\/strong><\/p>\n<p style=\"text-align: center;\">\u201cA transcendent reading experience that reveals life\u2019s darkest corners while transmitting a surprising amount of hope.\u201d<br \/>\n<em>\u2013Kirkus<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"274803\" data-permalink=\"https:\/\/lithub.com\/the-maltese-version\/attachment\/9780374619480\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/07\/9780374619480.jpg\" data-orig-size=\"600,927\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"maltese version\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/07\/9780374619480.jpg\" class=\"alignnone size-medium wp-image-274803\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/07\/9780374619480-194x300.jpg\" alt=\"maltese version\" width=\"194\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/07\/9780374619480-194x300.jpg 194w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/07\/9780374619480-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/07\/9780374619480-32x50.jpg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/07\/9780374619480.jpg 600w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Katy Simpson Smith, <a href=\"https:\/\/bookshop.org\/a\/40\/9780374619480\" target=\"_blank\" rel=\"noopener\"><em>The Maltese Version<\/em><\/a><\/strong><br \/>\n<strong>(FSG)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Katy Simpson Smith playfully turns the Mediterranean psychological thriller on its head with this lush, finely textured, riveting dive into lives tangled by language and time.&#8221;<br \/>\n<em>\u2013<\/em>T\u00e9a Obreht<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"264663\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026\/dorthe-nors-range\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range.jpg\" data-orig-size=\"1000,1500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"dorthe nors range\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Dorthe Nors, tr. Caroline Waight, &lt;a class=&quot;external&quot; href=&quot;https:\/\/bookshop.org\/a\/132\/9781644454046&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;&lt;em&gt;Range&lt;\/em&gt;&lt;\/a&gt;; cover design by Alban Fischer (Graywolf, August 18)&lt;\/p&gt;\n\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range-683x1024.jpg\" class=\"alignnone size-medium wp-image-264663\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range-200x300.jpg\" alt=\"dorthe nors range\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range-200x300.jpg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range-683x1024.jpg 683w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range-768x1152.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/dorthe-nors-range.jpg 1000w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Dorthe Nors, trans. by Caroline Waight, <a href=\"https:\/\/bookshop.org\/a\/40\/9781644454046\" target=\"_blank\" rel=\"noopener\"><em>Range<\/em><\/a><\/strong><br \/>\n<strong>(Graywolf)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A brilliant novel that is as intellectually vast as it is deeply rooted in the everyday experience of being human.&#8221;<br \/>\n<em>\u2013Kirkus<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275506\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/71j5-i99vfl-_ac_uf10001000_ql80_\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71J5-i99VfL._AC_UF10001000_QL80_.jpg\" data-orig-size=\"658,1000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"The Secret Dinner, Raphale Montes\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71J5-i99VfL._AC_UF10001000_QL80_.jpg\" class=\"alignnone size-medium wp-image-275506\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71J5-i99VfL._AC_UF10001000_QL80_-197x300.jpg\" alt=\"The Secret Dinner, Raphale Montes\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71J5-i99VfL._AC_UF10001000_QL80_-197x300.jpg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71J5-i99VfL._AC_UF10001000_QL80_-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71J5-i99VfL._AC_UF10001000_QL80_-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71J5-i99VfL._AC_UF10001000_QL80_.jpg 658w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Raphael Montes, <a href=\"https:\/\/bookshop.org\/a\/40\/9781250442413\" target=\"_blank\" rel=\"noopener\"><em>The Secret Dinner<\/em><\/a><\/strong><br \/>\n<strong>(Celadon)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Dark, compelling, and wickedly smart, <em>The Secret Dinner<\/em> is a deliciously twisted thriller about friendship and ambition with a mind-blowing end.&#8221;<br \/>\n<em>\u2013<\/em>Lisa Jewell<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275507\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/screenshot-2026-08-10-at-2-40-08-pm\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM.png\" data-orig-size=\"1032,1566\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Finding Renee Richards, Julie Kliegman\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-675x1024.png\" class=\"alignnone size-medium wp-image-275507\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-198x300.png\" alt=\"Finding Renee Richards, Julie Kliegman\" width=\"198\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-198x300.png 198w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-675x1024.png 675w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-768x1165.png 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-40x60.png 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-1012x1536.png 1012w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM-33x50.png 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-10-at-2.40.08-PM.png 1032w\" sizes=\"auto, (max-width: 198px) 100vw, 198px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Julie Kliegman, <a href=\"https:\/\/bookshop.org\/a\/40\/9780063439580\" target=\"_blank\" rel=\"noopener\"><em>Finding Renee Richards: The Groundbreaking Story of Tennis\u2019s Trans Pioneer<\/em><\/a><\/strong><br \/>\n<strong>(HarperOne)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A fascinating account of an important and often overlooked figure in American sports and culture.&#8221;<br \/>\n<em>\u2013<\/em>Jonathan Eig<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275508\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/images-4-10\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-4.jpeg\" data-orig-size=\"331,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Steve Hawk, Nearshore\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-4.jpeg\" class=\"alignnone size-medium wp-image-275508\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-4-199x300.jpeg\" alt=\"Steve Hawk, Nearshore\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-4-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-4-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-4-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-4.jpeg 331w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Steve Hawk, <a href=\"https:\/\/bookshop.org\/a\/40\/9798217062331\" target=\"_blank\" rel=\"noopener\"><em>Nearshore<\/em><\/a><\/strong><br \/>\n<strong>(Viking)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Engrossing, graceful, and transporting, this is a terrific\u2014if terrifying\u2014tale of near apocalypse.\u201d<br \/>\n<em>\u2013Publishers Weekly<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275509\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/713tpgqwbnl-_ac_uf10001000_ql80_\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/713tpGqwBnL._AC_UF10001000_QL80_.jpg\" data-orig-size=\"648,1000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"The Next Journalism, Tom Rosenstiel\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/713tpGqwBnL._AC_UF10001000_QL80_.jpg\" class=\"alignnone size-medium wp-image-275509\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/713tpGqwBnL._AC_UF10001000_QL80_-194x300.jpg\" alt=\"The Next Journalism, Tom Rosenstiel\" width=\"194\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/713tpGqwBnL._AC_UF10001000_QL80_-194x300.jpg 194w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/713tpGqwBnL._AC_UF10001000_QL80_-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/713tpGqwBnL._AC_UF10001000_QL80_-32x50.jpg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/713tpGqwBnL._AC_UF10001000_QL80_.jpg 648w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Tom Rosenstiel, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593800195\" target=\"_blank\" rel=\"noopener\"><em>The Next Journalism: How the Press Must Change to Serve Democracy<\/em><\/a><\/strong><br \/>\n<strong>(Crown)<\/strong><\/p>\n<p style=\"text-align: center;\">\u201cAcclaimed journalist and novelist Rosenstiel presents thoughtful strategies to cope with this increasingly fragmented media landscape.&#8221;<br \/>\n<em>\u2013Booklist<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275510\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/attachment\/243338906\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/243338906.jpg\" data-orig-size=\"324,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Hello Baby, Kim Eui-Kyung\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/243338906.jpg\" class=\"alignnone size-medium wp-image-275510\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/243338906-194x300.jpg\" alt=\"Hello Baby, Kim Eui-Kyung \" width=\"194\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/243338906-194x300.jpg 194w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/243338906-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/243338906-32x50.jpg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/243338906.jpg 324w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Kim Eui-Kyung, trans. by Sora Kim-Russell, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593734896\" target=\"_blank\" rel=\"noopener\"><em>Hello Baby<\/em><\/a><\/strong><br \/>\n<strong>(Hogarth)<\/strong><\/p>\n<p style=\"text-align: center;\">\u201cWhat a humane, sometimes funny, and always illuminating exploration of the hopeful, painful pursuit of pregnancy and birth that so many people undertake around the world every day.&#8221;<br \/>\n<em>\u2013<\/em>Lydia Kiesling<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275721\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/attachment\/244773580\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244773580.jpg\" data-orig-size=\"333,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Danny Ramadan, Crooked Teeth\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244773580.jpg\" class=\"alignnone size-medium wp-image-275721\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244773580-200x300.jpg\" alt=\"Danny Ramadan, Crooked Teeth\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244773580-200x300.jpg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244773580-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244773580-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244773580.jpg 333w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Danny Ramadan, <a href=\"https:\/\/bookshop.org\/a\/40\/9781593768294\" target=\"_blank\" rel=\"noopener\"><em>Crooked Teeth: A Queer Syrian Refugee Memoir<\/em><\/a><\/strong><br \/>\n<strong>(Soft Skull)<\/strong><\/p>\n<p style=\"text-align: center;\">\u201cAn elegantly told, candid, and often intriguing personal history, the memoir never fails to edify.&#8221;<br \/>\n<em>\u2013Vancouver Sun<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275511\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/attachment\/9780593597507\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593597507.jpeg\" data-orig-size=\"298,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Camille Acker, A Very Special Episode\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593597507.jpeg\" class=\"alignnone size-medium wp-image-275511\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593597507-199x300.jpeg\" alt=\"Camille Acker, A Very Special Episode\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593597507-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593597507-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593597507-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593597507.jpeg 298w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Camille Acker, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593597507\" target=\"_blank\" rel=\"noopener\"><em>A Very Special Episode<\/em><\/a><\/strong><br \/>\n<strong>(Random House)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A sly social commentary on the interplay of race, class, and family legacy.\u201d<br \/>\n<em>\u2013The Millions<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"264664\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026\/the-song-of-stork-and-dromedary\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary.jpg\" data-orig-size=\"978,1500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"The Song of Stork and Dromedary\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Anjet Daanje, tr. David McKay, &lt;a class=&quot;external&quot; href=&quot;https:\/\/bookshop.org\/a\/132\/9780374620615&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;&lt;em&gt;The Song of Stork and Dromedary&lt;\/em&gt;&lt;\/a&gt;; cover design by Emma Moore (FSG Originals, August 18)&lt;\/p&gt;\n\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary-668x1024.jpg\" class=\"alignnone size-medium wp-image-264664\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary-196x300.jpg\" alt=\"The Song of Stork and Dromedary\" width=\"196\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary-196x300.jpg 196w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary-668x1024.jpg 668w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary-768x1178.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/The-Song-of-Stork-and-Dromedary.jpg 978w\" sizes=\"auto, (max-width: 196px) 100vw, 196px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Anjet Daanje, trans. by David McKay, <a href=\"https:\/\/bookshop.org\/a\/40\/9780374620615\" target=\"_blank\" rel=\"noopener\"><em>The Song of Stork and Dromedary<\/em><\/a><\/strong><br \/>\n<strong>(FSG)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A significant and moving literary achievement, an unforgettable story of a historical mystery.&#8221;<br \/>\n<em>\u2013<\/em>Elizabeth DeNoma<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"264662\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026\/malavika-kannan-unprecedented-times\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times.jpg\" data-orig-size=\"978,1500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Malavika Kannan, Unprecedented Times\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Malavika Kannan, &lt;em&gt;&lt;a href=&quot;https:\/\/bookshop.org\/a\/132\/9781250420787&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;Unprecedented Times&lt;\/a&gt;&lt;\/em&gt;; cover design by Sara Pinsonault, artwork by Shyama Golden (Henry Holt, August 18)&lt;\/p&gt;\n\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times-668x1024.jpg\" class=\"alignnone size-medium wp-image-264662\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times-196x300.jpg\" alt=\"Malavika Kannan, Unprecedented Times\" width=\"196\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times-196x300.jpg 196w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times-668x1024.jpg 668w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times-768x1178.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2025\/12\/Malavika-Kannan-Unprecedented-Times.jpg 978w\" sizes=\"auto, (max-width: 196px) 100vw, 196px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Malavika Kannan, <a href=\"https:\/\/bookshop.org\/a\/40\/9781250420787\" target=\"_blank\" rel=\"noopener\"><em>Unprecedented Times<\/em><\/a><\/strong><br \/>\n<strong>(Holt)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A sparkling work of fiction, this story feels like pages ripped straight from your funniest friend\u2019s diary.\u201d<br \/>\n<em>\u2013Booklist<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275722\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/attachment\/9780593802663\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593802663.jpeg\" data-orig-size=\"300,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Togetherness, Rowan Hooper\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593802663.jpeg\" class=\"alignnone size-medium wp-image-275722\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593802663-200x300.jpeg\" alt=\"Togetherness, Rowan Hooper\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593802663-200x300.jpeg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593802663-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593802663-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593802663.jpeg 300w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Rowan Hooper, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593802663\" target=\"_blank\" rel=\"noopener\"><em>Togetherness: Symbiosis and the Hidden Story of Life&#8217;s Greatest Collaborations<\/em><\/a><\/strong><br \/>\n<strong>(Knopf)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;I think this may be one of those rare books that&#8217;s a classic upon its publication. It calmly and comprehensively helps you see the world in a very new and hopeful way.&#8221;<br \/>\n<em>\u2013<\/em>Bill McKibben<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275666\" data-permalink=\"https:\/\/lithub.com\/first-summer\/first-summer-9781668225790_lg\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/first-summer-9781668225790_lg.jpg\" data-orig-size=\"259,400\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"first-summer-9781668225790_lg\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/first-summer-9781668225790_lg.jpg\" class=\"alignnone size-medium wp-image-275666\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/first-summer-9781668225790_lg-194x300.jpg\" alt=\"first-summer\" width=\"194\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/first-summer-9781668225790_lg-194x300.jpg 194w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/first-summer-9781668225790_lg-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/first-summer-9781668225790_lg-32x50.jpg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/first-summer-9781668225790_lg.jpg 259w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Ekin Oklap, <a href=\"https:\/\/bookshop.org\/a\/40\/9781668225790\" target=\"_blank\" rel=\"noopener\"><em>First Summer<\/em><\/a><\/strong><br \/>\n<strong>(Summit)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;This gorgeous novel will immerse readers in its heady and tender story of young love. This dreamy, queer, coming-of-age story about deep friendship and first love will resonate with teens.\u201d<br \/>\n<em>\u2013Booklist<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275720\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/the-loneliest-tree-in-the-world-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-loneliest-tree-in-the-world.jpg\" data-orig-size=\"298,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"The Loneliest Tree in the World\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-loneliest-tree-in-the-world.jpg\" class=\"alignnone size-medium wp-image-275720\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-loneliest-tree-in-the-world-199x300.jpg\" alt=\"The Loneliest Tree in the World\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-loneliest-tree-in-the-world-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-loneliest-tree-in-the-world-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-loneliest-tree-in-the-world-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-loneliest-tree-in-the-world.jpg 298w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p class=\"flex text-sm text-purple lg:text-base\" style=\"text-align: center;\"><strong>Mariana Salomao Carrara, trans. by Julia Sanches and Alison Entrekin, <a href=\"https:\/\/bookshop.org\/a\/40\/9781646223190\" target=\"_blank\" rel=\"noopener\"><em>The Loneliest Tree in the World<\/em><\/a><\/strong><br \/>\n<strong>(Catapult)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;An arresting exercise in naturalism.&#8221;<br \/>\n<em>\u2013Publishers Weekly<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275723\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/attachment\/244671594\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244671594.jpg\" data-orig-size=\"331,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Jennifer Givhan, The Sleeping Sisters\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244671594.jpg\" class=\"alignnone size-medium wp-image-275723\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244671594-199x300.jpg\" alt=\"Jennifer Givhan, The Sleeping Sisters\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244671594-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244671594-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244671594-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/244671594.jpg 331w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Jennifer Givhan, <a href=\"https:\/\/bookshop.org\/a\/40\/9780316581554\" target=\"_blank\" rel=\"noopener\"><em>The Sleeping Sisters<\/em><\/a><\/strong><br \/>\n<strong>(Little Brown)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A thrilling and heartbreaking ride from the first page, Givhan lyrically draws us into the emotional wounds, obsessions, grief, guilt, and trauma of complex characters living in the Southwest.&#8221;<br \/>\n<em>\u2013<\/em>Nina McConigley<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275476\" data-permalink=\"https:\/\/lithub.com\/can-plants-feel-pain-on-the-dynamic-sensitivity-of-the-vegetal-world\/vardey_greensoul_hc\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC.jpg\" data-orig-size=\"1678,2550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Vardey_GreenSoul_HC\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-674x1024.jpg\" class=\"alignnone size-medium wp-image-275476\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-197x300.jpg\" alt=\"\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-197x300.jpg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-674x1024.jpg 674w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-768x1167.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-1011x1536.jpg 1011w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-1348x2048.jpg 1348w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Vardey_GreenSoul_HC.jpg 1678w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Lucinda M. Vardey, <a href=\"https:\/\/bookshop.org\/a\/40\/9780063468726\" target=\"_blank\" rel=\"noopener\"><em>The Green Soul: Returning to Our Sacred Belonging in Nature<\/em><\/a><\/strong><br \/>\n<strong>(HarperOne)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;This hugely important book should be read by anyone who cares about the life of the Spirit and the future of the planet.&#8221;<br \/>\n<em>\u2013<\/em>Jennifer Kavanagh<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275724\" data-permalink=\"https:\/\/lithub.com\/joby-warrick-latoya-watkins-katy-simpson-smith-and-more-20-new-books-out-today\/attachment\/9780593714386\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593714386.jpeg\" data-orig-size=\"298,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Siren Says, Jennifer Michelle Herrera\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593714386.jpeg\" class=\"alignnone size-medium wp-image-275724\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593714386-199x300.jpeg\" alt=\"Siren Says, Jennifer Michelle Herrera\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593714386-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593714386-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593714386-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593714386.jpeg 298w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Jennifer Michelle Herrera, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593714386\" target=\"_blank\" rel=\"noopener\"><em>Siren Says<\/em><\/a><\/strong><br \/>\n<strong>(Putnam)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;<i>Siren Says<\/i> blooms with enchantment, mystical secrets, and otherworldly connections, the story&#8217;s characters seeking purpose and redemption while navigating intimate bonds and past harms.&#8221;<br \/>\n<em>\u2013<\/em>Diane Marie Brown<\/p>\n","protected":false},"excerpt":{"rendered":"<p>August zooms on, or trickles on, depending on how you look at it. We&#8217;re reaching a quieter moment of the publishing cycle: a few weeks of slowness and peace before the onslaught of September. But until then, enjoy the numberous<\/p>\n","protected":false},"author":5494,"featured_media":275725,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,43070,43135,43646],"tags":[111773,111774,40494,111772,82194,15528,72034,111765,111733,111771,49710,111781,14296,109029,6599,111769,80860,111692,111418,111777,111767,45195,111763,78343,111782,111766,111653,111691,111760,111779,111421,111768,111764,111780,111776,111761,111690,24252,111762,111775,111778,111770,111419],"class_list":["post-275505","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-literary-criticism","category-readinglists","category-the-hub","tag-a-very-special-episode","tag-anjet-daanje","tag-camille-acker","tag-crooked-teeth-a-queer-syrian-refugee-memoir","tag-danny-ramadan","tag-dorthe-nors","tag-ekin-oklap","tag-finding-renee-richards-the-groundbreaking-story-of-tenniss-trans-pioneer","tag-first-summer","tag-hello-baby","tag-jennifer-givhan","tag-jennifer-michelle-herrera","tag-joby-warrick","tag-julie-kliegman","tag-katy-simpson-smith","tag-kim-eui-kyung","tag-latoya-watkins","tag-lucinda-m-vardey","tag-malavika-kannan","tag-mariana-salomao-carrara","tag-nearshore","tag-range","tag-raphael-montes","tag-rowan-hooper","tag-siren-says","tag-steve-hawk","tag-the-book-of-chuck","tag-the-green-soul-returning-to-our-sacred-belonging-in-nature","tag-the-jackal-the-rise-and-fall-of-carlos","tag-the-loneliest-tree-in-the-world","tag-the-maltese-version","tag-the-next-journalism-how-the-press-must-change-to-serve-democracy","tag-the-secret-dinner","tag-the-sleeping-sisters","tag-the-song-of-stork-and-dromedary","tag-the-worlds-first-super-terrorist","tag-togetherness-symbiosis-and-the-hidden-story-of-lifes-greatest-collaborations","tag-tom-rosenstiel","tag-trans-by-caroline-waight","tag-trans-by-david-mckay","tag-trans-by-julia-sanches-and-alison-entrekin","tag-trans-by-sora-kim-russell","tag-unprecedented-times","story-type-new-books-tuesdays"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19FD","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-jackal-9781668070550_hr.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275505","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/5494"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275505"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275505\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275725"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275505"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275505"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275505"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275763,"date":"2026-08-17T13:06:03","date_gmt":"2026-08-17T17:06:03","guid":{"rendered":"https:\/\/lithub.com\/?p=275763"},"modified":"2026-08-17T13:06:03","modified_gmt":"2026-08-17T17:06:03","slug":"now-amazon-is-destroying-rare-books-to-train-its-ai","status":"publish","type":"post","link":"https:\/\/lithub.com\/now-amazon-is-destroying-rare-books-to-train-its-ai\/","title":{"rendered":"Now Amazon is destroying rare books to train its AI."},"content":{"rendered":"<p>Per a <a href=\"https:\/\/www.404media.co\/we-tracked-a-shipment-of-rare-books-it-ended-at-an-amazon-ai-training-facility\/\" target=\"_blank\" rel=\"noopener\">404 Media<\/a> report published this morning, Amazon, that evil empire, &#8220;is buying massive quantities of books, scanning them for AI training data, and destroying them in the process.&#8221;<\/p>\n<p>This news follows slow-creeping revelations that <a href=\"https:\/\/futurism.com\/artificial-intelligence\/ai-companies-destroying-rare-books\" target=\"_blank\" rel=\"noopener\">other AI companies<\/a> have been practicing &#8220;<a href=\"https:\/\/www.telegraph.co.uk\/news\/2026\/07\/30\/why-ai-companies-are-destroying-millions-of-old-books\/\" target=\"_blank\" rel=\"noopener\">destructive scanning<\/a>&#8221; to train their LLMs for at least the past two years.<\/p>\n<p>Dominos stated to fall this January, when <a href=\"https:\/\/www.washingtonpost.com\/technology\/2026\/01\/27\/anthropic-ai-scan-destroy-books\/\" target=\"_blank\" rel=\"noopener\"><em>The Washington Post<\/em><\/a> broke the story that Anthropic was at work on a secret project to &#8220;destructively scan all the books in the world.&#8221;<\/p>\n<p>Details about this &#8220;Project Panama&#8221;\u2014because what is an evil plan without a nom de guerre befitting a Bond villain\u2014emerged during a much-publicized <a href=\"https:\/\/www.npr.org\/2026\/07\/27\/nx-s1-5904606\/anthropic-vs-bartz-ai-copyright-lawsuit-pros-cons\" target=\"_blank\" rel=\"noopener\">copyright lawsuit<\/a> authors brought against Anthropic earlier this year.<\/p>\n<p>Though this scoop made the company behind Claude seem uniquely horrible, ongoing lawsuits against Meta, Google, Microsoft, and OpenAI now suggest similar practices.<\/p>\n<p>Everywhere, big corporations are stealing author&#8217;s work to train their LLMs. With a special recent focus on<em> dead<\/em> authors, who cannot protest.<\/p>\n<p>Amazon has previously denied that <em>they<\/em> practice &#8220;destructive scanning.&#8221; (Or at least, they have kept very, very quiet about the subject.) But as Emanuel Maiberg reported, new signs point to complicity.<\/p>\n<p>How do we figure? In a neat bit of practical research, 404Media followed a rare book they &#8220;suspected would be acquired by an AI company for training data,&#8221; and traced its journey around the country:<\/p>\n<p style=\"padding-left: 40px;\">That final destination was an Amazon warehouse in Las Vegas, Nevada. Amazon employees who work at this location say all they do is receive massive shipments of printed books which they then cut the bindings off in order to scan the books more quickly. The printed book is destroyed in the process.<\/p>\n<p>But wait, there&#8217;s even more Bond villain where this came from! Apparently, the offending team\u2019s logo \u201cis a dinosaur, brandishing its teeth and with a book in its hands.\u201d<\/p>\n<p>So the Rex is out of the park, Mr. Bezos.<\/p>\n<p>Perhaps you too are wondering: beyond the silent plaintiff part, what makes rare books so valuable for AI companies?<\/p>\n<p>According to documents <em>WaPo<\/em> uncovered re: Project Panama, &#8220;one Anthropic co-founder theorized that training AI models on books could teach them &#8216;how to write well&#8217; instead of mimicking &#8216;low quality internet speak.'&#8221;<\/p>\n<p>Maiberg echoed this theory. &#8220;Printed books are valuable as training data because a lot of the text they contain is not readily available on the internet, which AI companies have already scraped,&#8221; he wrote in this morning&#8217;s brief.<\/p>\n<p style=\"padding-left: 40px;\">The data is also conveniently organized and, if the book was printed before 2022, is guaranteed to be free of AI-generated text, which can make any AI model that is trained on it worse via a recursive process called &#8216;model collapse.&#8217;<\/p>\n<p>Here&#8217;s hoping.<\/p>\n<p>There is <em>another<\/em> silver lining here. The American public is, generally speaking, still pretty against book destruction. On the optics level, if nowhere else.<\/p>\n<p><a href=\"https:\/\/www.404media.co\/ai-company-training-scanning-books-database-isbndb\/\" target=\"_blank\" rel=\"noopener\">Certain companies<\/a> have already seemed to respond to public pressure about this un-beautiful, all-too-on-the-nose practice.<\/p>\n<p>So assuming they don&#8217;t collapse on themselves, let us pray the shame spigot will short these machines.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Per a 404 Media report published this morning, Amazon, that evil empire, &#8220;is buying massive quantities of books, scanning them for AI training data, and destroying them in the process.&#8221; This news follows slow-creeping revelations that other AI companies have<\/p>\n","protected":false},"author":17066,"featured_media":275844,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43201,43099,43109,43092,43095,43444,43445,43646],"tags":[100607,20922,2120,104316,32209,99337,51624,111810,111809,99290,16671,52888,6952,49477,71331],"class_list":["post-275763","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-news-newsandculture","category-design-newsandculture","category-events","category-newsandculture","category-politics","category-science","category-technology","category-the-hub","tag-404-media","tag-ai","tag-amazon","tag-anthropic","tag-book-burning","tag-bummer","tag-copyright-infringement","tag-creative-destruction","tag-destructive-scanning","tag-llms","tag-meta","tag-openai","tag-rare-books","tag-scoop","tag-to-be-clear-jeff-bezos-is-sauron-here"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19JN","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Untitled-design-23.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275763","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/17066"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275763"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275763\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275844"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275763"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275763"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275763"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275782,"date":"2026-08-17T06:30:51","date_gmt":"2026-08-17T10:30:51","guid":{"rendered":"https:\/\/lithub.com\/?p=275782"},"modified":"2026-08-17T09:12:18","modified_gmt":"2026-08-17T13:12:18","slug":"lit-hub-daily-august-17-2026","status":"publish","type":"post","link":"https:\/\/lithub.com\/lit-hub-daily-august-17-2026\/","title":{"rendered":"Lit Hub Daily: August 17, 2026"},"content":{"rendered":"<span class=\"caption\"> TODAY: In 1935, Charlotte Perkins Gilman dies. <\/span>\n<ul>\n<li>What did Jodi Picoult decide she needed to commemorate turning 60 and writing 30 novels? <a href=\"https:\/\/lithub.com\/after-six-decades-and-thirty-novels-jodi-picoult-was-missing-one-thing-a-tattoo\">A tattoo.<\/a> | Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/craft-and-advice\/\">Craft<\/a><\/li>\n<li>Steven W. Thrasher explores what we can learn about solidarity from <a href=\"https:\/\/lithub.com\/everything-but-the-burden-greg-tate-john-henryism-and-the-cost-of-solidarity\">Greg Tate&#8217;s recently reissued <em>Flyboy in the Buttermilk<\/em><\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/literary-criticism\/\">Criticism<\/a><\/li>\n<li>Why does <em>Walden<\/em> resonate <a href=\"https:\/\/lithub.com\/why-thoreau-and-walden-resonate-with-chinese-youth\/\">with modern Chinese youth?<\/a> &#8220;<i>Walden<\/i> is not popular in China because Chinese readers misunderstand Thoreau. It is popular because they understand him precisely.&#8221; | Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/on-translation\/\">On Translation<\/a><\/li>\n<li><a href=\"https:\/\/lithub.com\/rebecca-solnit-when-penelope-tried-to-spin-her-own-fate\/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">\u201cShe finds mastery and after much practice can<\/a> \/\u00a0unweave better than she ever wove, can unweave \/ her marriage back before she ever met the man.\u201d New poetry by Rebecca Solnit. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/fictionandpoetry\/poem\/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">Poetry<\/a><\/li>\n<li>This week in literary history, <a href=\"https:\/\/lithub.com\/this-week-in-literary-history-joseph-conrad-becomes-a-british-subject\">Joseph Conrad becomes a British subject<\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/history\/\">History<\/a><\/li>\n<li>On the 80th anniversary of <em>All the King&#8217;s Men<\/em>, <a href=\"http:\/\/lithub.com\/read-an-original-review-of-all-the-kings-men-on-its-80th-anniversary\">read the novel&#8217;s first New York Times review<\/a>. | <a href=\"https:\/\/bookmarks.reviews\/\">Book Marks<\/a><\/li>\n<li>Ishmael Reed Reflects on <a href=\"https:\/\/lithub.com\/reinventing-the-slave-narrative-ishmael-reed-on-flight-to-canada-at-50\/\">50 years of <em>Flight to Canada<\/em><\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/craft-and-advice\/\">Craft<\/a><\/li>\n<li><span class=\"byline\">&#8220;It is reductive, potentially misleading diagnostically, and stigmatizing.&#8221; Daniel Lieberman examines <a href=\"https:\/\/lithub.com\/on-good-fat-bad-fat-and-the-problems-with-bmi\">the problem with BMI<\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/health\/\">Health<\/a><\/span><\/li>\n<li>&#8220;Listen: I am not ungrateful. I have always known I am the luckiest girl on earth.&#8221; Read from <a href=\"https:\/\/lithub.com\/unprecedented-times\">Malavika Kannan&#8217;s new novel, <em>Unprecedented Times<\/em><\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/fictionandpoetry\/from-the-novel\/\">Fiction<\/a><\/li>\n<li>Rebecca Ford takes a deep dive on <a href=\"https:\/\/www.vanityfair.com\/story\/behind-making-children-of-blood-and-bone-tomi-adeyemi\">what went wrong on the <i>Children of Blood and Bone <\/i>set<\/a>. | Vanity Fair<\/li>\n<li>R.K. Hegelman on <a href=\"https:\/\/www.poetryfoundation.org\/articles\/1816395\/i-multiplied-myself-to-feel-myself\">Fernando Pessoa, \u201can extreme and singular figure<\/a> in a modern poetic tradition that views poems not just as texts, but as gnostic vehicles of self-annihilation and worldly renovation.\u201d | Poetry<\/li>\n<li>Ed Park on stamp collecting, maximum scrutiny, <a href=\"https:\/\/pioneerworks.org\/broadcast\/13-ways-ed-park-three-tenses\">and his book, <i>Three Tenses<\/i><\/a>. | Broadcast<\/li>\n<li>What\u2019s happening over at The Onion\u2019s InfoWars? <a href=\"https:\/\/aftermath.site\/podcasts\/aftermath-hours-podcast-the-onion-infowars-ben-collins-interview\/\">Time to catch up<\/a>. | Aftermath<\/li>\n<li>Vikram Nijhawan laments the death of <a href=\"https:\/\/thewalrus.ca\/whatever-happened-to-the-good-old-fashioned-con-artist\/\">the good old fashioned con artist.<\/a> | The Walrus<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>What did Jodi Picoult decide she needed to commemorate turning 60 and writing 30 novels? A tattoo. | Lit Hub Craft Steven W. Thrasher explores what we can learn about solidarity from Greg Tate&#8217;s recently reissued Flyboy in the Buttermilk.<\/p>\n","protected":false},"author":61,"featured_media":275784,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[45236],"tags":[],"class_list":["post-275782","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lit-hub-daily"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19K6","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/CharlottePerkinsGilman.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275782","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/61"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275782"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275782\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275784"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275782"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275782"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275782"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275322,"date":"2026-08-17T05:10:55","date_gmt":"2026-08-17T09:10:55","guid":{"rendered":"https:\/\/lithub.com\/?p=275322"},"modified":"2026-08-12T10:23:05","modified_gmt":"2026-08-12T14:23:05","slug":"why-thoreau-and-walden-resonate-with-chinese-youth","status":"publish","type":"post","link":"https:\/\/lithub.com\/why-thoreau-and-walden-resonate-with-chinese-youth\/","title":{"rendered":"Why Thoreau and <em>Walden<\/em> Resonate With Chinese Youth"},"content":{"rendered":"<p>When I translated <i>Walden<\/i> in 2012, I was not a Thoreau scholar.<\/p>\n<p>I was an immigrant chasing the American dream: two kids, two cars, two houses, a long commute to a corporate job.<\/p>\n<p>Translating <i>Walden<\/i> became my escape hatch. While the rest of life accelerated, I built a small tent in the woods of language and spent my evenings with Thoreau.<\/p>\n<p>When I finally finished the translation, I learned that mine was not the second Chinese <i>Walden<\/i>. Not the tenth. At the time, there were already nearly thirty.<\/p>\n<p>Today there are over three hundred. And according to Peter Alden, a renowned Concord naturalist and staff member of the Shop at Walden, approximately one-third of all visitors to Walden Pond are now Chinese.<\/p>\n<p>So here is my question: Why do the writings of a nineteenth-century American hermit resonate so powerfully with twenty-first-century Chinese readers, particularly young adults?<\/p>\n<p>Thoreau warned us that most men lead lives of quiet desperation. In China today, that desperation has been given a name: <i>Neijuan<\/i>\u2014involution.<\/p>\n<p class=\"pullquote\">Thoreau&#8217;s deliberate living is used precisely to separate <i>slowing down<\/i> from <i>giving up<\/i>. This is not laziness. This is Thoreauvian resistance.<\/p>\n<p>The term originally comes from anthropology, describing societies that grow more complex without becoming more productive. Chinese youth repurposed it to describe something they feel in their bones: a workplace culture of endless, irrational competition for shrinking rewards. Everyone rowing harder; the boat goes nowhere.<\/p>\n<p>You see it in the &#8220;9-9-6&#8221; schedule\u2014nine in the morning to nine at night, six days a week\u2014which remains widespread despite being technically illegal. You see it in mountains of performative paperwork, reports that exist not to communicate anything, but simply to <i>demonstrate<\/i> effort. You see it in entire industries locked in price wars where everyone loses. You see it in the pressure that begins not at the office but in childhood, as students compete for schools, graduates compete for jobs, workers compete for promotions, each rung of the ladder more crowded than the last.<\/p>\n<p>If Thoreau were alive today, he might say that China has industrialized quiet desperation.<\/p>\n<p>The pushback has a name too: <i>tang ping<\/i>\u2014lying flat. In 2021, the phrase \u201clying flat\u201d went viral in China.<\/p>\n<p>It does not mean doing nothing. It means refusing the endless escalation\u2014opting out of the rat race not in despair, but in search of something the rat race cannot offer: time, stillness, inner peace, a life that feels like one\u2019s own.<\/p>\n<p>Not everyone is lying flat. There are still the strivers, who believe the ladder leads somewhere. There are the realists, who have accepted involution as the weather\u2014miserable, but unavoidable. But a growing third group has decided to step off entirely, and on platforms like Xiaohongshu (Little Red Book or RedNote) and Douyin, the Chinese version of TikTok, they have found an unlikely philosopher: Henry David Thoreau. <i>Walden<\/i> has become their manual.<\/p>\n<p>The most widely circulated Thoreau quote among this generation is this: <i>&#8220;The cost of a thing is the amount of what I will call life which is required to be exchanged for it, immediately or in the long run.&#8221;<\/i> Young people doing the math on their own lives find this sentence almost shockingly relevant. Thoreau, it turns out, was running the numbers in 1854. They are running them now.<\/p>\n<p>From this reading, they coined a phrase: <i>\u7cbe\u795e\u74e6\u5c14\u767b\u6e56<\/i>\u2014the &#8220;Spiritual Walden.&#8221; Not a pond in Massachusetts, but an internal sanctuary built amidst urban clamor, where one recovers what they call &#8220;the natural rhythm of breathing.&#8221; Users post photos of a plant-filled apartment or a weekend camping trip with captions like: <i>&#8220;I don&#8217;t have a pond, but I have my balcony. Thoreau said, &#8216;I went to the woods because I wished to live deliberately.'&#8221;<\/i><\/p>\n<p>These readers are not moving to the woods. They are using Thoreau to justify minimalism\u2014fewer luxury goods, less pressure to compete for a higher salary, a simpler life that costs less of what Thoreau would call life itself.<\/p>\n<p>They&#8217;ve also given him nicknames. He&#8217;s called the <i>Patriarch of Lying Flat<\/i>. And\u2014my personal favorite\u2014<i>The Anti-Involution War God.<\/i><\/p>\n<p>But they draw a careful distinction. A phrase circulates on Chinese social media: <i>\u8eba\u5e73\u4e0d\u6446\u70c2<\/i>\u2014&#8221;Lying flat, but not rotting.&#8221; Thoreau&#8217;s deliberate living is used precisely to separate <i>slowing down<\/i> from <i>giving up<\/i>. This is not laziness. This is Thoreauvian resistance.<\/p>\n<p>You find the same spirit in China\u2019s growing &#8220;digital nomad&#8221; movement\u2014vloggers who have quit high-paying tech jobs in Beijing or Shanghai to move to places like Dali or Anji in Yunnan province. They narrate their videos with Thoreau\u2019s words. A creator films herself picking tea leaves at ten in the morning while her former colleagues are sitting in a 9-9-6 office, the audio overlaid with Thoreau on the cost of things exchanged for life.<\/p>\n<p>Chinese youth are not simply quoting Thoreau as cultural window-dressing. They have developed a vocabulary for what he offers them\u2014five concepts that map his nineteenth-century New England onto their twenty-first century lives with surprising exactness.<\/p>\n<p>The first is <i>\u725b\u9a6c<\/i>\u2014&#8221;Working Cattle.&#8221; Chinese youth use this term\u2014&#8221;beast of burden&#8221;\u2014not to reject work itself, but to refuse the complete identification of a person with their productivity. Thoreau would recognize this immediately. In <i>Walden, <\/i>he compares his neighbors&#8217; self-imposed burdens to the Twelve Labors of Hercules\u2014except, he notes, those labors were only twelve, and they had a definitive end.<\/p>\n<p>The second is <i>\u6ce8\u610f\u529b\u4e3b\u6743<\/i>\u2014&#8221;Attention Sovereignty&#8221;: the deliberate guarding of one&#8217;s mental focus against the constant ping of digital notifications. Thoreau went to the woods, in part, to own his own attention. He had no WeChat, but he understood the tyranny of being perpetually available.<\/p>\n<p>The third is <i>\u81ea\u6211\u5b87\u5b99\u5b66<\/i>\u2014&#8221;Home-Cosmography&#8221;: the project of becoming an expert in the undiscovered regions of the self, rather than chasing external metrics of success. Thoreau&#8217;s surveyor turned his instruments inward.<\/p>\n<p>The fourth is <i>45<\/i><i>\u5ea6\u4eba<\/i>\u2014the &#8220;45-Degree Person&#8221;: someone caught between full &#8220;9-9-6&#8221; striving at ninety degrees and complete lying flat at zero. Thoreau offers these people a philosophy for finding the middle angle\u2014not surrender, not exhaustion, but something livable in between.<\/p>\n<p>And the fifth is <i>\u542c\u89c9\u9769\u547d<\/i>\u2014&#8221;Auditory Revolution&#8221;: reclaiming the ears from commercial noise and notification chimes by finding therapeutic healing in natural sounds. Rain. Wind. Birds chirping. The sounds Thoreau catalogued with such patience in \u201cSounds\u201d and across two million words of journal.<\/p>\n<p>Together, these five terms amount to something more than social media slang. They are a collective act of translation\u2014not just of Thoreau\u2019s words into Chinese, but of his life\u2019s argument into a new century\u2019s resistance to specific pressures.<\/p>\n<p>But perhaps the most unexpected Thoreau reader I have encountered is not a burned-out tech worker or a digital nomad. She is a middle-aged Chinese mother\u2014and she calls herself, deliberately and with some relish, a <i>zha n\u00fc <\/i>(\u6e23\u5973)\u2014\u201ctoxic woman.\u201d<\/p>\n<p>Derived from <i>r\u00e9nzh\u0101<\/i>\u2014human scum\u2014<i>zha n\u00fc<\/i> is used in Chinese slang to describe a woman who is selfish, unreliable, or irresponsible, particularly in relationships. A <i>zha n\u00fc<\/i> is someone who cannot be trusted, who takes without giving, who puts herself first. It is, in other words, an insult designed specifically for women who fail to be sufficiently selfless.<\/p>\n<p>The blogger, who goes by \u201cThe Formidable Middle-Aged Woman,\u201d reclaims the insult on purpose. In her hands, &#8220;becoming a little <i>zha<\/i>&#8221; means allowing yourself, occasionally, to prioritize your own well-being instead of constantly sacrificing yourself for everyone else.<\/p>\n<p class=\"pullquote\"><i>Walden<\/i> is not popular in China because Chinese readers misunderstand Thoreau. It is popular because they understand him precisely.<\/p>\n<p>Her argument is disarmingly simple: many women suffer not because they are lazy, but because they feel guilty any time they rest. The exhaustion is not only physical\u2014it is the moral weight of the pause itself.<\/p>\n<p>She writes: &#8220;Truly wasting life is not binge-watching, or gossiping, or sleeping late. Truly wasting life is doing those things\u2014and then spending the whole time blaming yourself for them.&#8221;<\/p>\n<p>And then she invokes Thoreau. He walked away from the family pencil business, she points out, and spent two years, two months and two days by a pond. From that apparently idle time came <i>Walden<\/i>. This was not laziness\u2014it was <i>productive idleness<\/i>, a deliberate pause that made deeper thinking possible. She encourages mothers to occasionally &#8220;steal a little laziness&#8221;: leave the children with someone else, close the study door, read, write, or simply sit in silence.<\/p>\n<p>Her conclusion is pure Thoreau, even if she doesn\u2019t quite frame it that way: solitude is not selfishness. It is maintenance of the self.<\/p>\n<p>This reinterpretation of Thoreau\u2014as patron saint of the lying flat generation, as philosophical guide for the burned-out, as permission slip for the guilty mother\u2014may sound surprising or playful. In some ways it is. But I think it reveals something important about how Thoreau is being read in China today, and why certain books survive their own centuries.<\/p>\n<p><i>Walden<\/i> is not popular in China because Chinese readers misunderstand Thoreau. It is popular because they understand him precisely. By placing Thoreau in dialogue with involuted China, we see that the crisis of what modern psychologists have labeled &#8220;mental internal friction&#8221; is not new. The crisis he diagnosed in Concord in 1854\u2014the quiet desperation of people who have mortgaged their lives for things, who have confused the cost of living with the price of objects\u2014is not a nineteenth-century American problem. It is a human one, and it has found a new address.<\/p>\n<p>For millions of Chinese readers, <i>Walden<\/i> is no longer simply a nineteenth-century American book about going to the woods. It has become a twenty-first-century survival strategy. The young people who choose to lie flat are not surrendering. They are performing a radical Thoreauvian experiment and doing the math Thoreau taught them: calculating what their hours are actually worth, betting that health and flourishing are found not in the accumulation of things, but in the reclamation of time.<\/p>\n<p>The middle-aged mother who closes her study door is not being selfish. She is practicing what Thoreau practiced at the pond\u2014the radical, quietly defiant act of taking her own inner life seriously.<\/p>\n<p>Thoreau quoted Confucius. He read the Bhagavad Gita by the shore of a Massachusetts pond. He always understood that the desire to live deliberately was not the property of any one culture or century. The Chinese readers who have made <i>Walden<\/i> their own are not borrowing someone else\u2019s philosophy. They are recognizing something that was always, in part, already theirs.<\/p>\n<p>As Thoreau wrote: <i>Nature is but another name for health.<\/i> Whether on the banks of a pond in Massachusetts or a balcony in Shanghai, the lesson holds. To flourish is to live deliberately. And true health begins the moment we decide that our lives are no longer for sale.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>When I translated Walden in 2012, I was not a Thoreau scholar. I was an immigrant chasing the American dream: two kids, two cars, two houses, a long commute to a corporate job. Translating Walden became my escape hatch. While<\/p>\n","protected":false},"author":31525,"featured_media":275623,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,6,43101,43070,43231],"tags":[22670,1345,5487,111655,5488],"class_list":["post-275322","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-history","category-literary-criticism","category-nature","tag-american-literature","tag-china","tag-henry-david-thoreau","tag-julia-du","tag-walden","story-type-american-literature"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19CG","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/chinese-walden.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/31525"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275322"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275322\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275623"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275322"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275322"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275451,"date":"2026-08-17T05:10:33","date_gmt":"2026-08-17T09:10:33","guid":{"rendered":"https:\/\/lithub.com\/?p=275451"},"modified":"2026-08-17T00:18:33","modified_gmt":"2026-08-17T04:18:33","slug":"reinventing-the-slave-narrative-ishmael-reed-on-flight-to-canada-at-50","status":"publish","type":"post","link":"https:\/\/lithub.com\/reinventing-the-slave-narrative-ishmael-reed-on-flight-to-canada-at-50\/","title":{"rendered":"Reinventing the Slave Narrative: Ishmael Reed on <em>Flight to Canada<\/em> at 50"},"content":{"rendered":"<p>I was fourteen when my interest in history began. I placed third in Buffalo\u2019s citywide Richmond Speaking Contest. All three of us winners received certificates for book purchases, and I bought a picture book about Stalin\u2019s regime. I became so captivated by this book that when Stalin died, I tuned in to the funeral even though it was 3 AM EST.<\/p>\n<p>When I was a student, we were taught European history. In our textbooks Blacks appeared happy with their condition under slavery. I recall illustrations of Blacks dancing to the fiddle. In these books, Africa was inhabited by ferocious animals and barely human men and women.<\/p>\n<p>A friend of mine, the brightest kid in the projects, who by his early teens was reading William Faulkner, showed the extent of our indoctrination. He would repeat what we\u2019d been taught by our schoolbooks and by films like <em>Gone with the Wind<\/em> and <em>Birth of a Nation<\/em>. He said the Klan was justified in its actions because the Blacks elected during Reconstruction were incompetent. Even Shelby Foote, the heavily featured historian in Ken Burns\u2019s <em>The Civil War<\/em>, was a defender of the Klan. He compared them to the French Resistance.<\/p>\n<p>I was in my twenties when I read W. E. B. Du Bois\u2019s <em>Black Reconstruction<\/em>, which proposed that Black legislators passed progressive legislation during Reconstruction and that it was a general strike among the slaves that ended slavery. This theory seems to square with the testimonies of white diarists like Mary Boykin Chesnut. Planters complained about work slowdowns or Blacks not working at all, or joining the Union as contraband.<\/p>\n<p>Then as now, such information was unavailable to students in the lower grades as a perennial white supremacist curriculum denies such victories to the enslaved. When I saw <em>Gone with the Wind<\/em>, I rooted for the O\u2019Haras. Having sided with the oppressors, I wasn\u2019t surprised to learn that Cherokee scholar Geary Hobson took the side of the cowboys against the Indians. Hollywood\u2019s leading men played Confederate killers like Jesse and Frank James who murdered citizens in Lawrence, Kansas. Their crime? \u201cStealing Negroes.\u201d So entrancing is Hollywood, with its pro-Confederate films like <em>Shane<\/em>, that you find yourself supporting the Confederacy.<\/p>\n<p>I was intellectually curious as a youngster and wanted to know which contributions Blacks had made to civilization besides those in sports and entertainment. This information was hard to come by. I couldn\u2019t find the answers in textbooks or popular culture. I purchased Joel Augustus Rogers\u2019s <em>100 Amazing Facts about the Negro with Complete Proof<\/em>. Rogers was a Jamaica-born journalist. I took the book to school. The teacher held it at arm\u2019s length as though it were a dead cat. She dismissed the claims made by Rogers. He challenged what we were taught in school, where George Washington was depicted as a god, which is how he is shown in Constantino Brumidi\u2019s painting \u201cApotheosis of Washington\u201d in the Rotunda of the United States Capitol. Rogers claimed George Washington sent an enslaved Negro to Barbados to be exchanged for a hogshead of molasses, a cask of rum, and \u201cother good spirits.\u201d Rogers was right about that and other facts. I didn\u2019t have the intellectual footing to challenge my teachers then, some of whom were as ignorant of points of view rejected by the official establishment of historians as we were.<\/p>\n<p class=\"pullquote\">Traditionally, mainstream critics have viewed Black writers as apprentices of white masters, without a tradition of their own&#8230;.Our generation rejected these influences.<\/p>\n<p>With more female, Hispanic, Native American, Asian American, and Black historians entering the field, the situation is changing, yet these new historians face fierce resistance from politicians and best-selling historians as they introduce different points of view about the nation\u2019s history. An example of how the Good Old Boy historians who praise sadists like Robert E. Lee are undergoing scrutiny can be found in a review of the late David McCullough\u2019s <em>The Pioneers: The Heroic Story of the Settlers Who Brought the American Ideal West<\/em>, in which Joyce E. Chaplin disputed his claims. She writes, \u201cMcCullough plays down the violence that displaced the Indians, including the actual Ohio people. He adopts settlers\u2019 prejudiced language about \u2018savages\u2019 and \u2018wilderness,\u2019 words that denied Indians\u2019 humanity and active use of their land.\u201d In my play <em>The Haunting of Lin-Manuel Miranda<\/em>, which challenged the musical Hamilton\u2019s depiction of slave owner Alexander Hamilton as an \u201cardent abolitionist,\u201d I merely staged the research conducted by four women historians.<\/p>\n<p>Blacks were taught to revere such exterminators of Native Americans and slaveholders like Hamilton, who applauded a murderous vigilante raid on a Native American settlement as a victory over \u201csavages.\u201d Our teachers told us that we had no culture or traditions. When in high school we were asked to choose a country to represent for United Nations Day, none of the Black students chose an African nation. Our image of Africa was formed by popular culture. In their cartoons, even sophisticated magazines represented Africans as cannibals. Shockingly, so did Zora Neale Hurston.<\/p>\n<p>I could have learned about Black history had I asked questions when working for publisher A. J. Smitherman. He was the first to publish my writing in his newspaper, <em>The Empire Star<\/em>. I was sixteen at the time, and my writing coach was <em>Empire Star<\/em> columnist Mary Cosby, an important figure in Black history, who died at the age of one hundred, and Toussaint Smitherman, who, in his middle age, was probably suffering from nightmares about a Tulsa mob entering his family\u2019s house and looting their belongings during the race massacre of 1921.<\/p>\n<p>I later learned that his family hid in the basement. Jealous of Smitherman\u2019s prosperity, the mob burned down the house and Smitherman\u2019s publishing company. Later, as Smitherman struggled to keep his weekly newspaper in Buffalo above water, there were hints of a past prosperity. The backyard was a dumping ground for paper and other debris. Among the waste paper, I found photographs of a younger Smitherman squatting before a truck that read <em>The Tulsa Star<\/em>. At the time, I didn\u2019t know what to make of this and other photos. I spent long hours in the presence of Smitherman, who sometimes would fall asleep at the wheel when returning the newspapers from a suburban printing plant to his dingy office located on Broadway near St. Mary\u2019s Church in Buffalo.<\/p>\n<p>While living in New York, where I resided beginning in 1962, I learned that Smitherman was the hero of the 1921 Tulsa uprising against lynching. In his newspaper, <em>The Tulsa Star<\/em>, he fought editorially against the mob violence that victimized unarmed Blacks. Before that, he edited <em>The Muskogee Star<\/em>, founded in Muskogee, Oklahoma, which crusaded against whites receiving oil rights that belonged to Blacks and Native Americans. He didn\u2019t talk about his past when I knew him in Buffalo, because the Oklahoma authorities were in pursuit. His newspaper\u2019s editorials against lynching were seen as \u201cinciting a riot,\u201d a reference to the deaths of three hundred Blacks murdered in the Tulsa race massacre of 1921. He and his family fled to Boston, which refused to extradite him to Oklahoma, and later they settled in Buffalo. I was proud when, many years later, in a speech commemorating the centennial of the Tulsa insurgency delivered on June 1, 2021, President Joe Biden cited Smitherman\u2019s poem about the resistance of Black men against the would-be lynchers. Smitherman\u2019s indictment had been dismissed in 2007, and he was posthumously inducted into the Oklahoma Journalism Hall of Fame.<\/p>\n<p>*<\/p>\n<p>Though Smitherman published <em>The Empire Star<\/em> until his death, at one point, after I had worked there for about two years, he was unable to pay me, and so I quit. Shortly afterward, in 1955, the Black Michigan Avenue YMCA chose me as a delegate to attend an international YMCA convention in Paris. I was seventeen years old. There I met African students who were quite different from the image of Africa in our textbooks and the popular media. When I returned to Buffalo, I dropped out of high school. If they were lying about Africa, what else might they be lying about?<\/p>\n<p>Later, after I dropped out of college, I returned to <em>The Empire Star<\/em>, by which time A. J. Smitherman had died and been succeeded by Joe Walker, who now served as editor. Joe was twenty-seven at the time. I was twenty-two and living in the projects with my first wife and our daughter, Timothy, who would write three novels before she died at sixty. I had missed out on getting an education from Smitherman, Cosby, and Toussaint Smitherman, whose namesake I was ignorant of. We were told that our route to success was to inculcate Anglo mainstream values.<\/p>\n<p>Then, in 1962, I met Malcolm X, one of two geniuses I\u2019ve encountered in my life. He had been an inmate in a prison where thousands of books were available, donated by a philanthropist. He must have read all of them. As part of our job as writers for <em>The Empire Star<\/em>, Joe Walker and I had a radio show on WUFO that I named the <em>Buffalo\u00a0Community Round Table<\/em>. Our guest was Malcolm X, who was beginning to be noticed by the press. The program host on WUFO was Jimmy Lyons, a Black man who had overcome the barrier that prevented Black radio talent from displaying their talents.<\/p>\n<p>Like the punk who confronted Gregory Peck\u2019s Jimmy Ringo in <em>The Gunfighter<\/em>, I said, \u201cOf course, Mr. X would describe Black history as one that\u2019s been distorted.\u201d He said, \u201cIt\u2019s cotton patch history.\u201d I didn\u2019t know what he meant at the time. Later, I learned that Malcolm X was referring to a history hidden from us: the long years of Black resistance and revolts. Malcolm X hired <em>Empire Star<\/em> editor Joe Walker to edit <em>Muhammad Speaks<\/em>, the newspaper of the Nation of Islam.<\/p>\n<p>I would later learn more about our real history\u2014not the \u201ccotton patch history\u201d\u2014in New York, where Irish American writer David Sharpe believed I should relocate if I wanted to become a writer. Sharpe believed that I had talent. Under Sharpe\u2019s prodding, I went to New York City for a weekend, where we visited Chumley\u2019s, a writers\u2019 bar on Bedford Street in Greenwich Village.<\/p>\n<p>There I met a patron, a screenwriter, who looked at a play I wrote titled \u201cEthan Booker,\u201d about a clash between Muslims and Christians at a historically Black college. The screenwriter said it showed talent, and for a moment I saw my way into the city for good. Then the play was lost when the car that art critic Bart Farmer was driving to New York broke down. Bart abandoned the vehicle, along with my belongings, which included the play. I thought that the car only needed repairs, but for some reason it was never recovered. My second attempt to get to New York City was successful. Because a mentor, John Black, was an organizer for the 1199 Hospital Workers Union, I got a job at Mount Sinai Hospital.<\/p>\n<p>A patient at Mount Sinai, George B. David, who was a cousin of Adolph Ochs, founder of <em>The New York Times<\/em>, invited me to work as his assistant in his home. Both David and I were Chattanoogans. He had a theater there called Dreamland. He paid more than what I was receiving from the hospital, but the job came to an end when his family decided that this was an extravagant sum and fired me. He gave me a glowing letter of recommendation to <em>The Times<\/em>\u2019s personnel office. Using a nasty, sarcastic tone, the personnel director dismissed the letter and ridiculed George David. (Ten years later, my picture would make the front page of <em>The New York Times Book Review<\/em>.)<\/p>\n<p>In New York during the 1960s, I had come under the influence of Black cultural nationalists like Askia Tour\u00e9. Through the Umbra Workshop, I became better acquainted with Black history and culture. I also had contact with Black painters like Joe Overstreet, Algernon Miller, Gerald Jackson, Al Loving, Danny Johnson, Peter Bradley, Jack Whitten, Ellsworth Ausby, and white artists like Art Bevacqua and Walter Bowart. Walter and I founded <em>The East Village Other<\/em>, an underground newspaper which I named. I\u2019d run into musicians like Cecil Taylor, Sun Ra, and Albert Ayler, a house guest. Jackie McLean admired a poem I dedicated to him. Max Roach called me \u201cThe Charlie Parker of American Fiction.\u201d Tenor saxophonist Clifford Jordan attended my poetry readings.<\/p>\n<p>I joined the Umbra Workshop in 1963. Amiri Baraka said that the Black Arts Movement originated in the Umbra Workshop. We were from Chattanooga, Tennessee, Buffalo, Harlem, and New Orleans. We were in revolt against the Black imitators who preceded us. Traditionally, mainstream critics have viewed Black writers as apprentices of white masters, without a tradition of their own. They would proudly announce their influences from Faulkner, Hemingway, T. S. Eliot, and Henry James. Our generation rejected these influences. Larry Neal spoke for us in his manifesto titled \u201cAnd Shine Swam On,\u201d printed in <em>Black Fire<\/em>, an anthology edited by Neal and Amiri Baraka. \u201cAnd Shine Swam On\u201d is about a \u201ctoast\u201d of unknown authorship, which arose from the grassroots and went through many versions. In 2025, I staged my version, <em>The Shine Challenge<\/em>, 2025, which ran at the Theater for the New City in New York. I expanded the thirty-three or so lines written by Langston Hughes into a two-act play.<\/p>\n<p>When I arrived in New York, I found, besides the Umbra Workshop, poets, painters, and musicians advancing a culture that had been dismissed as vulgar by advocates of High Culture. (I remember sitting next to Dwight Macdonald at a reception hosted by the National Institute of Arts and Letters as he dismissed Miles Davis\u2019s music.) I had written some absurdist pieces in Buffalo, including a short story called \u201cPopcorn,\u201d which I sent to my University of Buffalo professor, Myles Slatin, one of my allies when I was a student there. He never responded to it, and I hadn\u2019t made a copy.<\/p>\n<p class=\"pullquote\">The reviewers might have been thrown off because my influences were not those white masters with whom they were familiar, but Black folklore.<\/p>\n<p>But in New York, I found kindred spirits. Those comic books we traded when we were youngsters were now the subjects of painters whose works are exhibited in museums. <em>East Village Other<\/em> artists like Spain Rodriguez and Robert Crumb used cartoons to make trenchant social commentary. A long way from the Sunday funnies.<\/p>\n<p>References to popular culture could be found in the works of New York poets, as when Frank O\u2019Hara memorialized Lana Turner (\u201cLana Turner Has Collapsed!\u201d in <em>Lunch Poems<\/em>). Writers felt challenged by musicians like Cecil Taylor and Sun Ra, and dancers such as Carla Blank and Meredith Monk, who were leaders of a second generation of Greenwich Village\u2019s Judson Church avant-garde, and painters like Joe Overstreet. Realism was definitely out.<\/p>\n<p>Inspired by these trends, I decided to write a series of novels that would parody traditional pop genres, such as the Gothic novel in <em>The Free Lance Pallbearers<\/em>; the Western in <em>Yellow Back Radio Broke-Down<\/em> (a parody of \u201cYellow Backs,\u201d the name of dime novels in which dudes from the East exaggerate the antics of cowboys); and <em>Flight to Canada<\/em>, my fifth novel, which was published in 1976.<\/p>\n<p><em>Flight to Canada<\/em> was a commercial failure, which led to Random House\u2019s decision not to publish any more of my novels. My friend Toni Morrison, an editor at Random House, killed an ad campaign that would have promoted my fourth novel, <em>The Last Days of Louisiana Red<\/em>, in which I parodied the crime novel, even though it was a Book-of-the-Month-Club selection and won the prestigious Rosenthal Family Foundation Award from the American Academy of Arts and Letters. She hated <em>Louisiana Red<\/em> and shouted angrily at me about the book as I was exiting Random House one day. I had great affection for Toni, and we were friends until her death, but she just didn\u2019t think that experimental literature was salable. Even Toni came under pressure from the sales department. And though she was classified by some white feminists as an \u201cexperimental writer,\u201d she owes more to modernism.<\/p>\n<p>Leaving Random House, I lost my editor, the legendary Anne Freedgood, who had championed my experimental novels. All the editors were under pressure from the sales department to acquire only books that could earn out their advances. St. Martin\u2019s Press was the next stop, where I continued my genre-busting in <em>The Terrible Twos<\/em> (1982) by combining the Christmas novel with the Washington, D.C. novel. (<em>Terrible Twos<\/em> became the first of a series that has been a forty-year project and continues with <em>The Terrible Fives<\/em>, scheduled for publication in November 2026 by Baraka Books in Montreal.) I also published <em>Reckless Eyeballing<\/em>, my sixth novel, which skewered some of the hypocrisy and double standards of the Gloria Steinem and womanist factions of the feminist movement, which, according to Harriet Fraad, writing in <em>Tikkun<\/em>, co-opted a movement that began as working-class and racially integrated. The late editor Joyce Engelson said that <em>Reckless Eyeballing<\/em> would offend everybody. Still, she stood by the novel, and both Toni Morrison and playwright Adrienne Kennedy attended a book party hosted by my agent Barbara Lowenstein. Although white feminists led by Emily Toth planned a boycott of the book at Louisiana State University, it failed because none of the boycott planners had actually read the book, but were reacting to a hatchet job by <em>The New York Times<\/em> reviewer Michiko Kakutani.<\/p>\n<p>The reviewers might have been thrown off because my influences were not those white masters with whom they were familiar, but Black folklore. The characters in <em>Reckless Eyeballing<\/em> are based on those found in African animal tales. Ian Ball is a perfect match for Br\u2019er Rabbit. The main influencers of <em>Flight to Canada<\/em> were also Black: Henry Bibb, who was born a slave to a Kentucky state senator and fought for years until he eventually won his freedom in 1841, and William Wells Brown, an abolitionist and writer who had been born into slavery but escaped to the North in 1834. Henry Louis Gates Jr. gives me credit for reviving Brown\u2019s reputation. My parody of Bibb\u2019s letter to his \u201cowner\u201d William Gatewood was the origin of <em>Flight to Canada<\/em>. The following selection of Bibb\u2019s letter is an excerpt from <em>Voices of a People\u2019s History of the United States<\/em>, edited by Howard Zinn and Anthony Arnove.<\/p>\n<blockquote><p><strong>Henry Bibb\u2019s Letter to William Gatewood <\/strong><\/p>\n<p style=\"text-align: right;\">March 23, 1844<\/p>\n<p>Dear Sir:\u2014I am happy to inform you that you are not mistaken in the man whom you sold as property, and received pay for as such. But I thank God that I am not property now, but am regarded as a man like yourself, and although I live far north, I am enjoying a comfortable living by my own industry. If you should ever chance to be traveling this way, and will call on me, I will use you better than you did me while you held me as a slave. Think not that I have any malice against you, for the cruel treatment which you inflicted on me while I was in your power. As it was the custom of your country, to treat your fellow men as you did me and my little family, I can freely forgive you.<\/p>\n<p>I wish to be remembered in love to my aged mother, and friends; please tell her that if we should never meet again in this life, my prayer shall be to God that we may meet in Heaven, where parting shall be no more.<\/p>\n<p>You wish to be remembered to King and Jack. I am pleased, sir, to inform you that they are both here, well, and doing well. They are both living in Canada West. They are now the owners of better farms than the men who once owned them.<\/p>\n<p>You may perhaps think hard of us for running away from slavery, but as to myself, I have but one apology to make for it, which is this; I have only to regret that I did not scare at an earlier period. I might have been free long before I was. I think it is very probable that I should have been a toiling slave on your property today if you had treated me differently.<\/p>\n<p>To be compelled to stand by and see you whip and slash my wife without mercy, when I could afford her no protection, not even by offering myself to suffer the lash in her place, was more than I felt it to be the duty of a slave husband to endure, while the way was open to Canada. My infant child was also frequently flogged by Mrs. [William] Gatewood, for crying, until its skin was bruised literally purple. This kind of treatment was what drove me from home and family to seek a better home for them. But I am willing to forget the past. I should be pleased to hear from you again, on the reception of this and should also be very happy to correspond with you often, if it should be agreeable to yourself. I subscribe myself a friend to the oppressed, and Liberty forever.<\/p><\/blockquote>\n<p>Like conceptual artist David Hammons providing a statue with an overcoat, to begin <em>Flight to Canada<\/em> I applied a new coating on Bibb\u2019s letter in the form of an epistolary poem. Using contemporary hip language instead of requesting reconciliation as the historical Bibb did, my character, Robin Quickskill, is not willing to forget the past. He seeks revenge. The recipient of my speaker\u2019s letter is deceased because Robin has not only fooled the master but has poisoned him by mixing his Old Crow whiskey with rat poison. (Precisionist John A. Williams said I should have used strychnine.) Typical of the literary style of fugitives like Frederick Douglass and William Wells Brown, there was an emphasis on eloquence in an effort to draw sympathizers from a literate white audience. (This was still the practice of some Black writers before the Black Arts revolt in the 1960s, when a younger generation followed the advice of Alain Locke, Zora Neale Hurston, Sterling Brown, and Larry Neal to find inspiration in folklore.)<\/p>\n<p>I was also influenced by the kind of psychological theories that influenced fiction and Broadway and by critics like Leslie Fiedler during the 1950s. I sought to probe the underbelly of the polished veneer of the Victorian prose of Douglass and others. Did Robert E. Lee experience sexual pleasure when whipping two Black fugitives? Why did he instruct the overseer to apply brine to their wounds after whipping a man and his sister? Why did he order that they be stripped? Was Robert E. Lee a sadist? What are we to make of his remark that slaves needed \u201cPainful discipline\u201d in light of modern ways of examining the desires of humans? \u201cWhips and chains are ornaments of subjection: political, physical, social, and psychological. They remain sexually charged objects today. Bondage has not only shed its taboo status as a sexual bent but has generated a thriving subculture of modern sexuality. The persistent attraction of these artifacts of slavery for authors of pornography is undeniable. The paddle, the whip, the collar, the handcuffs and ankle cuffs, reflect a preoccupation with dominance and submission that has chosen to embody the metaphor of master and slave. Today\u2019s \u2018equipment\u2019 of sexual domination derives in part from America\u2019s legacy of slavery.\u201d<\/p>\n<p>My stand-in for the Southern master race was Arthur Swille, who likes being whipped and who practices incest with his deceased sister. In <em>Flight to Canada<\/em>, I speculate that some of those who sympathized with the Southern cause did so because they were masochists or sadists. Lord Gladstone, who appears in <em>Flight to Canada<\/em> as a Confederate sympathizer, was a flagellant, which made the news after I wrote the book. Though some of the sexual perversions practiced by some of the characters were considered edgy, I learned later that I\u2019d understated the treatment of Black women during this period. Southern white men forced Black women to undergo painful surgery to increase their own sexual pleasure. Surgeon J. Marion Sims was an American Dr. Mengele who perfected a technique to repair fistulas, which are holes between the vagina and the bladder or rectum and can lead to incontinence, by repeatedly conducting painful experimental surgeries on enslaved Black women without using anesthesia, with which he supplied white women.<\/p>\n<p>Besides Henry Bibb, who inspired the poem which led to the novel, I was influenced by William Wells Brown\u2019s play <em>The Escape; or, A Leap for Freedom<\/em>, which was self-published by the author in 1858. Though William Wells Brown lived in Buffalo for nine years, I never heard any Black or white person mention his name while I lived there. No one mentioned that William Wells Brown was an antislavery lecturer. His employer was the American Anti-Slavery Society. We were not aware that poet James Monroe Whitfield, author of <em>America and Other Poems<\/em>, was also a resident. I and other Black students were ignorant of the National Negro Convention Movement (1830-1864), aka the Colored Conventions Movement, which had met in Buffalo in 1843. Indeed, I didn\u2019t learn that Buffalo had been an antislavery center until after I moved away.<\/p>\n<p>Because he was self-published, William Wells Brown was not under pressure to tone down his indictment against a heinous institution. His pen plays target practice against a situation which he found abhorrent but not without comedy in the form of Cato, a cynical enforcer working for Dr. Gaines, whom Cato despises. Dr. Gaines offers Melinda, a biracial slave, her freedom if she promises to be his kept sex slave. He has told his wife that he has sold Melinda, but in fact he\u2019s hidden her in a cottage. Melinda resists Gaines:<\/p>\n<blockquote><p>\u201cSir, let me warn you that if you compass my ruin, a woman\u2019s bitterest curse will be laid upon your head, with all the crushing, withering weight that my soul can impart to it; a curse that shall cling to you throughout the remainder of your wretched life; a curse that shall haunt you like a spectre in your dreams by night, and attend upon you by day; a curse, too, that shall embody itself in the ghastly form of the woman whose chastity you will have outraged.\u201d<\/p><\/blockquote>\n<p>Gaines orders the overseer Scragg to punish Glen, Melinda\u2019s husband. He and Moe, a white slave, resent \u201cuppity\u201d Blacks. His speech mirrors that of Huckleberry Finn\u2019s father, Pap Finn, in Mark Twain\u2019s novel. Scragg says,<\/p>\n<blockquote><p>\u201cI tell you, doctor, that suits me to a charm. I\u2019ve long wanted to whip that nigger. When your brother-in-law came here to board, and brought that boy with him, I felt bad to see a nigger dressed up in such fine clothes, and I wanted to whip him right off. I tell you, doctor, I had rather whip that nigger than go to heaven, any day,\u2014that I had!&#8221;<\/p><\/blockquote>\n<p>Unlike Henry Bibb\u2019s letter offering to forgive his former master, both Melinda and Glen fight back physically against their oppressors, Scragg and Mrs. Gaines. Glen and Melinda escape Dr. Gaines and make it to Canada. Along the way, with an acerbic wit, Brown mows down what he refers to as the South\u2019s immorality. Mr. Wildmarsh, neighbor to Dr. Gaines, is having sex with his biracial daughter. Mr. Walker, with whom he is having a conversation, indicates such sexual arrangements between slave owners and their biracial daughters was common. Enslavers saw slaves as no different from livestock. Booker T. Washington said that for his white father there was no difference between his mother and a cow.<\/p>\n<p><em>Flight to Canada<\/em> also proposes that feudalism, which Europe had left back in the Middle Ages, had found a home in the South. Indeed D. W. Griffith described members of the slaveholding elite as knights and ladies. (I had drawn a collage for the cover of <em>Flight to Canada<\/em> that showed the enslaved picking cotton with a castle situated on a hill in the background, but the cover was rejected.) Mark Twain blames Sir Walter Scott for providing members of the Scots-Irish South with delusions of nobility. It was Sir Walter Scott who provided the Ku Klux Klan with a mythology. The Klan was also inspired by Goethe\u2019s \u201cG\u00f6tz von Berlichingen,\u201d a drama translated by Scott.<\/p>\n<p>As Twain wrote in <em>Life on the Mississippi<\/em>, \u201cIt was Sir Walter that made every gentleman in the South a Major or a Colonel, or a General or a Judge, before the war; and it was he, also, that made those gentlemen value their bogus decorations. For it was he that created rank and caste down there, and also reverence for rank and caste, and pride and pleasure in them. Enough is laid on slavery, without fathering upon it these creations and contributions of Sir Walter. Sir Walter had so large a hand in making Southern character, as it existed before the war, that he is in great measure responsible for the war.\u201d Though Mrs. Gaines is considered \u201cwhite trash,\u201d she becomes a lady who controls the lives of the slaves in her household. Susan, a slave, says,<\/p>\n<blockquote><p>\u201cWell, chile, you can\u2019t speck any ting else from ole missis. She come from down in Carlina, from \u2019mong de poor white trash. She doesn\u2019t know any better. You can\u2019t speck nothin\u2019 more dan a jump from a frog. Missis says she is one of de akastocacy; but she ain\u2019t no more of an akastocacy dan I is.\u201d<\/p><\/blockquote>\n<p>Like many of the Southern white men during that period, Mrs. Gaines\u2019s husband has his eyes on Melinda, a biracial slave whose husband Glen, a slave of a relative of Dr. Gaines, is seen as an obstacle to the rape of Melinda. Mrs. Gaines knows, as do many of the plantation mistresses, that he has love interests on the side. A dinner guest comments about how much the servants resemble Gaines. A similar comment was made about the help by a French visitor to Monticello, who observed that the servants resembled Jefferson. Though much has been made about Jefferson\u2019s pursuit of his mistress Sally Hemings, another oral tradition casts him as promiscuous. Southern men saw Black women as not only fulfilling their labor needs but their sexual needs as well. (The privileged Northeastern white men left, right, and in-between who continue to monopolize commentary about the recent election missed the real reason for Kamala Harris\u2019s defeat. Donald Trump reached back to the old stereotype of the promiscuous slave wench to defame the former vice president and to appeal to the millions of pathetic individuals who form the \u201cmanosphere.\u201d)<\/p>\n<p class=\"pullquote\">My only regret is that neo-slave narratives\u2014a category that I introduced\u2014have become products.<\/p>\n<p>In his letter to William Gatewood, Henry Bibb reveals that the slave mistress could wield the cowhide as furiously as the master. So does Mrs. Gaines, who punishes her \u201cservant\u201d Hannah and even dictates whom she could marry. Hannah\u2019s love, Sam, has been sold. Though the slave master is the villain in popular culture, some white women also bought and exploited slaves. Slavery products, books, films, college courses, and so on are a huge industry, yet one of the more important books has received little notice. In <em>They Were Her Property: White Women as Slave Owners in the American South<\/em>, author Stephanie E. Jones-Rogers writes that slave-owning women not only witnessed the most brutal features of slavery, but they took part in them, profited from them, and defended them. I doubt there will be a film version of this book. The usual defense of white women, such as Alexander Hamilton\u2019s wife and sister-in-law, is that they didn\u2019t know what was going on. Yet they grew up in their father\u2019s Albany mansion, where slaves were brutalized.<\/p>\n<p>There is an attempt to include Native American culture in the novel. Visiting a San Francisco school, I once found a picture book about the myths of the Tlingit tribe of southeastern Alaska. The myth of the Raven attracted my attention. I conveyed my interest to writer and publisher Robert Callahan, whose interest in Native American culture\u2014his press was called Turtle Island\u2014brought him into contact with Native American intellectuals. One of them was Andrew Hope III, a Tlingit leader and writer. My use of the Raven from Tlingit mythology in <em>Flight to Canada<\/em>, including naming the novel\u2019s protagonist Raven Quickskill (the surname Quickskill came from a comment that a bystander once made when I debated an opponent; she said that my style was the quick kill), led to a number of trips to Alaska. Hope and I became friends and my partner, Carla, became close to his wife, the late Elizabeth Hope, also known as Sister Goodwin, of the Inupiaq tribe. Carla edited Sister Goodwin\u2019s book of poetry, <em>A Lagoon Is in My Backyard<\/em>. The couple named their second son Ishmael Hope, and Carla and I were listed as honorary pallbearers at Andy\u2019s funeral. In 1998 I was made an honorary member of the Tlingit Raven clan, and my inauguration at the potlatch ceremony required that I do a Halibut dance.<\/p>\n<p>There is a vaudevillian relationship between Raven and an Indian woman named Qua Qua Tralaralara. This name came from a Vaudeville poster given to me by my students at the University of Buffalo. My father\u2019s mother was a Cherokee woman whom my grandfather met in an Indian school in Tennessee. I don\u2019t push this connection because the Cherokee were among the most racist of Native American tribes. Indeed, one of the most prominent of the slave revolts was against the Cherokee.<\/p>\n<p>It\u2019s ironic that <em>Mumbo Jumbo<\/em> and<em> Flight to Canada<\/em>, considered commercial failures at the time of their publication, continue to attract readers after fifty years. My only regret is that neo-slave narratives\u2014a category that I introduced\u2014have become products. This has led to disasters like Quentin Tarantino\u2019s <em>Django Unchained<\/em>.<\/p>\n<p>A character named Ishmael Reed complains about this commercialization of the neo-slave narrative in my novel <em>Conjugating Hindi<\/em>, in which he points to a <em>Wall Street Journal<\/em> article about the possibility of slave products\u2014books and films\u2014becoming ripe for investors. Of course, the mainstream prefers that Black writers dwell on the past, not that books about the slavery period can\u2019t be great. Margaret Walker\u2019s <em>Jubilee<\/em> is a candidate for the Great American Novel, but it\u2019s the present in which Blacks are catching hell, when those elected to office and unelected billionaires believe making Nazi salutes is fun.<\/p>\n<p>The final irony is that the Black African descendants of those who sold Blacks into slavery are portraying Black American slaves in film, because traditional American-born Black actors are regarded as troublemakers by the film industry. One could say that these African families have been paid twice: they sold us into slavery, and now their descendants play the role of slaves in movies.<\/p>\n<p>So, two books that were considered commercially dead at the time are still around fifty years later. Most of my novels are still available, the most recent of which have received few reviews in the United States, but have been reviewed in Africa, Europe, Japan, China, and India. I call this my global strategy because mainstream U.S. critics only tolerate one minority diva or divo at a time. I\u2019ve seen divas and divos come and go while I\u2019m still \u201cWritin\u2019 and Fightin.\u2019\u201d If it weren\u2019t for the Black media in New York, along with the Nuyorican Poets Caf\u00e9 theater and Theater for the New City communities, and my home base Berkeley\u2019s Black Repertory Group, I couldn\u2019t fill the seats at my plays. While these plays are ignored by the mainstream media, they receive solid backing from the Black media of New York. But, like the fugitive slaves, I have found a home for my recent novels and nonfiction works. They are published by Baraka Books, based in Montreal, Canada.<\/p>\n<p>Judging from the careers of <em>Mumbo Jumbo<\/em> and <em>Flight to Canada<\/em>, my books that have sold poorly and been ignored by the mainstream media, which still offers a spot to one Black writer at a time, should also be around for another fifty years. They might even reach William Wells Brown and Henry Bibb\u2019s record. Bibb\u2019s letter to his \u201cowner\u201d was published in 1844 and is still anthologized. Brown\u2019s play, <em>The Escape; Or, A Leap for Freedom<\/em>, was published in 1858. Though not performed during his lifetime, it was officially produced in 1971 at Emerson College, and in 2018 at the Columbia School for the Arts.<\/p>\n<p>In this prophetic work, the abolitionist Mr. White implies that if whites were forced to choose between white supremacy and the Constitution, they would uphold supremacy and reject the Constitution. It was prophetic because Southern leaders, including generals who had once sworn to uphold the Constitution of the United States, abandoned their allegiance to it during the Civil War. It is prophetic again. The 2024 election and its aftermath shows that millions of white Americans still prefer white supremacy over the Constitution.<\/p>\n<p style=\"text-align: center;\">___________________________<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275452\" data-permalink=\"https:\/\/lithub.com\/reinventing-the-slave-narrative-ishmael-reed-on-flight-to-canada-at-50\/flight-to-canada\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/flight-to-canada.jpg\" data-orig-size=\"263,400\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"flight to canada\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/flight-to-canada.jpg\" class=\"alignnone size-medium wp-image-275452\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/flight-to-canada-197x300.jpg\" alt=\"\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/flight-to-canada-197x300.jpg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/flight-to-canada-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/flight-to-canada-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/flight-to-canada.jpg 263w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><em>From<\/em> <a href=\"https:\/\/bookshop.org\/a\/132\/9780684847504\">Flight to Canada (50th Anniversary Edition)<\/a> <em>by Ishmael Reed. Preface copyright \u00a9 2026. Available from Scribner, an imprint of Simon &amp; Schuster.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>I was fourteen when my interest in history began. I placed third in Buffalo\u2019s citywide Richmond Speaking Contest. All three of us winners received certificates for book purchases, and I bought a picture book about Stalin\u2019s regime. I became so<\/p>\n","protected":false},"author":4725,"featured_media":275473,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,6,43101,43070,43092],"tags":[37534,19200,61359,1919,17704,102056,14662,454,731,2727],"class_list":["post-275451","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-history","category-literary-criticism","category-newsandculture","tag-african-american-literature","tag-black-history","tag-black-literature","tag-civil-war","tag-experimental-fiction","tag-flight-to-canada","tag-ishmael-reed","tag-scribner","tag-simon-and-schuster","tag-slavery","story-type-african-american-literature"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19EL","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Ishmael-Reed.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275451","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/4725"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275451"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275451\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275473"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275451"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275451"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275451"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275406,"date":"2026-08-17T05:10:18","date_gmt":"2026-08-17T09:10:18","guid":{"rendered":"https:\/\/lithub.com\/?p=275406"},"modified":"2026-08-17T11:39:34","modified_gmt":"2026-08-17T15:39:34","slug":"after-six-decades-and-thirty-novels-jodi-picoult-was-missing-one-thing-a-tattoo","status":"publish","type":"post","link":"https:\/\/lithub.com\/after-six-decades-and-thirty-novels-jodi-picoult-was-missing-one-thing-a-tattoo\/","title":{"rendered":"After Six Decades and Thirty Novels Jodi Picoult Was Missing One Thing: A Tattoo"},"content":{"rendered":"<p>I didn\u2019t care about turning forty. When fifty rolled around, I celebrated. At 55, my neighbor took a picture of me under a matching speed limit sign and we both laughed.<\/p>\n<p>Then came sixty.<\/p>\n<p>Several months before my birthday I started feeling an unshakeable dread. I did not want to turn sixty. I didn\u2019t want to read that number on a card. I didn\u2019t want a party. I didn\u2019t want to mark the day at all. I resented the onward march of the calendar, mulishly convinced if I ignored it, my birthday simply wouldn\u2019t happen.<\/p>\n<p>I should point out that my life is a beautifully complex, rich, lucky tapestry. My three kids are happy and healthy and married to partners who make them better versions of themselves. I am still crazy in love with my husband. I\u2019ve got three adorable grandchildren and one more on the way. I live in a beautiful part of America. I have a thriving career as a novelist. In fact, my thirtieth novel, <a href=\"https:\/\/bookshop.org\/a\/132\/9780593726259\"><em>Hollow Bones<\/em><\/a>, is being published this September. By all accounts, I have spent the last six decades building a legacy anyone would admire. And yet, I could not think about turning sixty without starting to cry.<\/p>\n<p class=\"pullquote\">I did not want to turn sixty. I didn\u2019t want to read that number on a card. I didn\u2019t want a party. I didn\u2019t want to mark the day at all.<\/p>\n<p>My therapist asked what was <i>really<\/i> bothering me. It was, I realized, the flat smack of reality in the face. At fifty I could still convince myself I had another half of my life to live. At sixty, the math wasn\u2019t mathing. Moreover, whatever is coming next will include some version of tragedy\u2014my parents dying, my body breaking down, other losses. Who would be eager to face any of that?<\/p>\n<p>The fact that this particular birthday coincided with my thirtieth novel was bittersweet. I am about to embark on a massive book tour we are calling the \u201cChapters Tour\u201d\u2014celebrating not just my newest release but all the titles that came before it, in the same festive spirit as Taylor Swift\u2019s Eras Tour. It feels like a milestone because it <i>is<\/i> one. I\u2019ve spent a literal lifetime building up a body of work and amassing readers. I\u2019m proud of my novels and humbled by the lives they\u2019ve touched and the conversations they inspired. Recently, at BookCon, I had a throng of readers waiting to get books signed and to tell me <i>their <\/i>stories. \u201cI used to read your books hidden behind my chemistry textbook,\u201d said one middle-aged woman. Another told me how my books were what she shared with her mom, who\u2019d recently passed. Dozens of up-and-coming writers whose books I consume like candy came up to me, wide-eyed. \u201cI can\u2019t believe I\u2019m meeting you,\u201d one gushed. \u201cYou\u2019re an icon.\u201d<\/p>\n<p>At sixty, you can achieve icon status. No one gives you lifetime achievement awards when you\u2019re twenty, after all. Thirty books is no small accomplishment, either. But as wonderful as it is to be put upon a pedestal as Someone Who Has Been In The Business Forever, it also creates a gap between you and the younger authors in the thick of the scrum. As if you\u2019ve put in your time. As if your relevance is in the rearview mirror. As if you\u2019re done.<\/p>\n<p>Reader, I\u2019m not done.<\/p>\n<p>The more I examined the facets of my reluctance to turn sixty, the more I realized this was the crux of my problem. Physically and mentally, I am healthier than ever. I recently lost enough weight to enjoy seeing myself in a mirror instead of dreading it. I swim over a mile every day. I can do the NYT crossword puzzle without cheating. However, a sixty-year-old woman is not supposed to be in the prime of her life. According to society, to movie representations, to JD Vance, I should be finding myself a cardigan and sensible shoes, letting my hair go grey, and taking care of my grandkids\u2014because that is my only value to society. I shouldn\u2019t want to turn someone\u2019s head on the street. I should be baking cookies, driving at a snail\u2019s pace, and the only hard thing I should be sucking on is butterscotch candy. Even though I know looks are more than skin-deep, I still wanted confirmation that I could be attractive at this age, and attracted to others. Just before my birthday, I watched the Off Campus television series, a steamy saga about twenty-something college kids falling in and out of love and bed. At one point, I hit pause, wondering, <i>Should I be enjoying this? Am I a creeper?<\/i> It\u2019s worth noticing there is a gender discrepancy between men who age and women who age. Calling someone a \u201csilver fox\u201d is a compliment; calling someone a \u201ccougar\u201d is not. We don\u2019t bat an eye when a sixty-year-old man shows up with a thirty-year-old woman on his arm. If the situation were reversed, though, there would be a lot of side-eye. A man who faces a midlife crisis is a clich\u00e9; a woman who does so is selfish and entitled.<\/p>\n<p>I am younger than a lot of my female friends, and when I confided in them that I was having a really hard time with this birthday, they offered advice. \u201cSixty was liberating,\u201d Jan told me. \u201cI have zero f***\u2019s left to give. I say whatever is on my mind. I mean, who\u2019s going to stop me at this point?\u201d That\u2019s definitely a perk, but it\u2019s one I\u2019ve enjoyed for many years. I have always been outspoken\u2014in my writing, in my politics, on my social media. There is indeed a freedom in not being so young that you worry about what everyone thinks of you, or parse every comment you utter. With age comes the luxury of being unapologetically yourself. A silver lining, if you will, for the silver-haired. And yet, it didn\u2019t make turning sixty any less devastating for me.<\/p>\n<p>About a month before The Big Day, I woke up with a revelation. What if, instead of dragging my heels toward sixty, I took ownership of it? What if I marked the occasion\u2014not as the start of a slow slide toward the end, but as an amalgamation of what has made me <i>me<\/i>, and an acknowledgment of all this body has survived and experienced and learned? I was driving in the car with my husband. \u201cI\u2019m thinking about getting a tattoo,\u201d I said.<\/p>\n<p>&nbsp;<\/p>\n<p>I do not have any tattoos. I\u2019ve never wanted a tattoo. There was nothing I felt I had to commemorate on my skin permanently&#8230;until now. I told my husband my preliminary idea for a design.<\/p>\n<p>My husband glanced at me. \u201cOh,\u201d he said. \u201cBut what would I get?\u201d<\/p>\n<p>(This is what I mean about still being crazy in love with him. I still smile at the thought that he believed this had to be a couples activity.)<\/p>\n<p>I was still road-testing the idea, but I was hesitant. Did sixty-year-olds even get tattoos? Did I think it would make me seem young and hip? Or was I hedging because my mother has made it clear my entire life that tattoos are on her Absolutely Not list? \u201cYou can\u2019t be buried at a Jewish cemetery,\u201d she\u2019s always said, although I had no plans to be buried at a Jewish cemetery and in fact I am the one who owns the plot where <i>she<\/i> will be buried one day, and it is <i>also<\/i> not a Jewish cemetery. Did I realize the irony in being an almost-sixty-year-old woman worried about what her mom would think if I got a tattoo? Yes. Yes, I did.<\/p>\n<p class=\"pullquote\">What if, instead of dragging my heels toward sixty, I took ownership of it? What if I marked the occasion\u2014not as the start of a slow slide toward the end, but as an amalgamation of what has made me <i>me<\/i>.<\/p>\n<p>A few weeks later, I took a group of friends to New York City to celebrate one of their birthdays (66, and she was not nearly as freaked out about her birthday as I was about mine.) \u201cI think I\u2019m going to get a tattoo tomorrow morning,\u201d I announced at dinner. Saying it out loud made it feel more real.<\/p>\n<p>My friend Lanni, a cancer survivor with two tattoos, volunteered to be my emotional support buddy. We researched options near our hotel, combing over ratings and reviews.<\/p>\n<p>The next morning, we arrived at a tattoo parlor. The artist was in a separate room, arguing over a banking transaction on the phone with some customer service agent. We looked around at the religious iconography covering all the walls; the client waiting in front of us whose long, ZZ Top-style beard brushed his beer belly. Lanni grabbed my arm and yanked me down the five flights of stairs. \u201cNot this place,\u201d she said.<\/p>\n<p>Our second attempt was a tattoo parlor run by women. The only clients were a family of Italians arguing over which New York City design they were going to get to commemorate their visit. I showed the artist the drawing of what I wanted, and she nodded, and got to work.<\/p>\n<p>A half hour later, I left with a brand new tattoo on the inside of my left wrist. It\u2019s about \u00be\u201d tall, cobalt blue, like the ink from a pen. It\u2019s a pilcrow\u2014the paragraph symbol that is used in editing.<\/p>\n<p>I love it.<\/p>\n<p>It\u2019s elegant and tiny and I see it every time I sign something. To me, it means exactly what a pilcrow means when it\u2019s inserted into a manuscript:<\/p>\n<p>Same story; fresh start.<\/p>\n<p>When my birthday finally arrived, I celebrated with calls from my kids and gifts that made me laugh\u2014a hand-thrown bowl, a Little Mermaid shirt, a candle that says, \u201cFrom a distance, you don\u2019t look a day over 59!\u201d I did not have a sea change on my actual birthday; I still wasn\u2019t happy about turning sixty. Now, on the other side of the actual date, I\u2019m still mildly disgruntled. But when I look down at my wrist, there\u2019s a symbol that marks all I have accumulated and accomplished so far, and reminds me there\u2019s more to come.<\/p>\n<p>Please don\u2019t tell my mother.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275515\" data-permalink=\"https:\/\/lithub.com\/after-six-decades-and-thirty-novels-jodi-picoult-was-missing-one-thing-a-tattoo\/image002-10\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/image002.jpg\" data-orig-size=\"480,640\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"image002\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/image002.jpg\" class=\"wp-image-275515 size-full aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/image002.jpg\" alt=\"\" width=\"480\" height=\"640\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/image002.jpg 480w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/image002-225x300.jpg 225w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/image002-45x60.jpg 45w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/image002-38x50.jpg 38w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/p>\n<p style=\"text-align: center;\">___________________________<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275407\" data-permalink=\"https:\/\/lithub.com\/after-six-decades-and-thirty-novels-jodi-picoult-was-missing-one-thing-a-tattoo\/hollow-bones\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/hollow-bones.jpg\" data-orig-size=\"600,906\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"hollow bones\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/hollow-bones.jpg\" class=\"alignnone size-medium wp-image-275407\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/hollow-bones-199x300.jpg\" alt=\"\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/hollow-bones-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/hollow-bones-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/hollow-bones-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/hollow-bones.jpg 600w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/bookshop.org\/a\/132\/9780593726259\">Hollow Bones<\/a> <em>by Jodi\u00a0<span class=\"ws-nw\">Picoult is available from Ballantine Books, an imprint of Random House, a division of Penguin Random House, LLC.<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>I didn\u2019t care about turning forty. When fifty rolled around, I celebrated. At 55, my neighbor took a picture of me under a matching speed limit sign and we both laughed. Then came sixty. Several months before my birthday I<\/p>\n","protected":false},"author":31551,"featured_media":275839,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43071,43069,11,43103],"tags":[1564,15324,3698,111685,13146,35512,16228,10879,1244],"class_list":["post-275406","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craft-and-advice","category-craftandcriticism","category-fullwidth-slider","category-memoir","tag-aging","tag-ballantine-books","tag-birthdays","tag-hollow-bones","tag-jodi-picoult","tag-milestones","tag-penguin-random-house","tag-random-house","tag-the-writing-life","story-type-aging"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19E2","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/jodipicoult2.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275406","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/31551"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275406"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275406\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275839"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275406"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275406"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275406"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275487,"date":"2026-08-17T05:09:43","date_gmt":"2026-08-17T09:09:43","guid":{"rendered":"https:\/\/lithub.com\/?p=275487"},"modified":"2026-08-24T09:48:47","modified_gmt":"2026-08-24T13:48:47","slug":"on-good-fat-bad-fat-and-the-problems-with-bmi","status":"publish","type":"post","link":"https:\/\/lithub.com\/on-good-fat-bad-fat-and-the-problems-with-bmi\/","title":{"rendered":"On Good Fat, Bad Fat, and the Problems With BMI"},"content":{"rendered":"<p>Today, the terms \u201cobese\u201d and \u201coverweight\u201d have precise medical definitions based on how much someone weighs relative to their height, but this is a modern formulation. Until recently, people knew their height but almost no one could measure their weight, so whether you were thin, plump, fat, stout, or corpulent was a judgment call. That began to change after the invention and spread of the penny scale in the late nineteenth century, so named because you paid a penny to find out your weight. Within a few decades, inexpensive bathroom scales were invented, and suddenly average people could learn their weight. An obvious next question was how much should they weigh?<\/p>\n<p>The first scientist to address this question was a Belgian polymath named Adolphe Quetelet (1796\u20131874). Quetelet was uninterested in obesity and instead wanted to use recently developed spring-based scales along with new statistical methods to describe a \u201cnormal man.\u201d Since tall people generally weigh more than short people, what, he asked, is a typical weight for a given height? After collecting data on a sample of European men, he calculated that body weight (in kilograms) is usually proportional to the square of height (in meters). Thus two people with the same ratio of weight to height squared (kg\/m2) have effectively the same weight for a given height. This ratio was initially termed \u201cQuetelet\u2019s index.\u201d<\/p>\n<p class=\"pullquote\">That kind of miscategorization highlights BMI\u2019s most disturbing shortcomings: it is reductive, potentially misleading diagnostically, and stigmatizing.<\/p>\n<p>Quetelet didn\u2019t intend his index to measure obesity, but after the invention and spread of mass-produced scales, insurance companies realized Quetelet\u2019s index could help them boost profits. If you are selling life insurance, you can make more money by charging more or denying coverage for people with a lot of extra body fat who might be more likely to die prematurely. The first standardized weight tables were thus developed by the Connecticut Mutual Life Insurance Company, which initially deemed anyone whose Quetelet\u2019s index was in the top 20 percent of a sample of seven hundred thousand policy holders too risky to insure.\u00a0For the next fifty years, insurance companies, not doctors, were the chief arbiters of corpulence.<\/p>\n<p>Then in 1972, the influential American physiologist Ancel Keys wondered how well Quetelet\u2019s index predicts a person\u2019s body fat percentage. Using a sample of nearly 7,500 American men (less than 2 percent were Black and 14 percent were Asian), Keys and colleagues showed that Quetelet\u2019s index, which he renamed the \u201cbody mass index\u201d (BMI), correlates strongly with levels of body fat.11 Despite Keys\u2019s warning that the &#8220;characterization of persons in terms of desirable weight percentage has resulted in attributing to \u2018overweight\u2019 some tendencies to ill health and death that are actually only related to age,\u201d BMI became the worldwide standard for categorizing people\u2019s body fat levels. Today most healthcare providers and researchers classify everyone according to six categories set in stone by the World Health Organization (WHO):<\/p>\n<p style=\"padding-left: 40px;\">Underweight: &lt;18.5 kg\/m2<br \/>\nNormal: 18.5\u201324.9 kg\/m2<br \/>\nOverweight: 25.0\u201329.9 kg\/m2<br \/>\nObese (Class I): 30\u201334.9 kg\/m2<br \/>\nObese (Class II): 35\u201339.9 kg\/m2<br \/>\nObese (Class III): &gt;40 kg\/m2<\/p>\n<p>It\u2019s often said that an accurate measurement is worth a thousand expert opinions, but I\u2019m not so sure. Just because a measure is accurate (or, for that matter, precise) doesn\u2019t mean you understand its meaning. Despite their widespread use for decades, BMI categories have serious flaws. One glaring drawback is that BMI doesn\u2019t measure what proportion of a person\u2019s weight is fat versus muscle, bone, or other tissues. Very muscular people are sometimes miscategorized as overweight.<\/p>\n<p>In addition, percentages of fat and other tissues differ among individuals depending on age, sex, and race or ethnic background. An analysis of nearly twelve thousand Americans found that for the same level of body fat, age, and sex, the BMIs of Black Americans averaged 1.3 kg\/m2 higher compared to Americans of European descent, while the BMIs of Asians was between 1.9 and 3.2 kg\/m2 lower. That means BMI typically overestimates the percentage of body fat in Blacks and underestimates it in Asians. Based on percentage of body fat, a Black person with a BMI of 26 is likely to be miscategorized as overweight instead of normal.<\/p>\n<p class=\"pullquote\">If you ask (as I have) hunter-gatherers what they prefer to eat, more often than not the answer is meat, especially fatty meat.<\/p>\n<p>That kind of miscategorization highlights BMI\u2019s most disturbing shortcomings: it is reductive, potentially misleading diagnostically, and stigmatizing. Research shows that labeling individuals as obese or overweight based on this single ratio can make them feel judged, marginalized, and devalued. What\u2019s more, even if someone\u2019s BMI accurately reflects their body fat percentage, BMI is not a complete measure of health.<\/p>\n<p>At the very least, that also requires considering blood pressure, resting heart rate, cholesterol levels, blood sugar level, liver function, inflammation, and fitness. It\u2019s also overly reductionist to consider fat as just a substance you either have too much or too little of. Fat is a vital class of molecules that every cell uses; our bodies store fat in special cells, adipocytes, that have many functions. And to top it all, fat played a special role in human evolution. If we want to better understand obesity, we have to learn more about fat.<\/p>\n<p>If you ask (as I have) hunter-gatherers what they prefer to eat, more often than not the answer is meat, especially fatty meat. Most wild animals are extremely lean, so hunter-gatherers crave the fat-rich parts of the body, including the marrow and liver. Like almost everyone, they think fat is delicious. They also appreciate that you need enough fat to be healthy, have children, and not be grumpy.<\/p>\n<p>As a reminder, animals\u2014humans included\u2014store most of their energy as fat. Each fat molecule has three fatty acid chains that stick off like tines on a fork from a tiny glycerol molecule. Burning fat molecules in cells harnesses 9 calories per gram by retrieving energy from the bonds between the fatty acids\u2019 many carbon atoms, which are strung together like beads. Because fat is denser than carbs, it stores more than twice as many calories per gram, making it our primary repository of energy.<\/p>\n<p>Fat makes life possible but has one salient constraint: it doesn\u2019t dissolve in water. As a result, we can\u2019t stockpile fat inside tissues the way we store carbs. Instead, most of our body fat stores need to be sequestered in adipocytes. Keep in mind that these cells aren\u2019t just little inflatable sacs of fat\u2014they are dynamic cells with a nucleus, DNA, and organelles. Among fat cells\u2019 many functions, they synthesize and secrete hormones and other molecular messengers that signal to the body how much fat they contain, whether they are shrinking or damaged, and much more.<\/p>\n<p>At birth, we have about one billion of these fat cells, and by the time we reach adulthood, we have approximately ten to thirty billion. But there is variation. Women tend to have more fat cells than men, and people who are overweight or obese tend to have more fat cells than people who are classified as \u201cnormal\u201d weight, especially if they developed obesity during childhood and adolescence. Although 10 percent of fat cells are replaced every year, the total number stays relatively constant as adults age. Like balloons, fat cells swell or shrink as we gain or lose weight.<\/p>\n<p>The relative constancy of fat cell numbers combined with their ability to change size and function has implications for the evolutionarily unusual state of being obese. Although you can\u2019t see or feel it, when fat cells store more fat than they should, they become damaged, like an overstuffed suitcase bursting at the seams. They also don\u2019t get enough oxygen. Damaged, deprived fat cells then synthesize and secrete chemical messengers (adipokines) that activate an immune response, triggering inflammation. That inflammation is a low-grade version of the hot, red swelling you get from a hangnail or a sore throat, but because it\u2019s in your fat cells, you don\u2019t feel it.<\/p>\n<p>What\u2019s more, fat cells are everywhere, and that inflammation can spread to nearly every nook and cranny of the body. Despite its pervasiveness, scientists didn\u2019t pay much attention to this kind of simmering, body-wide inflammation until modern technologies to measure it were developed. The ability to measure this sort of inflammation has been a game changer because if it persists for years, inflammation\u2019s effects are pernicious. Bit by bit, low-grade systemic inflammation attacks cells all over the body, causing them to malfunction.<\/p>\n<p>One common form of inflammatory damage is to obstruct fat and muscle cells\u2019 ability to respond to the hormone insulin. As we will learn later, insulin is needed to transport sugar and fat molecules out of the bloodstream and into cells. Inflammation triggered by obesity gums up these actions, causing both blood sugar and cholesterol levels to rise silently, gradually, and imperceptibly, causing harm. One bad consequence is type 2 diabetes. Another is hardening of the arteries. Elsewhere, sustained low-grade inflammation impairs other kinds of receptors and tissues. Inflammation in the brain damages neurons, increasing the risk of Alzheimer\u2019s disease and other forms of dementia. Inflammation also increases the risk of cancers, osteoarthritis, asthma, inflammatory bowel disease, and other illnesses. And, scarily, this kind of inflammation is mostly imperceptible. It slowly and surreptitiously damages your body.<\/p>\n<p class=\"pullquote\">Whether we are normal weight or obese, shrinking fat cells induce powerful sensations of hunger and lethargy, countering efforts to lose weight.<\/p>\n<p>To add insult to injury, the inflammation obesity causes also sets in motion a vicious cycle that can promote yet more weight gain. This happens because adipocytes produce hormones and other signaling molecules in response to how much fat they contain. The most important of these hormones is leptin, which signals to the brain information about the body\u2019s energy supply. When your fat cells are adequately stocked with fat, leptin levels are high, and your brain suppresses appetite. When your fat cells shrink as you burn fat, leptin levels drop, stimulating hunger.<\/p>\n<p>Normally this system helps us maintain a nearly constant weight, but an insidious effect of low-grade inflammation is to damage the brain\u2019s leptin receptors. When this happens, the normal feedback system malfunctions like a broken thermostat. Even though an obese person\u2019s fat cells may produce enough leptin to suppress their appetite, the brain doesn\u2019t receive those signals, causing constant hunger. Hunger, in turn, fights against weight loss and possibly even spurs more weight gain.<\/p>\n<p>And if that weren\u2019t bad enough, fat cells cause problems not only when they get too big but also when they shrink. As people lose weight by burning fat and their fat cells deflate, leptin levels nosedive, warning the brain that the body\u2019s energy stores are in decline. Whether we are normal weight or obese, shrinking fat cells induce powerful sensations of hunger and lethargy, countering efforts to lose weight. This response was presumably adaptive to prevent our ancestors from becoming underweight but is disastrous for today\u2019s dieters.<\/p>\n<p>It makes sense that we evolved to detect and respond to declining levels of fat because having too little fat is ruinous for reproduction and deleterious for other functions. However, because obesity was so rare in our evolutionary history, we apparently never evolved adaptations to prevent us from storing too much fat. But how much is too much?<\/p>\n<p>The philosopher Ralph Waldo Emerson (1803\u20131882) wrote that a \u201cfoolish consistency is the hobgoblin of little minds.\u201d Emerson was complaining about politicians and theologians with inflexible opinions closed to new ideas and facts, but he might as well have been writing about how we have medicalized obesity. Consider that a five-foot, ten-inch person weighing 208.5 pounds has a BMI of 29.9 and is technically overweight, but if they gain half a pound, thus increasing their BMI to 30.0, they will suddenly be obese. And according to the American Medical Association, they then have a disease. In addition to being arbitrary, reductionist, and biased, classifying individuals as obese or overweight based on a single number ignores many complexities about body fat.<\/p>\n<p class=\"pullquote\">We are evidently best adapted to store enough but not too much.<\/p>\n<p>\u201cA rose is a rose is a rose\u201d according to Gertrude Stein, but the same cannot be said of body fat. There are several different types of body fat, and they behave differently. The most consequential distinction is between fat that lies under the skin, termed \u201csubcutaneous fat,\u201d and fat in and around organs like the liver, termed \u201cabdominal fat\u201d (also called \u201cvisceral fat,\u201d \u201cbelly fat,\u201d or \u201cectopic fat\u201d).* We evolved to store mostly subcutaneous fat and have only a little abdominal fat. Abdominal fat, in addition, is more sensitive to hormones and has more blood vessels. In essence, abdominal fat is a readily accessed, short-term energy reserve for use in times of need. For this reason, during stressful situations like a famine or during conflicts when the body might require lots of extra calories, the brain directs cortisol levels to rise, which among other things causes the body to store more abdominal fat. That additional abdominal fat is an adaptation to help us cope with short-term food shortages or times when we need to be extra physically active.<\/p>\n<p>But too much abdominal fat is a health concern. When abdominal fats cells over-swell, they ignite more chronic inflammation than do subcutaneous fat cells. Hundreds of studies have shown that individuals with higher levels of abdominal fat have elevated risks of developing inflammation-related illnesses, especially type 2 diabetes and heart disease.<\/p>\n<p>The difference between abdominal and subcutaneous fat highlights a major concern about obesity along with a major limitation of BMI. While excess abdominal fat is more disease-causing than subcutaneous fat, BMI is calculated from just weight and height and thus fails to distinguish between these different fat types. That\u2019s a problem because subcutaneous fat deposits in places like the hips and buttocks don\u2019t cause as much inflammation as fat in muscles or in organs like the liver. For this reason, we should stop using just BMI to assess fatness and employ other measures to estimate fat distribution. Some hospitals have sophisticated scanners that can do this, but a simple way to estimate abdominal fat levels is to use a measuring tape. The ratio of a person\u2019s waist to hip circumference, or their waist circumference to height are pretty good estimators of their abdominal fat deposits. One can also look in the mirror: someone storing more fat in the abdomen than elsewhere, including the hips, will have more of an apple than a pear shape.<\/p>\n<p>All things considered, let\u2019s be more thoughtful about how we measure and use body fat levels to assess someone\u2019s health or anything else about them. At the same time, while it\u2019s wrong to judge, stigmatize, or discriminate on the basis of weight, it\u2019s true that high levels of body fat, especially abdominal fat, increase a person\u2019s risk of many diseases. Even though BMI is a flawed measure for individuals, it is useful for assessing population-level associations between body fat levels and long-term health outcomes. Figure 14 shows the relationship between BMI and the risk of dying from any cause among more than 3.5 million women and men in the United Kingdom.<\/p>\n<p>Keep in mind that this analysis includes people of all races; it measures only longevity, not health; it doesn\u2019t distinguish between abdominal and subcutaneous fat; and it doesn\u2019t account for exercise, access to healthcare, and other factors. Despite these limitations, you can see the J-shaped relationship between BMI and the risk of all-cause mortality. People with BMIs below 18 and above 30 are at greater risk of dying. The graph also shows that having a little more fat is beneficial as people age. We are evidently best adapted to store enough but not too much.<\/p>\n<p>That, in turn, raises a difficult question: If excess fat isn\u2019t good for us, why are humans so prone to storing too much?<\/p>\n<p class=\"p1\" style=\"text-align: center;\">__________________________________<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"275488\" data-permalink=\"https:\/\/lithub.com\/on-good-fat-bad-fat-and-the-problems-with-bmi\/fed-up\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/fed-up.jpeg\" data-orig-size=\"296,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"fed up\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/fed-up.jpeg\" class=\"alignnone size-medium wp-image-275488 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/fed-up-197x300.jpeg\" alt=\"\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/fed-up-197x300.jpeg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/fed-up-39x60.jpeg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/fed-up-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/fed-up.jpeg 296w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><em>From <\/em><a href=\"https:\/\/bookshop.org\/a\/2186\/9780593537992?prhc=PRHEFFDF5A7F1\">Fed Up<\/a><em> by Daniel E Lieberman. Copyright \u00a9 2026 by Daniel Lieberman Published by arrangement with Alfred A Knopf, an imprint of The Knopf Doubleday Group, a division of Penguin Random House LLC<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Today, the terms \u201cobese\u201d and \u201coverweight\u201d have precise medical definitions based on how much someone weighs relative to their height, but this is a modern formulation. Until recently, people knew their height but almost no one could measure their weight,<\/p>\n","protected":false},"author":7217,"featured_media":275489,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[6,43287,43092,43444],"tags":[73038,14811,63641,58355,27247,111676,10968,420],"class_list":["post-275487","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-health","category-newsandculture","category-science","tag-bmi","tag-bodies","tag-daniel-e-lieberman","tag-diets","tag-fat","tag-fed-up","tag-health","tag-knopf"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Fl","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/bmi.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275487","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/7217"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275487"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275487\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275489"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275487"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275487"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275771,"date":"2026-08-17T05:08:53","date_gmt":"2026-08-17T09:08:53","guid":{"rendered":"https:\/\/lithub.com\/?p=275771"},"modified":"2026-08-18T09:53:01","modified_gmt":"2026-08-18T13:53:01","slug":"rebecca-solnit-when-penelope-tried-to-spin-her-own-fate","status":"publish","type":"post","link":"https:\/\/lithub.com\/rebecca-solnit-when-penelope-tried-to-spin-her-own-fate\/","title":{"rendered":"Rebecca Solnit: Penelope Weaves Her Destiny"},"content":{"rendered":"<p><strong>\u201cThe Liquid Birds\u201d<\/strong><\/p>\n<p><em>P\u0113nelop\u0113 (\u03a0\u03b7\u03bd\u03b5\u03bb\u03cc\u03c0\u03b7) is usually understood to combine the Greek word p\u0113n\u0113 (\u03c0\u03ae\u03bd\u03b7), &#8220;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Weft\">weft<\/a>,&#8221; and \u014dps (\u1f64\u03c8), &#8220;face,&#8221; which is considered the most appropriate for a cunning weaver whose motivation is hard to decipher<\/em><\/p>\n<p>Penelope finds when she unweaves the shroud\u2014<br \/>\nthat she was making for the father of her husband,<br \/>\nwho of course is absent and has been for years\u2014<br \/>\nthat when she undoes what she wove in this time<br \/>\nshe can unweave all time that has passed and by<br \/>\nweaving a different pattern can shift the present<br \/>\nand as she weaves warp through weft, thread by thread<br \/>\nshe finds mastery and after much practice can<br \/>\nunweave better than she ever wove, can unweave<br \/>\nher marriage back before she ever met the man<br \/>\ncan hover with threads added and subtracted<br \/>\nin the passion of their first years, make one night,<br \/>\none kiss, happen over and over, and then she can<br \/>\nunweave it all so that their marriage bed, famously<br \/>\nmade from a rooted tree, is not yet a bed, the tree<br \/>\nonly a sapling, crones become maidens, eagles, doves<br \/>\ndrop from the skies to find the nests they left<br \/>\nand the gulls, cormorants, terns likewise find<br \/>\nthe fragments of their old eggshells that begin to<br \/>\npull back together to hold the liquid birds within,<br \/>\nthe wool itself unspins and goes back to the flock<br \/>\nand the flock goes backward, wool shorter and shorter<br \/>\non their frames as they disgorge grass to the earth,<br \/>\nenough to replant the hillsides, as snow flies upward,<br \/>\nand rivers flow uphill, and she works time like a dj<br \/>\nscratching the record back and forth, revolutions<br \/>\ngiving way to the rhythms, lyric music to notes<br \/>\nclustering forward and backward; she masters time<br \/>\nand weaves and picks apart many endings, turnings,<br \/>\nweaves other lives for herself, lives for centuries<br \/>\nduring the decade she waits for his return, lives<br \/>\nas a priestess, as the beloved of the handsome sailor<br \/>\nwho came to shore when she was a girl, has daughters,<br \/>\nhas travels, studies, passions, strange woven patterns,<br \/>\nand then she lets it go and weaves his return,<br \/>\nweaves the massacre of the suitors, weaves the shroud,<br \/>\nand takes her knife and cuts the last thread, done,<br \/>\nand she knows this is not the only or the best<br \/>\nof all her destinies but that the pattern is good.<\/p>\n<p>*<\/p>\n<p>From long before the time of Homer until the recent past\u2014and in the present in some traditional societies\u2014turning an amorphous mass of wool into thread via spinning and then weaving that into fabric was both an important skill and a source of powerful metaphor. We still use some of those metaphors\u2014a thread is a connected series of exchanges by email, text, or on social media, and you can lose the thread of what you\u2019re saying. The word spinning was mostly used to describe that making of thread&#8230; then came other forms of twisting, all the way to spin doctors and spin control. The distaff that holds the unspun fiber became a term for the female or distaff side of a family or household and spinster became a term, eventually pejorative, currently being reclaimed, for an unmarried woman. The analogy between storytelling and turning the shapeless wool into thread or the thread into woven fabric is why spinning a tale and weaving a story are (perhaps now slightly archaic) ways of talking about narrative.<\/p>\n<p>In Greek mythology the Moirai, or Fates, were three sisters, one who spun a human life as a thread, one who measured it, and one who cut it, making the connection between the linearity of thread and time explicit. (Norse mythology\u2019s Norns are another trio of women meting out human life via threads.) Penelope takes on the Moirai\u2019s power of controlling destiny by constantly rolling back the time in which she must choose a husband from among the suitors by unweaving at night what she wove by day. This makes her loom a device on which time goes both ways. Denied conventional power in a patriarchal society, she finds an unconventional form of it and spins her own tale rather than being subject to the fate the suitors intend to impose on her.<\/p>\n<p style=\"text-align: center;\">______________________________<\/p>\n<p style=\"text-align: center;\">More of Rebecca Solnit\u2019s writing online <a href=\"https:\/\/www.meditationsinanemergency.com\/\">can be found here<\/a>.<br \/>\nFeatured art: \u201cPenelope Unraveling Her Work at Night\u201d by Dora Wheeler (1886)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cThe Liquid Birds\u201d P\u0113nelop\u0113 (\u03a0\u03b7\u03bd\u03b5\u03bb\u03cc\u03c0\u03b7) is usually understood to combine the Greek word p\u0113n\u0113 (\u03c0\u03ae\u03bd\u03b7), &#8220;weft,&#8221; and \u014dps (\u1f64\u03c8), &#8220;face,&#8221; which is considered the most appropriate for a cunning weaver whose motivation is hard to decipher Penelope finds when she<\/p>\n","protected":false},"author":400,"featured_media":275824,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[6,43101,43077],"tags":[5804,2465,111792,7514,28036,212,111791,12278],"class_list":["post-275771","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-history","category-poem","tag-greece","tag-homer","tag-morai","tag-mythology","tag-penelope","tag-poetry","tag-spinning","tag-the-odyssey"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19JV","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Penelope-Unraveling-Her-Work.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275771","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/400"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275771"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275771\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275824"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275771"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275771"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275771"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275412,"date":"2026-08-17T05:08:33","date_gmt":"2026-08-17T09:08:33","guid":{"rendered":"https:\/\/lithub.com\/?p=275412"},"modified":"2026-08-18T09:29:33","modified_gmt":"2026-08-18T13:29:33","slug":"everything-but-the-burden-greg-tate-john-henryism-and-the-cost-of-solidarity","status":"publish","type":"post","link":"https:\/\/lithub.com\/everything-but-the-burden-greg-tate-john-henryism-and-the-cost-of-solidarity\/","title":{"rendered":"Everything But the Burden: <\/br>Greg Tate, John Henryism, and the Cost of Solidarity"},"content":{"rendered":"<p><span style=\"font-weight: 500;\">Praise be to Akhenaten, to Cleopatra, to Ra, Sun Ra, Iris, Osiris and all the ancestors and ancestresses: <\/span><a href=\"https:\/\/bookshop.org\/a\/132\/9780374394622\"><i><span style=\"font-weight: 500;\">Flyboy in the Buttermilk<\/span><\/i><\/a><span style=\"font-weight: 500;\">, by the late, great Greg Tate\u2014that posthumous Pulitzer Prize-winning polymorphous polymath, the heppest cat to ever done bee bop in the pages of the <\/span><i><span style=\"font-weight: 500;\">Village Voice<\/span><\/i><span style=\"font-weight: 500;\"> and <\/span><i><span style=\"font-weight: 500;\">Vibe<\/span><\/i><span style=\"font-weight: 500;\">\u2014is back in print.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Subtitled<\/span><i><span style=\"font-weight: 500;\"> Essays on Contemporary America<\/span><\/i><span style=\"font-weight: 500;\">, this collection of 40 articles is as relevant today as it was when it was first published 25 years ago. Whether he was writing about sports, politics, music or art, Greg left an indelible mark on American arts and letters. Along with bell hooks (who died the same week as Greg in December 2021, both leaving black holes in the expository cosmos), Greg done changed the game for cultural criticism\u2014imbuing it with a Black down-beat street sense that could still soar higher than Miles hitting a high G on <\/span><i><span style=\"font-weight: 500;\">Kind of Blue<\/span><\/i><span style=\"font-weight: 500;\"> or Alvin flying over floorboards in <\/span><i><span style=\"font-weight: 500;\">Revelations<\/span><\/i><span style=\"font-weight: 500;\">.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">OK, that was my modest attempt to write in the style of Tate himself. But there\u2019s no competing. How can you compete with the G.O.A.T.? How can you compete with the brother who could bang out one sentence after another on the legacy of Wynton Marsalis in \u201cBaby Miles and Bay Wayne\u201d ( \u201cNeither freemen fuzhacks, nor funkateers, the Marsalis brothers, on evidence of the trumpeter\u2019s CBS debut, declare themselves adroit student archivists of acoustic jazz\u2019s last band of \u2018inside\u2019 futurists\u2019\u201d) and on Skip Gates in \u201cYo! Hermeneutics!\u201d <\/span><span style=\"font-weight: 500;\">(\u201cMerely conceiving a poststructionalist version of this deteronomic tribal scroll is enough to make me feel like a one-man Harlem Renaissance\u2014at least until Thelonius asks if I\u2019m hip to Henry Louis Gates, Jr., blood up at Yale (Cornell by the time you read this) who guest-edited two issues of <em>Black American Literature Forum<\/em> on the subject of semiotics and the signifyin\u2019 monkey\u201d<\/span><span style=\"font-weight: 500;\">) alike?\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">You <\/span><i><span style=\"font-weight: 500;\">can\u2019t <\/span><\/i><span style=\"font-weight: 500;\">compete. It\u2019d be like trying to beat old head LeBron at horse, or trying to get the ball away from young blood Yamal.\u00a0\u00a0\u00a0<\/span><\/p>\n<p><p class=\"pullquote\"><span style=\"font-weight: 500;\">In being <\/span><i><span style=\"font-weight: 500;\">himself<\/span><\/i><span style=\"font-weight: 500;\">\u2014with all the burdens of Black genius that came with it\u2014Greg blasted the door off its fucking hinges<\/p><\/span><\/p>\n<p><span style=\"font-weight: 500;\">But here was the thing about Greg: as a critic, he could be sharp as a samurai sword slicing through skin (\u201cTo fully appreciate the sickness of [Michael] Jackson\u2019s savaging of his African physiognomy you have to recall that back when he wore the face he was born with, black folk thought he was the prettiest thing since sliced sushi.\u201d) He could praise a cat with the grace of Brunson making a three-pointer with four seconds to go (\u201cBefore he was cutting vinyl, George Clinton was cutting hair; before he got involved with the recorded process, my man was chemically processing hair-mixing down wave, curl, and conk jobs for all the slick splib hustlers that ran the streets of Plainfield\u201d) <\/span><i><span style=\"font-weight: 500;\">and <\/span><\/i><span style=\"font-weight: 500;\">he could merk that same man down to size (\u201cGeorge Clinton\u2019s <\/span><i><span style=\"font-weight: 500;\">Computer Games<\/span><\/i><span style=\"font-weight: 500;\"> is a work of genius and a piece of shit\u201d) with an assassin\u2019s speed and the murderous meticulousness of Mbapp\u00e9 gutting a game with his god-given golden boot. Maybe not until earlier this month\u2014when our sister-with-a-white-mama-and-mister Emily Wilson played her bow and plucked her arrow into the neck of fellow Homeric interpreter, \u2018bruh Nolan, with so much force that her o\u2019dyssey <\/span><a href=\"https:\/\/www.lrb.co.uk\/the-paper\/v48\/n14\/emily-wilson\/an-uncomplicated-man\"><span style=\"font-weight: 500;\">dyss track<\/span><\/a> <a href=\"https:\/\/x.com\/lpolgreen\/status\/2081773228997873733\"><span style=\"font-weight: 500;\">crashed <\/span><\/a><span style=\"font-weight: 500;\">the <\/span><i><span style=\"font-weight: 500;\">London Review of Books<\/span><\/i><span style=\"font-weight: 500;\"> website like a Laestrygonian\u2019s lobbed boulder blowing a trireme to smitherines\u2014has anyone struck a fellow traveler with as much precision as Greg did when he wrote about bad art made by artists he loved.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">And yet, as a writer amongst other writers, he was the sweetest guy\u2014and he was never competing with you.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Even if he mentored you, he didn\u2019t try to make you write like him. He tried to make you sound like <\/span><i><span style=\"font-weight: 500;\">you<\/span><\/i><span style=\"font-weight: 500;\">.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">In being <\/span><i><span style=\"font-weight: 500;\">himself<\/span><\/i><span style=\"font-weight: 500;\">\u2014with all the burdens of Black genius that came with it\u2014Greg blasted the door off its fucking hinges with all the G-force (and care) of afrofuturist Victor Glover piloting <\/span><i><span style=\"font-weight: 500;\">Artemis II <\/span><\/i><span style=\"font-weight: 500;\">towards lunar slingshot glory\u2026because he wanted you to be you.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">No sir, no ma\u2019am, none of us who received his mentorship\u2014really, anyone who\u2019s filed culture for <\/span><i><span style=\"font-weight: 500;\">Vulture<\/span><\/i><span style=\"font-weight: 500;\"> or <\/span><i><span style=\"font-weight: 500;\">Gawker<\/span><\/i><span style=\"font-weight: 500;\"> or <\/span><i><span style=\"font-weight: 500;\">BuzzFeed<\/span><\/i><span style=\"font-weight: 500;\"> or<\/span><i><span style=\"font-weight: 500;\"> Lit Hub<\/span><\/i><span style=\"font-weight: 500;\"> or the <\/span><i><span style=\"font-weight: 500;\">Nation <\/span><\/i><span style=\"font-weight: 500;\">in the last couple of decades\u2014would be <\/span><i><span style=\"font-weight: 500;\">naaaaaaaaaaaan <\/span><\/i><span style=\"font-weight: 500;\">without gregarious, luminous, generous Greg, and his downtown, no-clown, throw-down, new sound concertos about David Bowie, Sam Delaney, Don DeLillo, Dawn Suggs, <\/span><i><span style=\"font-weight: 500;\">Daughters of the Dust<\/span><\/i><span style=\"font-weight: 500;\"> director Julie Dash, and\u2014of course\u2014the collection\u2019s eponymous \u201cflyboy in the buttermilk\u201d himself, <\/span><a href=\"https:\/\/www.villagevoice.com\/jean-michel-basquiat-lonesome-flyboy-in-the-80s-art-boom-buttermilk\/\"><span style=\"font-weight: 500;\">Jean-Michel Basquiat<\/span><\/a><span style=\"font-weight: 500;\">.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Like a runaway hack-hack-hacking through an antebellum field of sugarcane with a machete under a moonless midnight sky, Tate tore a new trail for us <\/span><i><span style=\"font-weight: 500;\">all<\/span><\/i><span style=\"font-weight: 500;\">.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">*<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Originally published in 1992, <\/span><i><span style=\"font-weight: 500;\">Flyboy<\/span><\/i><span style=\"font-weight: 500;\"> has been out of print for many years\u2014something that bothered Greg terribly when I <\/span><a href=\"https:\/\/www.theguardian.com\/books\/2016\/aug\/20\/greg-tate-flyboy-back-to-the-future\"><span style=\"font-weight: 500;\">interviewed him a decade ago<\/span><\/a><span style=\"font-weight: 500;\"> upon the release of <\/span><i><span style=\"font-weight: 500;\">Flyboy 2<\/span><\/i><span style=\"font-weight: 500;\">. It bothered me, too, as a professor: I always wanted to teach the original <\/span><i><span style=\"font-weight: 500;\">Flyboy <\/span><\/i><span style=\"font-weight: 500;\">in its totality and never got the chance. (If students of journalism could only study one book to teach them many concepts in a sole volume\u2014sentence construction, rhetoric, narrative control, dialogue, wordplay, humor, writing in your own voice, high theory, low theory, words as music, writing as rhythm, prose as poem, craft, <\/span><i><span style=\"font-weight: 500;\">craft<\/span><\/i><span style=\"font-weight: 500;\">, CRAFT\u2014 <\/span><i><span style=\"font-weight: 500;\">Flyboy in the Buttermilk<\/span><\/i><span style=\"font-weight: 500;\"> would be a good contender.)\u00a0<\/span><\/p>\n<p class=\"pullquote\">Too many subjects of this wheezing colonial empire want a proximity to Blackness without any responsibility for what ails Black people.<\/p>\n<p><span style=\"font-weight: 500;\">Greg practiced criticism as love. Sometimes that was tough love, as when he dissed <\/span><i><span style=\"font-weight: 500;\">Bad<\/span><\/i><span style=\"font-weight: 500;\"> in \u201cI\u2019m White! What\u2019s Wrong with Michael Jackson\u201d (\u201cProof that God don\u2019t like ugly, the title of Michael\u2019s new LP, <\/span><i><span style=\"font-weight: 500;\">Bad<\/span><\/i><span style=\"font-weight: 500;\">, accurately describes the contents in standard English\u2026 The only thing <\/span><i><span style=\"font-weight: 500;\">Bad <\/span><\/i><span style=\"font-weight: 500;\">has going for it is that it was made by the same artist who made <\/span><i><span style=\"font-weight: 500;\">Thriller<\/span><\/i><span style=\"font-weight: 500;\">.\u201d) Sometimes, that was the love of grief, as in <\/span><a href=\"https:\/\/www.villagevoice.com\/michael-jackson-the-man-in-our-mirror\/\"><span style=\"font-weight: 500;\">\u201cThe Man in Our Mirror,\u201d<\/span><\/a><span style=\"font-weight: 500;\"> an obituary for the ages banged out in a day. That cover essay, which I have read dozens of times over the last 17 years since I first pulled it out of a red <\/span><i><span style=\"font-weight: 500;\">Voice <\/span><\/i><span style=\"font-weight: 500;\">box on Cooper Square, is both a brutal cry of pain (\u201cMichael\u2019s death was probably the most shocking celebrity curtain call of our time because he had stopped being vaguely mortal or human for us quite a while ago, had become such an implacably bizarre and abstracted tabloid creation, worlds removed from the various Michaels we had once loved so much. The unfortunate blessing of his departure is that we can now all go back to loving him as we first found him, without shame, despair, or complication\u201d) and an indictment of corroded, commercial art in the US (\u201cWhat Black American culture\u2014musical and otherwise\u2014lacks now isn\u2019t talent or ambition, but the unmistakable presence of some kind of spiritual genius: the sense that something other than or even more than human is speaking through whatever fragile mortal vessel is burdened with repping for the divine, the magical, the supernatural, the ancestral.\u201d)<\/span><\/p>\n<p><span style=\"font-weight: 500;\">This is a running theme in Tate\u2019s work: reading people like Michael to read America (white and Black) to <\/span><i><span style=\"font-weight: 500;\">itself<\/span><\/i><span style=\"font-weight: 500;\">.<\/span><\/p>\n<p>Too many subjects of this wheezing colonial empire want a proximity to Blackness without any responsibility for what ails Black people. (I can imagine what he might say about billionaire Beyonc\u00e9\u2019s billionaire beau, Jay-Z,<a href=\"https:\/\/www.msn.com\/en-us\/money\/other\/jay-z-s-partnership-with-target-sparks-debate-with-black-consumers\/ar-AA25MeZ8\"> teaming up with Target<\/a> as boycotters blackballed the retail behemoth for <a href=\"https:\/\/www.esgdive.com\/news\/target-leadership-under-fire-over-strategic-missteps-on-dei-ice-shareholders\/820773\/\">dismissing DEI<\/a>.)<\/p>\n<p>Or, to riff on the title of another Greg Tate joint, when it comes to Blackness, too many Americans want \u201ceverything but the burden.\u201d<\/p>\n<p><span style=\"font-weight: 500;\">*<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Released about a decade after <\/span><i><span style=\"font-weight: 500;\">Flyboy<\/span><\/i><span style=\"font-weight: 500;\">, 2003\u2019s <\/span><i><span style=\"font-weight: 500;\">Everything But the Burden: What White People Are Taking from Black Culture<\/span><\/i><span style=\"font-weight: 500;\"> is an anthology of essays by the likes of Robin D.G. Kelley, Michaela Angela Davis, and Arthur Jaffa, and edited by Tate.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Riffing on Chief Parliamentarian of Funkadelic land, Tate told us, \u201cAs George Clinton likes to say, \u2018Without the humps, there\u2019s no getting over.\u2019\u201d<\/span><\/p>\n<p><span style=\"font-weight: 500;\">In other words: <\/span><i><span style=\"font-weight: 500;\">to make art, you need some of the burden.<\/span><\/i><\/p>\n<p><span style=\"font-weight: 500;\">Greg credited the phrase which made up the title of his collection\u2014as he credited many thinsg\u2014to his mother, Florence, known to his readers as \u201cMama Tate.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 500;\">The idea behind was simple, but powerful: White (and, as I build on Greg and Mama\u2019s argument in <\/span><i><span style=\"font-weight: 500;\">The Overseer Class<\/span><\/i><span style=\"font-weight: 500;\">, some \u201chistoric first\u201d Black people) wanted <\/span><i><span style=\"font-weight: 500;\">everything <\/span><\/i><span style=\"font-weight: 500;\">everyday Black folk got\u2026except for one thing:\u00a0<\/span><\/p>\n<p style=\"padding-left: 40px;\"><i><span style=\"font-weight: 500;\">They wanted the music.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the art.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the style.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the cool.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the clothes.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the rhythm.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the hoops<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the blues.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">They want the bee bop.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the hip-hop.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">And the scat-jazz,<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">and church-soul.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">They even want<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">Basquiat\u2019s strokes,<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">\u00a0and Richard Pryor\u2019s<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">off color jokes.<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">They crave all this shit\u2014<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">(and bag quite a bit)<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">but for one thing:<br \/>\n<\/span><\/i><i><span style=\"font-weight: 500;\">the burden!!!<\/span><\/i><\/p>\n<p><span style=\"font-weight: 500;\">Just as they wanted to enjoy the imperial nostalgia of Native American dreamcatchers without having to live on a genocide-created reservation, when it comes to Black culture, white people wanted <\/span><i><span style=\"font-weight: 500;\">everything but the burden. <\/span><\/i><span style=\"font-weight: 500;\">They didn\u2019t want the cost of being Black\u2014the health disparities, the racialized poverty, the redlining, the police state on your back.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">And they sure as shit didn\u2019t want to <\/span>hear about (let alone suffer from)<span style=\"font-weight: 500;\"> John Henyrism\u2014that very real way <\/span><a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/6663614\/\"><span style=\"font-weight: 500;\">Doc Sherman James proved<\/span><\/a><span style=\"font-weight: 500;\"> how the grim reaper comes-a-knockin\u2019 early for Black men due to the blood-pressure-and-heart-stress of racism. Named for the Negro folk hero who <\/span><a href=\"https:\/\/www.nps.gov\/neri\/planyourvisit\/the-legend-of-john-henry-talcott-wv.htm\"><span style=\"font-weight: 500;\">died <\/span><\/a><span style=\"font-weight: 500;\">trying to swing his hammer faster than a steam engine could, John Henrysism took my father at 67, just as it took <\/span><i><span style=\"font-weight: 500;\">his <\/span><\/i><span style=\"font-weight: 500;\">father at 57\u2014and just as it took Greg at 64. (Shortly after Greg died, the artist John Simms\u2014that brilliant brother behind <\/span><a href=\"https:\/\/antiochcollege.edu\/2020\/02\/21\/mathematical-structures-politics-of-symbols-and-poetic-reflections\/\"><i><span style=\"font-weight: 500;\">How to Hang a Confederate Flag<\/span><\/i><\/a><span style=\"font-weight: 500;\">\u2014told me he\u2019d had breakfast with Greg a few weeks before, they\u2019d talked about me, and Greg had said he was proud of me. That meant the world to me, and made me warm to talk to John about\u2026until, that is, John Henry came for John <\/span>Simms<span style=\"font-weight: 500;\"> just a few months later\u2014and ferried him across the River Styx to the afterlife after just 58 too-short years on this earth.)<\/span><\/p>\n<p>A theory, my teacher (and OG queer theorist) Lisa Duggan taught me, is just an idea that helps people to think. If it\u2019s a good theory, it\u2019ll help people think about any number of subjects the cat who coined it never dreamed of.<\/p>\n<p>Like a peripatetic apostle pondering a prior pastor\u2019s prized psalm, <i>burdenology<\/i> is a theory I\u2019ve been c<span style=\"font-weight: 500;\">oming back to since October 2023.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Tate has long helped me understand how cultural appropriation works. But inversely flipping Tate\u2019s theory of burdenology on its head has helped me understand why claims about appropriating Palestinian culture have been so scant in recent years\u2014especially as the proclivity for non-Palestinian activists to wear keffiyehs exploded over the last few years.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">I began wearing a keffiyeh I had owned for many years more frequently in October 2023, when the United States-backed Israeli genocide against the Palestinian people shifted into a new level of lethal intensity. Many others did the same.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Yet despite the ubiquity of new keffiyeh wearers who, like me, were <\/span><i><span style=\"font-weight: 500;\">not <\/span><\/i><span style=\"font-weight: 500;\">Palestinian\u2014and in stark contrast to the dynamics of other protest movements I have covered\u2014I have observed very few charges of \u201ccultural appropriation\u201d in the wearing of what amounts to the Palestinian national garment.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">While its history stretches across centuries all over the Middle East, the keffiyeh was historically \u201cworn by nomadic communities\u2014or Bedouins\u2014in historic Palestine,\u201d journalist Linah Mohammed <\/span><a href=\"https:\/\/www.npr.org\/2023\/12\/06\/1216150515\/keffiyeh-hamas-palestinians-israel-gaza\"><span style=\"font-weight: 500;\">told <\/span><\/a><span style=\"font-weight: 500;\">\u00a0NPR in 2023, adding that \u201cover the last century, the black and white one has become synonymous with Palestinians.\u201d More specifically, they\u2019ve become a symbol of Palestinian armed resistance. This began even before the Nakba (\u0627\u0644\u0646\u0643\u0628\u0629), or catastrophe, of 1948. By then, the keffiyeh had already been associated with Palestinian freedom fighters since the early 1900s, when Arabs adorned with them tried to stop Britain\u2019s increasingly obvious plan to use Zionist Jewish emigration as a way to colonize Mandatory Palestine for European imperialist aims. The keffiyeh was sealed as the major fashion symbol of Palestinian resistance in the 1960s, when Palestinian Liberation Organization leader <\/span><a href=\"https:\/\/www.npr.org\/2023\/12\/06\/1216150515\/keffiyeh-hamas-palestinians-israel-gaza\"><span style=\"font-weight: 500;\">Yasser Arafat<\/span><\/a><span style=\"font-weight: 500;\"> wore one at all times.\u00a0<\/span><\/p>\n<p><p class=\"pullquote\"><span style=\"font-weight: 500;\">Wearing a keffiyeh was not like rocking Air Jordans or hanging a dreamcatcher.<\/p><\/span><\/p>\n<p><span style=\"font-weight: 500;\">As <\/span>I\u2019ve observed and joined<span style=\"font-weight: 500;\"> millions of people <\/span>who\u2019ve taken <span style=\"font-weight: 500;\">to the streets around the world for the Palestinian people over the last few years\u2014and as a habitually online person\u2014I have seen a few (<\/span><i><span style=\"font-weight: 500;\">very<\/span><\/i><span style=\"font-weight: 500;\"> few) call-outs about cultural appropriation regarding Palestinian culture, music or dance\u2026 but I can not remember <\/span><i><span style=\"font-weight: 500;\">ever <\/span><\/i><span style=\"font-weight: 500;\">seeing any non-Palestinian called out for wearing a keffiyeh as an act of cultural appropriation.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">In the US at least, even a non-Palestinian or non-Arab person wearing a keffiyeh creates very different material conditions than, say, a white person sagging and bagging or wearing a WuTang t-shirt. It is not a gesture isolated for fashion and stripped of associative risk.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">To be sure, those of us wearing keffiyehs in Europe and North America are not facing the same existential, genocidal violence the people of Gaza have been facing for the last 77 years. Still,\u00a0 many people marching in the streets or camping on college campuses faced brutal state violence, and nearly everyone publicly supporting Palestine risked losing their jobs (and many of us <\/span><a href=\"https:\/\/lithub.com\/when-we-fight-we-win-why-i-am-suing-northwestern-university-and-the-us-government\/\"><span style=\"font-weight: 500;\">actually did<\/span><\/a><span style=\"font-weight: 500;\">), careers, diplomas\u2014or even their freedom from jail or deportation.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Wearing a keffiyeh was not like rocking Air Jordans or hanging a dreamcatcher. It ain\u2019t akin to blasting Jay-Z while you plot to displace a Black neighborhood for a data center or putting up a poster of Tupac in your Harvard dorm room before you go earn your bread at Boston Consulting.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Wearing this garment involves risks and rewards, which can be quite thrilling. As one of my Palestinian cousins, Suzanne Barghouti, once told me, putting on a keffiyeh in the United States before you go out feels like putting on a lion\u2019s mane, or a suit of armor.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">But it\u2019s also <\/span><i><span style=\"font-weight: 500;\">very <\/span><\/i><span style=\"font-weight: 500;\">much an act of putting a bullseye for the military industrial complex on your back. It draws danger to you\u2014<\/span><i><span style=\"font-weight: 500;\">especially<\/span><\/i><span style=\"font-weight: 500;\"> as it signals the wearer\u2019s support for the legally justifiable armed resistance with which the keffiyeh has been associated for decades.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Many people I know who have started wearing them did so in community in some way or another. In getting to know someone you care about, you don\u2019t just share in their prizes and accomplishments; you share in their vulnerabilities, risks, fears, and burdens. Hopefully\u2014like a mama bird flapping her wings to draw a hungry cat away from the chicks in her nest\u2014the gesture of wearing this garment may even draw a bit of danger away from those who are most vulnerable (or at least dilute the danger by spreading it around).\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">In shouldering a tiny piece of the burden, I certainly found, there has been a great welcome from Palestinian family, friends, and comrades to share, in an honest relationship, a symbol of their culture.\u00a0<\/span><\/p>\n<p><p class=\"pullquote\"><span style=\"font-weight: 500;\">I wish I could talk to Greg about Mamdani, and the Knicks championship, and the recent rent freeze for a million New Yorkers.<\/p><\/span><\/p>\n<p><span style=\"font-weight: 500;\">This is why I was impressed when Zohran Mamdani began <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=8ZuV5L0QL04\"><span style=\"font-weight: 500;\">his video on July 21<\/span><\/a><span style=\"font-weight: 500;\"> with the words \u201cBenjamin Netanyahu is a war criminal.\u201d Though it was disappointing to many, including me, to hear him say he did not have the legal authority to arrest Netanyahu, I deeply appreciated Mamdani not just calling Netanyahu a war criminal and listing his litany of verifiable war crimes\u2014including his murder of nearly 300 journalists who are ignored by almost all US politicians but whom Mamdani brings up repeatedly (as he did with Al Jazeera\u2019s <\/span><a href=\"https:\/\/www.aljazeera.com\/news\/2026\/6\/20\/al-jazeera-cameraman-ahmad-wishah-killed-in-israeli-attack-in-gaza\"><span style=\"font-weight: 500;\">Ahmed Wishah<\/span><\/a><span style=\"font-weight: 500;\">).\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">I cannot speak for the Palestinian people. But as someone who has been severely punished for speaking about the apartheid state of Israel at my job\u2014in 2019, and again over the last couple of years\u2014I deeply appreciate Mamdani walking into the place where he earns his bread, saying \u201cNetanyahu is a war criminal,\u201d risking a bounty on his head and a target on his back, and taking on some of this burden.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">*<\/span><\/p>\n<p><span style=\"font-weight: 500;\">I wish I could talk to Greg about Mamdani, and the Knicks championship, and the recent rent freeze for a million New Yorkers. I wish I could talk to him about <\/span><i><span style=\"font-weight: 500;\">everything <\/span><\/i><span style=\"font-weight: 500;\">that\u2019s gone down in the last few years.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">We are so lucky we can now easily read Greg\u2019s words again.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">But that, too, is only bittersweet: I wish that Greg had lived to see the reissue of <\/span><i><span style=\"font-weight: 500;\">Flyboy<\/span><\/i><span style=\"font-weight: 500;\">\u2014that he could read the loving new foreword by Questlove and introduction by A Tribe Called Quest biographer Hanif Abdurraqib. Just as I wish he\u2019d lived long enough to enjoy seeing <\/span><i><span style=\"font-weight: 500;\">Cats: The Jellicle Ball<\/span><\/i><span style=\"font-weight: 500;\"> mark Broadway, \u2018bruh Coogler conquer the Oscars and break the box office block with <\/span><i><span style=\"font-weight: 500;\">Sinners<\/span><\/i><span style=\"font-weight: 500;\">, <\/span><i><span style=\"font-weight: 500;\">The World of Black Film<\/span><\/i><span style=\"font-weight: 500;\"> chronicler <\/span>Ash Clark as <a href=\"https:\/\/www.nytimes.com\/2026\/07\/22\/movies\/criterion-collection-black-film.html\">chief curatorial cat<\/a> at the Criterion Collection, <i>When Chickenheads Come Home to Roast <\/i>scribe Joan Morgan directing the Center for Black Visual Culture<b>\u2014<\/b><span style=\"font-weight: 500;\">and his mentee publish <\/span><i><span style=\"font-weight: 500;\">The Overseer Class<\/span><\/i><span style=\"font-weight: 500;\">.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">God, do I wish he\u2019d been given his flowers while he was alive\u2014most of all his long overdue prize from the procrastinating Pulitzer people\u2014and the kind of institutional base he needed not just to do his genius work, but to support him while he supported so many of us for free.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">\u201cSlavery, minstrelsy, and black bourgeoisie aspirations are responsible for three of the more pejorative notions about blacks in this county,\u201d Greg wrote, \u201cblacks as property, as ethnographic commodities, and as imitation rich white people. Given this history, there\u2019s a fine line between a black entertainer who appeals to white people and one who sells out the race in pursuit of white appeal. Berry Gordy, B\u00fcrgemeister of crossover\u2019s Bauhaus, walked that line with such finesse that some black folk were shocked to discover via <\/span><i><span style=\"font-weight: 500;\">The Big Chill<\/span><\/i><span style=\"font-weight: 500;\"> that many whites consider Motown <\/span><i><span style=\"font-weight: 500;\">their <\/span><\/i><span style=\"font-weight: 500;\">music.\u201d\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">Unlike Michael on<\/span><i><span style=\"font-weight: 500;\"> Bad<\/span><\/i><span style=\"font-weight: 500;\">, Greg did not pander to a society obsessed with \u201cproducing young black men and women who conceive of their African inheritance as little more than a means to cold-crash mainstream American and the cold-dis\u2014if not merely put considerable distance between\u2014the brothers and sisters left behind.\u201d\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">He did not leave us in life\u2014he was only taken, in death, by the same<\/span><i><span style=\"font-weight: 500;\"> ism<\/span><\/i><span style=\"font-weight: 500;\"> that took John Henry.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 500;\">He loved us.<\/span><\/p>\n<p><span style=\"font-weight: 500;\">And we love you, Greg. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Praise be to Akhenaten, to Cleopatra, to Ra, Sun Ra, Iris, Osiris and all the ancestors and ancestresses: Flyboy in the Buttermilk, by the late, great Greg Tate\u2014that posthumous Pulitzer Prize-winning polymorphous polymath, the heppest cat to ever done bee<\/p>\n","protected":false},"author":16376,"featured_media":275426,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,6,43101,43070,43095],"tags":[2320,108068,74530,80981],"class_list":["post-275412","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-history","category-literary-criticism","category-politics","tag-criticism","tag-flyboy-in-the-buttermilk-essays-on-contemporary-america","tag-greg-tate","tag-steven-thrasher"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19E8","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Greg-Tate.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275412","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/16376"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275412"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275412\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275426"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275742,"date":"2026-08-17T05:08:17","date_gmt":"2026-08-17T09:08:17","guid":{"rendered":"https:\/\/lithub.com\/?p=275742"},"modified":"2026-08-17T08:00:10","modified_gmt":"2026-08-17T12:00:10","slug":"read-an-original-review-of-all-the-kings-men-on-its-80th-anniversary","status":"publish","type":"post","link":"https:\/\/lithub.com\/read-an-original-review-of-all-the-kings-men-on-its-80th-anniversary\/","title":{"rendered":"Read an Original Review of <em>All the King\u2019s Men<\/em> on Its 80th Anniversary"},"content":{"rendered":"<p>Perhaps you&#8217;ve recently been feeling a call to reread Robert Penn Warren&#8217;s Pulitzer Prize-winning novel, <em>All the King&#8217;s Men.<\/em> It could be because our world is a disturbing mirror to that dystopian tale of populism. It could be because we have our very own Willie Stark in the president&#8217;s seat and seemingly countless Jack Burdens surrounding him.<\/p>\n<p>Or possibly, it&#8217;s because somewhere in your subconscious, you knew it was the 80th anniversary of that epic political novel, that gorgeously-written and darkly sobering tale of the way a man&#8217;s morals can dissolve in the face of power and greed. To celebrate the anniversary, below is the original (mixed) <em>New York Times<\/em> review by Orville Prescott, the <em>Times<\/em> book reviewer for 24 years.<\/p>\n<p style=\"text-align: center;\">*<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"136794\" data-permalink=\"https:\/\/lithub.com\/when-serious-writers-write-books-for-kids\/screen-shot-2020-04-14-at-9-48-09-pm\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2020\/04\/Screen-Shot-2020-04-14-at-9.48.09-PM.png\" data-orig-size=\"848,1016\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Screen Shot 2020-04-14 at 9.48.09 PM\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2020\/04\/Screen-Shot-2020-04-14-at-9.48.09-PM.png\" class=\"size-medium wp-image-136794 aligncenter\" src=\"https:\/\/bookmarks.reviews\/wp-content\/uploads\/sites\/2\/2026\/08\/All_the_Kings_Men_1946_1st_edition_cover-209x300.jpg\" alt=\"\" width=\"209\" height=\"300\" \/><\/p>\n<p style=\"text-align: center;\"><em>Soon now we shall go out of the house and go into the convulsion of the world, out of history into history and the awful responsibility of Time.<\/em><\/p>\n<p>&#8220;An exciting new novel is published today. It isn&#8217;t a great novel or a completely finished work of art. It is as bumpy and uneven as a corduroy road, somewhat irresolute and confused in its approach to vital problems and not always convincing. Nevertheless, Robert Penn Warren&#8217;s <em>All the King&#8217;s Men<\/em> is magnificently vital reading, a book so charged with dramatic tension it almost crackles with blue sparks, a book so drenched with fierce emotion, narrative pace and poetic imagery that its stature as a &#8216;readin&#8217; book,&#8217; as some of its characters would call it, dwarfs that of most current publications. Here, my lords and ladies, is no book to curl up with in a hammock, but a book to read until 3 o&#8217;clock in the morning, a book to read on trains and subways, while waiting for street cars and appointments, while riding elevators or elephants.<\/p>\n<p>&#8230;<\/p>\n<p>Warren toys with the questions, but does not answer it. Through the eyes of his narrator, a corrupt and cynical newspaper man enrolled in the dictator&#8217;s service, he sees Huey&#8217;s career without illusions as to his personal faults &#8230; Mr. Warren has not chosen to recognize Huey as the personification of an American variety of fascism.<\/p>\n<p>This does not mean that <em>All the King&#8217;s Men<\/em> does not consider issues. But Jack Burden, the reporter turned official blackmailer for the Boss, is an inadequate medium for their consideration. Although learned in history, Jack is so cheaply cynical that he is entirely bogged down in a morass of relativity where ends justify means and good and bad are meaningless words. In the end, after contemplating the superior behavior of several others, Jack concludes that loyalty and courage really are virtues, after all. But the reform comes too late and is not persuasive.<\/p>\n<p>&#8230;<\/p>\n<p>The two themes are woven together adroitly so that they cross, and recross, with flashbacks in time, with interpolated stories almost completely independent in themselves, with episodes of thundering melodrama. Willie Stark as a man and a politician is superbly well realized. Jack tells his story with a cynical humor, a raw vitality and an awed wonder that are immense. He is equally skillful in suggesting the futility of the old tradition when confronted with men like Willie, and, in poetic passages of pure atmosphere, rushing highways at night, old towns on the Gulf, the noisome aggregate of crawling, subhuman life around the great man.&#8221;<\/p>\n<p style=\"text-align: right;\"><em>\u2013The New York Times<\/em>, August 19, 1946<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Perhaps you&#8217;ve recently been feeling a call to reread Robert Penn Warren&#8217;s Pulitzer Prize-winning novel, All the King&#8217;s Men. It could be because our world is a disturbing mirror to that dystopian tale of populism. It could be because we<\/p>\n","protected":false},"author":873,"featured_media":275743,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,6,43070],"tags":[55770,15654,22469,536,16688,672],"class_list":["post-275742","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-literary-criticism","tag-all-the-kings-men","tag-book-marks","tag-classic-reviews","tag-politics","tag-populism","tag-robert-penn-warren"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Js","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/All-The-Kings-Men-1.jpeg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275742","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/873"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275742"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275742\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275743"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275742"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275742"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275742"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}]