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Thank goodness Jennifer Doudna didn’t listen to her high school guidance counselor, who told her that girls don’t do science. Instead, Doudna followed her passion and pursued biochemistry, inspired by her childhood explorations of beaches, meadows and lava flow caves in her hometown of Hilo, Hawaii. When Doudna read James Watson’s book The Double Helix as a sixth grader, she realized that “science can be very exciting, like being on a trail of a cool mystery and you’re getting a clue here and a clue there. And then you put the pieces together.”

That’s exactly the feeling you’ll have while reading Walter Isaacson’s marvelous biography The Code Breaker: Jennifer Doudna, Gene Editing, and the Future of the Human Race. It’s a hefty but inspiring book that chronicles Doudna’s and others’ development of the gene-editing tool CRISPR. With his dynamic and formidable style, Isaacson explains the long scientific journey that led to this tool’s discovery and the exciting developments that have followed, noting, “In the history of science, there are few real eureka moments, but this came pretty close.”

Like Lab Girl on steroids, The Code Breaker paints a detailed picture of how scientists work. As Doudna interacts with a variety of talented colleagues over the years (color photos are included), she experiences excitement, uncertainty, rivalry, betrayal and more. At one moment she’s joyfully stirring spaghetti while explaining CRISPR to her 9-year-old son; during another, she’s standing in her backyard in the middle of a rainy night, reeling from the realization that leaving her academic post at the University of California, Berkeley to work in the genetics industry was a huge mistake.

The timing of Isaacson’s book could hardly be better. He was well into his research and writing when the COVID-19 pandemic hit, and while many of us were baking bread and worrying about toilet paper, Doudna headed to Berkeley to lead one of the teams developing diagnostic tests and messenger RNA (or mRNA) vaccines, catapulting CRISPR into the global spotlight as a lifesaving tool. The Code Breaker includes a lengthy section about these recent events, culminating in Doudna winning a Nobel Prize in October 2020. As the Moderna chairperson put it when he saw the promising clinical trial results of the company’s vaccine, “It was a bad day for viruses. . . . We may never have a pandemic again.”

In addition to being an accomplished historian of science and technology, Isaacson is a professor at Tulane University and former editor of Time magazine. His previous biography subjects include Leonardo da Vinci, Albert Einstein and Steve Jobs—all united by their creative intellect and natural curiosity. As a biographer, Isaacson is truly an immersive tour guide, combining the energy of a TED Talk with the intimacy of a series of fireside chats. For this book, he tried his hand at gene editing and enrolled in Pfizer’s COVID-19 vaccine clinical trials. He takes a big-picture approach to CRISPR’s significance and legacy as well, discussing its many uses for treating diseases such as sickle cell anemia, while also considering the myriad complicated moral issues surrounding CRISPR’s use.

For readers seeking to understand the many twists, turns and nuances of the biotechnology revolution, there’s no better place to turn than The Code Breaker.

Like Lab Girl on steroids, The Code Breaker paints a detailed picture of how Nobel Prize-winning scientist Jennifer Douda works.

One of the greatest English-language playwrights of the last half-century, Tom Stoppard is known for such canonical plays as Rosencrantz and Guildenstern Are Dead, The Real Thing and Arcadia. He also won an Oscar for his Shakespeare in Love screenplay. Stoppard is now 83 and still creating (his play Leopoldstadt was the hottest ticket in London before theaters were shut down by the COVID-19 pandemic), so an authoritative biography of this celebrated writer may seem premature. But the highly accomplished biographer Hermione Lee, at Stoppard’s behest, has produced just that. Tom Stoppard: A Life is a capacious and exhaustive book that attempts to infiltrate his art while chronicling his life’s journey—and what a journey it has been.

Stoppard, viewed as quintessentially English and unquestionably one of the most brilliant manipulators of the English language, was not born British. Before he was 2, his family fled the Nazis from what is now the Czech Republic. First settling in Singapore, where his father was killed in a Japanese air attack, the family then sought refuge in India, where young Tom began his education in “Englishness.” 

After the war, the future playwright bypassed university in England and started a hard-knock climb in journalism. Hanging with the local theater crowd in provincial Bristol—including an up-and-coming actor named Peter O’Toole—Stoppard found his true home. As the swinging ’60s unfurled, Stoppard launched his theatrical career through a singular talent for infusing esoteric ideas and experimental concepts into plays with commercial viability.

Lee, who conducted more than 100 interviews and enjoyed unrestricted access to her subject, painstakingly details Stoppard’s personal life—his troubled first marriage, his personal and working friendships, his relationships with his mother and children. By her account, Stoppard is generally congenial and well liked, so there is little in the way of scandal or fraught behind-the-scenes show business drama. Stoppard himself admits to having a charmed life.

The most absorbing parts of Stoppard’s story involve his rediscovery of his Jewish roots and the ways he has indirectly mined his own family’s experiences in his work—not to produce autobiographical plays but rather to explore the political turmoil and tragedies of the 20th century. While Stoppard has often been accused of being an overly clever or cerebral playwright who avoids the personal and the emotional in his work, Lee makes a solid case for the true depth, as well as the surface brilliance, of his enduring plays. 

Mike Nichols, another émigré genius of the theatre, called Stoppard “the most expressive playwright of our time . . . the only writer I know who is completely happy.” Tom Stoppard: A Life affirms that appraisal.

This authorized biography of Tom Stoppard, one of the world’s great playwrights, sheds new light on his brilliant work and charmed life.

Award-winning journalist Elizabeth Becker turns her insightful gaze on three women who covered the Vietnam War in You Don’t Belong Here. Becker, who has firsthand experience of Southeast Asia and the challenges facing women in the field of journalism, begins her book with a personal anecdote. In 1973, while she was on her way to Cambodia to become a war correspondent at the age of 25, Becker met Kate Webb, a New Zealand-born Australian journalist who had survived capture by the North Vietnamese. Webb posed one question to the young reporter: Why had she crossed the ocean to cover a war?

Becker’s examination of three journalists’ careers—Webb, Frances FitzGerald from America and Catherine Leroy of France—powers this absorbing narrative about the challenges of covering the Vietnam War. As Becker explores the significance of these women’s legacies, she notes that “it took us decades to understand what we had accomplished as women on the front line of war.”

A few women (such as World War II reporter Martha Gellhorn, who stowed away on a hospital ship on D-Day) had done their best to report on wars in the past, but the United States military didn’t make it easy for women seeking to be war correspondents. Up until the war in Vietnam, women were forbidden on the battlefield. Even after that changed, news organizations still sent male journalists as a matter of course, with the result that most of the women covering the Vietnam War had to pay their own way and fight to stay.

Many of these barriers were eventually broken, thanks in part to the extraordinary women Becker profiles so adroitly here, combining their personal histories with the major events of the conflict. Leroy, a French photojournalist who died in 2006, was an experienced parachutist who used her skills to cover a parachute jump into combat and whose searing images appeared in Life magazine. Webb was one of the few journalists on the Navy command ship when the order to evacuate came, and she was able to file a report on April 30, 1975, the very day the war ended. FitzGerald later wrote a book about her experience on the ground, Fire in the Lake, which looked at the history of Vietnam and its people and won both the Pulitzer Prize and a National Book Award.

As to the question Webb posed to the author, perhaps it was best answered by Leroy, who once said, “I wanted to be there, to see it happen.” You Don’t Belong Here is a significant contribution to the history of both the Vietnam War and women in journalism.

Award-winning journalist Elizabeth Becker turns her insightful gaze on three women who covered the Vietnam War in You Don’t Belong Here.

In The Three Mothers: How the Mothers of Martin Luther King, Jr., Malcolm X, and James Baldwin Shaped a Nation, Anna Malaika Tubbs tells three stories that are often overlooked but deeply important to civil rights history. Tubbs explores the lives of “the women before the men,” as she calls them: Alberta King, Louise Little and Berdis Baldwin. Though each woman came from a different part of the U.S. and the Caribbean, faced diverse social and economic challenges and had divergent interests and ambitions, Tubbs knew that, because the women were so close in age (by some accounts their birthdays are only six years apart), she would find common ground among these women's lives that superseded their connections to famous men.


ALSO IN BOOKPAGE: Anna Malaika Tubbs reveals how becoming a mother herself shaped her vision for The Three Mothers.


Tubbs intentionally chose the mothers of leaders whose lives have been well documented so she could focus on the women’s lives instead. In this way, The Three Mothers offers space for Tubbs, a debut author, to weave biography and social commentary with the complex history of Black women living in the 20th century. Tubbs also makes room for moments of discovery that help us better understand how each of these civil rights icons' social activism and artistic endeavors were shaped by their mothers’ shining examples. For instance, Alberta King’s radical maternal tenderness set the groundwork for how her son would view himself as a “mother” birthing a dream of racial equality. We also learn how Louise Little’s childhood love of dictionaries would lead her incarcerated son, Malcolm, on a quest for knowledge that would reroute his early delinquency, and how Berdis Baldwin would pass on her gift of both the written and spoken word to her oldest son, James.

As Tubbs explained in an interview for BookPage, there is a troubling binary between motherhood and intellectual labor, and her writing about three women whose sons’ lives were shaped by their mothers (and not vice versa) is an attempt to turn that binary on its head. The Three Mothers does just that, expanding conversations about King, Malcolm X and Baldwin beyond what these men gave the world to include what the world gave them through the lives of three intelligent, ambitious, trailblazing women.

The Three Mothers expands conversations about Martin Luther King Jr., Malcolm X and James Baldwin beyond what these men gave the world to include what the world gave them through the lives of their intelligent, ambitious, trailblazing mothers.

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In Chinua Achebe’s poem “Vultures,” the image of a concentration camp commandant buying chocolate for a beloved son raises the thorny issue of whether a monster’s capacity to love is sufficient to redeem him. In The Ratline: The Exalted Life and Mysterious Death of a Nazi Fugitive, U.K. human rights lawyer Philippe Sands uses the opposite image to ask an equally thorny question: Is a son’s love sufficient to redeem a monstrous father?

Otto Wächter was a loving (if not always faithful) husband, a doting (if not always present) father and the SS Governor of Krakow and Lemberg (known in Ukrainian as Lviv) after the Nazi invasion of Poland and Ukraine. To Sands, Wächter was responsible for the deaths of hundreds of thousands of Jews, Poles and Ukrainians—including Sands' grandfather’s entire family. But to Charlotte and Horst, Wächter’s wife and son, he was too loving and too humane to be guilty of these crimes. Indeed, in Horst’s eyes, Wächter was almost as much of a victim as the Polish prisoners he ordered to be shot in a hideous reprisal action.

Charlotte is now long deceased, but using her diaries, tapes and letters to and from Wächter, along with extensive interviews with Horst, Sands creates an intimate and intricate portrait of Wächter that is quite jarring when set against the historical record. But despite Horst’s hopes, what emerges from this juxtaposition isn’t redemption but the ragged edges of a soul that has torn itself apart. Wächter’s acts of love do not outweigh his cruelty; they make his crimes even more horrific. They reveal that he is not an utterly depraved monster but someone who could, if he so desired, commit acts of love and courage. And that is the most terrifying aspect of this book. Anyone, it seems—even someone as loving, intelligent and normal as Otto Wächter—could, given the right (or wrong) circumstances, become a monster.

Fascinating and haunting, The Ratline is a disquieting book that raises more questions than Sands could possibly answer. It is a book that should be read and pondered again and again.

In The Ratline: The Exalted Life and Mysterious Death of a Nazi Fugitive, Philippe Sands asks a thorny question: Is a son’s love sufficient to redeem a monstrous father?

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In the past 30 years, the British monarchy has kept the tabloids busy with Diana, Charles, Camilla, Harry, Meghan et al. So you would be forgiven for knowing little or nothing about the royal family’s biggest scandal before our current era: when King Edward VIII abdicated the throne in order to marry his lover, Wallis Simpson. Consider filling in the gaps in your knowledge with The Crown in Crisis: Countdown to Abdication by journalist and historian Alexander Larman.

The year was 1936, and Edward was a reluctant monarch, unmarried and lonely. He became enchanted by society gadfly Simpson; some even say he was obsessed with her. That she was married and American (both no-nos according to the British public) did not rein in Edward’s sexual pursuit. If having Simpson as a wife meant finessing her quickie divorce and abdicating his throne, so be it.

Certainly Edward’s determination changed the course of history. Some view his pursuit of Simpson as the ultimate love story, but The Crown in Crisis takes a darker view of his behavior. Simpson seemed less invested in the relationship and was willing to walk away. Larman illustrates how Edward's “patriarchal entitlement” to be with her, no matter what, upended her life and caused enormous suffering. The Crown in Crisis presents Edward as reckless in his love life, as well as in his political associations. (He was more sympathetic to Germany’s ascendant Nazi party than the British government would have liked him to be.) This was a man who enjoyed the perks of his wealth and privilege but shrugged off many of his responsibilities and ran his staff ragged keeping up with his whims.

Larman examines all sides of this unprecedented crisis: the prime minister, the king’s courtiers, media magnates, religious leaders, Nazis, fascists, the couple’s posh friends and even the royal family. He blends previous reporting and newly published archival sources into a deeply researched account that will fascinate royal lovers and history fans alike.

Many aspects of British culture have changed since 1936. In The Crown in Crisis, the appeal of palace intrigue stays the same.

In The Crown in Crisis, historian and journalist Alexander Larman details one of the royal family’s biggest scandals: When King Edward VIII abdicated the throne in order to marry his lover, Wallis Simpson.

With his peripatetic creativity, knack for comic improvisation and canny ability to draw out an actor’s best performances, Mike Nichols became one of the most acclaimed theater and film directors of our time. In the sprawling yet intimate Mike Nichols: A Life, Mark Harris (Pictures at a Revolution) captures the ups and downs, the enthralling highs and ragged despair, of the man whom Harris calls “the last of a certain kind of cultural celebrity—someone who could travel between film and theater, who understood art and politics and fashion and history and money, a man of the world and of his century.”

Drawing on 250 interviews with Nichols' friends and family, Harris traces Nichols’ rag-to-riches story, beginning with the immigration of 7-year-old Igor Michael Peschkowsky (Nichols' birth name) to New York from Berlin. From there the tale follows his father’s death when Nichols was 12, an allergic reaction that resulted in his hairlessness and his eventual move to Chicago, where he took the first steps toward his eventual success. Although he had enrolled as a student at the University of Chicago—where he met and developed lifelong friendships with Susan Sontag and Ed Asner, among others—he ultimately fell in with Paul Sills, who directed Nichols in the improvisation group the Compass Players, the forerunner of Second City. In Chicago, Nichols worked as a DJ at the famed program "The Midnight Special" on WFMT, and he also met Elaine May, with whom he developed a popular comedic partnership.

Eventually Nichols left Chicago for New York City, where he would direct in quick succession the plays Barefoot in the Park, The Odd Couple and Little Foxes to great acclaim. He then moved into film as the director of Who’s Afraid of Virginia Woolf? and The Graduate. Harris artfully tracks Nichols' deep desire to work and to inspire others to embrace the power of theater and film. “Movies give us a chance to live other lives," Nichols said, "and we walk on the set every morning thinking, Anything can happen.

Candid, colorful and chock-full of detail, Mike Nichols: A Life is the biography that Nichols well deserves.

Candid, colorful and chock-full of detail, Mike Nichols: A Life is the biography that Nichols well deserves.

Patricia Highsmith wrote about obsessive love, hate and murder in a series of psychologically disturbing crime novels. Her first novel, Strangers on a Train (1950), was adapted into a film by Alfred Hitchcock, and her second novel, The Price of Salt (1952), written under a pseudonym, was more recently adapted by Todd Haynes into the award-winning film Carol (2015). The release of Highsmith’s diaries in 2021 will no doubt arouse more interest in her life and psychology—for Highsmith was, by all accounts, a deeply unpleasant person.

Richard Bradford’s Devils, Lusts, and Strange Desires is the third biography of Highsmith to emerge in recent years, and it is by far the most lurid. As is clear from the very first page, which stopped me in my tracks, this is a biography that relishes in the worst that Highsmith thought, said and did. What is unclear, and on this topic Bradford's analysis is very good, is to what extent the murderous impulses recorded in Highsmith’s diaries were “real” or an imaginative rehearsal for her novels. Bradford suggests that Highsmith embedded as many truths, lies and manipulative games in her diaries as she did in her novels, a strategy possibly designed to frustrate future biographers.

Bradford is primarily interested in drawing connections between Highsmith’s personal life and her psychopathic characters, especially the ones in The Talented Mr. Ripley (1955). Unfortunately, the effect of this parallelism is that the mid-20th-century closeted world of lesbian relationships (of which Highsmith had many) is portrayed as something out of gay pulp fiction. Highsmith’s love life was a roller coaster of attraction, obsession, alcoholism and trauma, but a more nuanced biography would contextualize this toxic brew within the homophobia and misogyny of the time. This is not that biography. Nonetheless, readers looking to immerse themselves in stories of very bad behavior will enjoy this deadly cocktail.

Richard Bradford’s Devils, Lusts, and Strange Desires is the third biography of Highsmith to emerge in recent years, and it is by far the most lurid. As is clear from the very first page, this is a biography that relishes in the worst that Highsmith thought, said and did.

January may be a time for resolutions, but it’s also a time for celebrating all we accomplished the year before. We’re treating ourselves to these books as we begin the new year with hope.

Everyone’s a Aliebn When Ur a Aliebn Too

How can something so cute be so devastating? In this comic book, Jonny (Jomny) Sun takes a goofy premise—a cute alien is sent to Earth to document human activity—and milks it for every drop of philosophical and existential wisdom. It’s sweet, silly, sentimental, but also frightening. At first, I was hesitant to choose this book for this month’s theme, but the more I thought about it, the more I realized that its waves of emotion are a treat. It’s an indulgence and a wonder to step outside of your brain—all three pounds of tissue and synapses—and see the world through the eyes of a kind alien. And it feels good, life-affirming and joyous to know that I’m not the only one who’s so pensive about this life thing. This book is a friend—a friend who challenges you, but they do it because they love you.

—Eric, Editorial Intern


The Best of Me

I’ve read everything David Sedaris has ever written. I own every book he’s ever published. So perhaps some will call it “indulgent” or “difficult to justify” when I nonetheless buy his latest collection, The Best of Me, since it’s a compilation of previously published works. But here’s the thing—this isn’t just another retrospective volume of an author’s most popular works, selected on the basis of their fame. Instead, Sedaris chose each piece himself, based on a metric only he could know, and I’m curious to see which wild cards he included. I know, for example, that “Santaland Diaries,” which first launched him to fame on “This American Life” in 1992, is excluded. But that essay from Dress Your Family in Corduroy and Denim where he drowns a mouse in a bucket? It’s there. Surprise, delight, confusion, nausea—I’m eager for whatever reactions this book will incite.

—Christy, Associate Editor


Braiding Sweetgrass

It’s been six years since Robin Wall Kimmerer’s luminous collection of nature essays was first published, and I’ve given away every copy I’ve ever owned. That’s fitting: Braiding Sweetgrass endows its reader with the recognition that the world has offered us endless gifts, leading us first to gratitude and then to minidewak, the giving of our own gifts as thanks and recompense in a “covenant of reciprocity.” Kimmerer’s book inspires courage to fight for the Earth amid climate urgency, reveals new ways of knowing and seeing while protecting Indigenous wisdom and fosters a community that actively seeks to heal humanity’s relationship with the world. I’ll keep giving away copies of this book, but this special edition, reissued with letterpress-printed illustrations to celebrate the 40th anniversary of the fabulous indie press Milkweed Editions, will be a gift I give myself.

—Cat, Deputy Editor


Catherine the Great

Do I need more biographical tomes of powerful, take-no-prisoners women on my shelves? Yes. Yes, I do. There is nothing that relaxes me more than sinking into an enormous book full of royal scandals and opulent palaces— bonus points if someone gets poisoned via byzantine plot. I read Robert K. Massie’s superb biography of Catherine the Great earlier this year, and I have been peppering my poor boyfriend with anecdotes about her ever since. For example: When Catherine fell ill early on in her engagement to Peter, the future emperor of Russia, she would pretend to be unconscious in order to eavesdrop on the people gathered around her sickbed. Massie loves Catherine even more than I do. He explores her glamorous court and magnetic personality with flair and precision in this absolute masterpiece of a biography.

—Savanna, Associate Editor


The Duke and I

I’m still pretty new to the wide and wonderful world of Romancelandia, though most of the books I read for pleasure in 2020 were romance novels. I bounced happily back and forth between contemporary and historical settings, from Helen Hoang’s The Kiss Quotient to Evie Dunmore’s Bringing Down the Duke. The only thing I love more than a happy ending is a new series I can dive in to and get lost in for volume after volume, and a friend who knows this about me recommended Julia Quinn’s Bridgerton books more than a year ago. Now that Shonda Rhimes is adapting the sprawling series for Netflix, I want to make sure I’ve read at least the first few books before I watch the first season of the show, which drops on December 25, so I’m planning to pick up The Duke and I and let it sweep me off my feet and into the new year.

—Stephanie, Associate Editor

January may be a time for resolutions, but it’s also a time for celebrating all we accomplished the year before. We’re treating ourselves to these books as we begin the new year with hope.

Generations of children, and more than few adults, have embraced the antics of Harriet the Spy and its singular heroine since it was published in 1964. As Leslie Brody reports in Sometimes You Have to Lie, her absorbing biography of the elusive author Louise Fitzhugh, the classic middle grade novel sold around 2.5 million copies in its first five years, a number that is now approaching 5 million worldwide. Fitzhugh, who died at age 46 in 1974, was publicity-shy even by the more genteel standards of her day, and her literary executors have remained guarded about releasing her private papers. Faced with this estimable hurdle, Brody has succeeded admirably in reconstructing Fitzhugh’s complicated, often troubled life.

Fitzhugh was born into a well-heeled family in Memphis, Tennessee, but from the beginning she pushed against the constraints of propriety. Her ill-matched parents separated and divorced (in a scandalous trial that the local public devoured) while Fitzhugh was still an infant, and for years her imperious father told his daughter that her mother was dead. Though she eventually reunited with her mother, Fitzhugh had lifelong issues with both of her parents, and the querulous, outlier spirit that defines her most famous character would also come to drive the author herself. From puberty, young Fitzhugh knew that she was a lesbian, and by the time she dropped out of Bard College and moved to New York City to make her mark, she was already completely comfortable in her own skin.

Fitzhugh viewed herself first and foremost as a visual artist, and for much of her life she focused on her painting. She was fully immersed in the downtown New York art scene of the 1950s and early ’60s, and her bohemian lifestyle was made all the more colorful by her central place in the lesbian subculture. Fitzhugh’s circle of friends and lovers was a group of smart, talented women who largely kept their sexual orientation on the Q.T. She was less concerned with midcentury decorum than many of her peers, dressing mostly in men’s clothing, and it seems few blinked twice at her out-of-the-closet ways. When Harriet the Spy was published and became a widespread success, however, Fitzhugh’s publisher capitalized on her natural shyness to try and keep the truth of her sexuality from readers.

Harriet the Spy, with its ill-behaved, uncompromising and inquisitive heroine, is a subversive work and, in retrospect, might be read as a coded version of a gay adolescent’s experience of being different, wrestling with a reality that doesn’t match up to the norm. As the world becomes a more affirming place for members of the LGBTQ community, perhaps it will also finally catch up with the nonconforming, unsentimental, trailblazing Louise Fitzhugh.

Generations of children, and more than few adults, have embraced the antics of Harriet the Spy and its singular heroine since it was published in 1964. As Leslie Brody reports in Sometimes You Have to Lie, her absorbing biography of the elusive author Louise Fitzhugh,…

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Film historian Scott Eyman takes a fresh look at a movie legend in the sparkling biography Cary Grant: A Brilliant Disguise. Drawing upon extensive interviews and archival materials, including the star’s personal papers, Eyman shows that Grant (1904–1986), king of the romantic comedy and the very definition of dashing, was a man of contrasts forever troubled by his working-class past.

Born into a poor household in Bristol, England, Grant, whose real name was Archibald Leach, did not have a happy childhood. His father was an alcoholic. His depressed mother spent decades in an institution, while Grant was told that she was dead. At 14, he engineered his own expulsion from school in order to chase a career in show business. From stilt walking, acrobatics and pantomime in English music halls to American vaudeville revues and the Broadway stage, he didn’t stop until he’d landed in Hollywood.

In 1932, Grant made his first big film, Blonde Venus, with Marlene Dietrich. By 1939, he was a full-blown star. Absent-minded scientist (Bringing Up Baby), wisecracking socialite (The Philadelphia Story), ice-cold government agent (Notorious)—there was no bill he didn’t fit. During the late 1940s, Eyman writes, “Grant had first crack at nearly every script that didn’t involve a cattle drive or space aliens.”

But Grant’s past seems to have left him permanently scarred. Although he maintained a suave public persona and was widely cherished by friends and fellow actors, the truth about him was, of course, more complicated. As the author reveals, Grant had a reputation for stinginess and self-absorption and could be a mean drunk. On set, he was often anxious and tense.

Eyman’s consideration of the inner conflicts that drove Grant results in a wonderfully nuanced study of his life. Along with the star’s many marriages and bitter divorces, Eyman explores the rumors surrounding his sexuality and his LSD use, recounting it all in clean, unaffected prose. He mixes Grant’s personal story with several decades’ worth of Hollywood history, and his film analyses are eye-opening. Grant was “a man for all movie seasons.” They don’t make ’em like that anymore.

Film historian Scott Eyman takes a fresh look at a movie legend in the sparkling biography Cary Grant: A Brilliant Disguise. Drawing upon extensive interviews and archival materials, including the star’s personal papers, Eyman shows that Grant (1904–1986), king of the romantic comedy and the…

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“Books bring us closer together. They’re a bridge between us,” Hussan Ayash tells journalist Delphine Minoui over Skype. Ayash belongs to a group of rebels in Syria who spent four years, from 2012 to 2016, under siege in Daraya, a suburb of Damascus. In 2013, they discovered a cache of books in the ruins of a bombed house and decided to rescue them. They dug through the wreckage of other buildings as well, salvaging 6,000 books in one week, and created a secret library in the basement of an abandoned building. In precise yet passionate prose, Minoui tells this remarkable story in The Book Collectors: A Band of Syrian Rebels and the Stories That Carried Them Through a War.

With a French mother, an Iranian father and a home base in Istanbul, Minoui understands the region well and has won awards for her reporting on the Middle East. When she saw a photo of the library bunker, her first instinct was to travel to Daraya and start interviewing these unusual librarians. That journey would be impossible, however, so she began communicating with several of the young men online and formed an unusual relationship with them, worrying constantly about their safety. This personal connection forms the heart of the book, deepening the story while laying bare the sacrifice and deprivation of the rebels. For those four years, Daraya was besieged by bombs and poison gas, food was scarce, and there was no running water or electricity. As she communicated via video chat, Minoui remained careful to keep her coffee and snacks out of the camera’s view.

“The library is their hidden fortress against the bombs,” Minoui writes. “Books are their weapons of mass instruction.” Although a good many of the library’s founders hadn’t grown up as readers, they became book lovers during the long siege. The library’s most popular titles form an eclectic mix: Paulo Coelho’s The Alchemist, The Little Prince, Mustafa Khalifa’s The Shell, Les Misérables and The 7 Habits of Highly Effective People.

The Book Collectors is a phenomenal story of hope in the midst of complete devastation. As 23-year-old Abu el-Ezz told Minoui in 2015, “Reading helps me think positively, chase away negative ideas. And that’s what we need most right now.”

“Books bring us closer together. They’re a bridge between us,” Hussan Ayash tells journalist Delphine Minoui over Skype. Ayash belongs to a group of rebels in Syria who spent four years, from 2012 to 2016, under siege in Daraya, a suburb of Damascus. In 2013,…

American cookery rests squarely on the shoulders of the late, great James Beard. After all, the man’s foundation and prestigious culinary awards, named in his honor, are considered the gold standard for recognizing the best chefs, restaurateurs and food writers working today.

His life and experiences are extremely well known and have been written about extensively. Yet in his new book, The Man Who Ate Too Much: The Life of James Beard, John Birdsall (Hawker Fare)—a gastronomic expert in his own right, having twice won a James Beard Award—gives foodies a fresh, intimate look at James Beard. He writes with candor, wit and vibrancy, as if Beard himself is speaking through Birdsall’s pen, retelling his colorful life and inviting us into his world. And Birdsall doesn’t mince words, delivering a raw, revealing look into how and why Beard had to tread cautiously as he navigated the world as a closeted gay man during the often unforgiving 20th century.

Birdsall’s strength as a food writer shines, with mouthwateringly descriptive prose about cuisine peppered throughout the book, such as the smoked and glazed “swaddled ham” that Beard’s mother would bring along on their trips to the Oregon seashore: “The ham was salty and pungent. Its smokiness and moldy specter would linger as the first taste on the coast.” He also provides touchstones to what was going on globally, including both World Wars, the World’s Fair of 1939, the Vietnam War, Watergate and the civil rights movement, giving context for the major events that affected Beard’s life.

The Man Who Ate Too Much is meticulously researched. Additionally, Birdsall’s insightful style allows readers to feel Beard’s successes and failures, highs and lows, and revelations and discoveries as they become deeply familiar with the family, friends, colleagues and rivals who impacted his life. Food lovers will rejoice at this new portrait of one of America’s all-time culinary greats, cheering for Beard’s shining legacy and empathizing with his disappointments.

American cookery rests squarely on the shoulders of the late, great James Beard. After all, the man’s foundation and prestigious culinary awards, named in his honor, are considered the gold standard for recognizing the best chefs, restaurateurs and food writers working today.

His life and…

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