The writer of the Witcher books answered fan questions on the hit adaptations
The Witcher season 4 official Netflix trailer
The author behind the books which are the basis of Netflix series The Witcher has shared what he really thinks of the adaptation.
The fourth season is set to be released on the streaming platform, with eight new episodes available to binge from October 30. According to the synopsis, after the Continent-altering events of season three, Geralt, Yennefer, and Ciri find themselves separated by a raging war and countless enemies.
As their paths diverge, and their goals sharpen, they stumble on unexpected allies eager to join their journeys. And if they can accept these found families, they just might have a chance at reuniting for good. The series is based on the works of Polish author Andrzej Sapkowski.
Sapkowski’s Witcher books include two collections of short stories, five novels making up the main Witcher saga and two standalone novels. Season four is believed to be largely based on the publications Baptism of Fire and The Tower of Swallows.
The writer took part in a special AMA session on Reddit where fans were invited to ask him any question they liked. It took place in celebration of the latest English translation release of Crossroads of Ravens. The new book is a standalone novel that serves as a prequel for Geralt’s story.
Many fans have been welcomed to the world of the Witcher thanks to its adaptations. These include the live-action series on Netflix as well as the video game series developed by CD Projekt Red.
The third game, subtitled Wild Hunt, in particular was a runaway critical and commercial success. Its story served as a follow-up to the saga told in the original books.
It wasn’t long before one fan asked about Sapkowski’s current views on the adaptations. The writer previously admitted he allowed his work to be translated into a game because of the money offered to him.
Netflix have also released an original prequel series as well as an animated feature film Sirens of the Deep, which was based on one of Sapkowski’s short stories.
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Now, he has expressed his blunt view on all these adaptations. He explained: “I’ll put it this way: there’s the original and then there are adaptations. Regardless of the quality of these adaptations, there are no dependencies or points of convergence between the literary original and its adaptation.
“The original stands alone, and every adaptation stands alone; you can’t translate words into images without losing something, and there can’t be any connections here.”
He continued: “Moreover, adaptations are mostly visualisations, which means transforming written words into images, and there is no need to prove the superiority of the written word over images, it is obvious. The written word always and decidedly triumphs over images, and no picture – animated or otherwise – can match the power of the written word.”
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Last year the prolific and gifted Zadie Smith stumbled into controversy with the publication of “Shibboleth” in the New Yorker. She purportedly approached the white-hot Gaza demonstrations with the nuance and complexity they deserved and yet derided pro-Palestinian students at Columbia University as “cynical and unworthy,” stirring up a hornets’ nest among her young fans, who expressed their anger on various internet platforms. The controversy gained traction because of Smith’s record of championing the marginalized, citing theorists like Frantz Fanon while targeting empires and the omnipresent patriarchy. That she singled out one group of activists, many Jewish, at the very moment Arab toddlers were being blown apart by U.S.-funded bombs raised doubts about her touted values. Her conclusion was startling, her tone defiant: “Put me wherever you want: misguided socialist, toothless humanist, naïve novelist, useful idiot, apologist, denier, ally, contrarian, collaborator, traitor, inexcusable coward.” The lady doth protest too much?
“Shibboleth” appears in “Dead and Alive,” Smith’s collection of previously published essays, in which she assumes most if not all those roles she attributes to herself. Fanon is here as well, amid an array of artists and authors such as Joan Didion, Toni Morrison, and Philip Roth. Smith is arguing for the necessity of vigorous criticism and often makes her case. The book’s finest pieces wrangle, in elegant prose, with humanity’s contradictions; the weaker ones indulge in name-dropping, footnotes and op-ed invective.
Zadie Smith
(Ben Bailey-Smith)
“The Muse at Her Easel,” in the opening section, probes the relationship between English painter Lucian Freud and his model, Celia Paul, also a painter, via a review of her memoir. (Paul is the mother of one of 12 children he fathered outside of marriage.) Smith’s sly trick here is a bit of Freud-play: Lucian seen through the prism of his grandfather Sigmund, the family romance on steroids. Celia revolves around the artist here much as she did when he was alive, vulnerable and reflective, a moon to his sun. It’s both a restrained and overwrought essay, a cryptic tale of sexual politics, like her fellow Brit Rachel Cusk’s novel, “Second Place,” but one that urges us to think hard about abuses in the service of “museography.”
Smith brings an empathic eye to other artists, from the allegorical Toyin Ojih Odutola to the subversive Kara Walker. And she shines a bright light on numerous writers who have inspired her, particularly in remembrances of Didion (whose influence we sense throughout “Dead and Alive”) and the great Hilary Mantel. Her pieces on two books, “Black England” and “Black Manhattan,” excavate hidden histories of Black resistance and the painful compromises brokered to move forward. Her tone in “Fascinated to Presume: In Defense of Fiction” is elegiac, as though smartphones have killed off the craft; yet it’s also a manifesto of sorts, and a declaration of her own aesthetics. “Belief in a novel is, for me, a by-product of a certain kind of sentence,” Smith observes. “Familiarity, kinship, and compassion will play their part, but if the sentences don’t speak to me, nothing else will.” Amen, sister.
Her forays into social commentary are more problematic. She’s strong on the weird population kink known as Gen X, squeezed between the larger boomers and millennials, and the switchback road we traveled to marriage and parenthood: “We all still dressed like teenagers, though, and in the minds of the popular culture were ‘slackers,’ suffering from some form of delayed development, possibly the sad consequences of missing such key adulting experiences as a good war or a stock market crash,” Smith asserts. “We felt history belonged to other people: that we lived in the time of no time.” She’s persuasive when she remains within her comfort zone, opining on race, gender and, occasionally, class. Not so much when she ventures into technology. In “Some Notes on Mediated Time,” she broods at length on the destabilizing effects of the internet, social media and the algorithm silos that shape our present. It’s tough to parse irony from self-congratulation. “I have to say how immensely grateful I am that the work I have been so fortunate to do these last twenty years — writing books — has also gifted me the opportunity, the privilege, of devoting the time of my one human life to an algorithm. To keep almost all of it, selfishly, outrageously, for myself, my friends, my colleagues, my family,” Smith writes. “There are memes I will never know. Whole Twitter meltdowns I never witnessed. Hashtags I will forever remain ignorant about.” Which raises the question: Why lament a social paradigm shift if you haven’t bothered with it in the first place? Something isn’t right. Elsewhere in the essay she claims that social media is “excellent for building brands and businesses and attracting customers.” Could the same be said of a disingenuous essayist?
She comes across as preaching to her peers rather than seeking converts, a whiff of Oxbridge elitism. Hence references to Derrida, Dickinson, Knausgaard, Borges, shout-outs to Booker laureates “Salman” (Rushdie) and “Ian” (McEwan). This level of self-regard in a writer and thinker as justifiably exalted as Smith may explain why our nation is turning on reading: aristocracies breed resentment among the proles. Then Smith steps into the muck of global conflicts. The moral bothsidesism found in “Shibboleth” splits the baby; she does herself no favors with Solomonic pronouncements and Pontius Pilate-like self-exoneration. (Elsewhere she indicts Trump and Netanyahu while neglecting the money and media that empower them.)
“Dead and Alive” does what it was designed to do: It gathers the author’s criticism, literary obituaries, a university address and an interview with a Spanish journal between two covers. The execution falters. Smith’s provocations are often stunning; her prose is thrillingly strident; but her fiction better captures the messiness of public and private selves at war with each other.
Cain is a book critic and the author of a memoir, “This Boy’s Faith: Notes From a Southern Baptist Upbringing.” He lives in Brooklyn, N.Y.
In Megha Majumdar’s new novel “A Guardian and a Thief,” a cataclysmic climate event in the Bengali city of Kolkata has wiped out shelter and food supplies, leaving its citizens desperate and scrambling for survival. Among the families beset by the tragedy are Ma, her young daughter Mishti and Ma’s father Dadu. They are some of the fortunate ones, with approved passports to travel to the U.S., where Ma’s husband awaits them in Ann Arbor, Mich. But a brazen theft threatens their very existence.
“A Guardian and a Thief” is Majumdar’s follow-up to her critically acclaimed bestselling debut “A Burning.” We chatted with the author about white lies, the pleasures of anthropology and teaching as a form of learning.
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✍️ Author Chat
“A Guardian and a Thief” by Megha Majumdar
(Knopf)
Your novel takes place in Kolkata, which is your hometown. Why?
It’s one of the cities in the world which is most severely affected by climate change. I was reading about all of these grim predictions. Kolkata has grown significantly hotter and is predicted to endure more storms in the coming decades. Reading all of that was really sad, and it was really alarming. The book really grew out of these predictions about the future of the city.
Your character Boomba makes life very difficult for your family, yet he is really a victim of circumstance, right? Calamities can make good people do bad things.
This is the kind of question that got me into this book, which is, are there good people and monsters or do we contain elements of both in us? And is this revealed in a circumstance of scarcity and crisis? That’s the kind of question that I was very interested in. Boomba came to me initially as the thief of the title, but as I started writing more about him, I realized that it wouldn’t be truthful or interesting to simply make him the thief. He was more complex and I needed to write him with all of his complicated motivations and wishes and worries and regrets.
Everyone in the novel lies to some extent, whether it’s for self-preservation, or to protect their loved ones from being hurt.
I think it’s coming from love, actually, the loving function of lies and falsehoods. Anybody who has lived far away from home might find that this resonates with them: This feeling that when you are really far away from your loved ones, you need to assure them that you are OK, that things are all right. It’s a kind of love that you can offer them, because they cannot do anything to help you from so far away. So offering them falsehoods about how your circumstances are fine and they have nothing to worry about is an expression of love for them.
You studied anthropology in college. How did you move into fiction?
Anthropology is about the effort to understand [other people] while acknowledging that you can never fully know, that there are limits to how much any of us can understand another person’s life. That training, in listening for complexity in somebody else’s life story, and honoring the contradictions and intricacies of their life, and maintaining the humility to acknowledge that there are things about other people which will always remain mysterious to us — that space is so rich for a fiction writer.
You teach writing in the MFA program at Hunter College in New York. How does that feed into your work?
It’s what I loved about working as a book editor. Teaching feels beautifully related to editorial work, because, once again, I am close to other writers. I’m close to their text, I am thinking with them through the questions of what this text is accomplishing. And I love having the opportunity to think through failures of prose with other incredibly smart and creative and ambitious writers. When I say failure, there’s nothing bad or stressful about it. I fail in my writing all the time. Failure is part of the process. Being able to look at those failures and ask, what is happening here is very useful.
📰 The Week(s) in Books
Twenty-five years after “Almost Famous” put his origin story on movie screens, Cameron Crowe (left, with Robert Plant) reflects on his roots as a teenage music journalist.
(Jay L. Clendenin / Los Angeles Times)
Valorie Castellanos Clark writes that “The Radical Fund,” John Fabian Witt’s book about a Jazz Age millionaire who gave his money away is a “meticulous” story of “the ways a modest fund endowed by a reluctant heir managed to reshape American civil rights in less than 20 years.”
Leigh Haber is entranced with Gish Jen’s new novel “Bad Bad Girl,” about a fraught mother-daughter relationship, calling the book “suffused with love and a desire to finally understand.”
Vroman’s Bookstore is on Colorado Boulevard in Pasadena.
(Myung J. Chun / Los Angeles Times)
Nine months after the Eaton fire, Vroman’s Bookstore continues to be a cherished haven for local residents. The store still vibrates with bookish energy as it continues its ambitious fundraising outreach campaigns for fire victims. We chatted with the store’s chief executive, Julia Cowlishaw, about how things are going at the beloved Pasadena institution.
Nine months after the fire, how is business?
Business has been steady this year and we’re pleased with that, given all the variables in the world.
What books are selling right now?
The new releases this fall are fabulous, and we are seeing a broad range of interests. In nonfiction there’s a lot of interest in trying to understand current events from historical perspectives and Jill Lepore’s “We the People” is one example on our bestseller list. Since it is fall, the list of cookbooks is amazing and Samin Nosrat’s new cookbook “Good Things” along with her older book “Salt, Fat, Acid, Heat” make great gifts. In fiction, Ian McEwan, Kiran Desai, Thomas Pynchon and Lily King’s new novels are popular, so literary fiction is alive and well.
How important has the store been for the community in such a challenging year?
Bookstores, including Vroman’s, have long been recognized as a third place in their communities. A third place gives people a space to come together with friends and family over a shared interest and a fine sense of community. That sense of community became even more important after the fires, and it was so important for us to be more than a bookstore and give back to our community in every way we could. Our community really responded by helping us raise money for several community foundations, and collect books and supplies for people impacted by the fires.
A new expanded edition of Maia Kobabe’s award-winning graphic memoir “Gender Queer” will be released next year.
Oni Press has announced that “Gender Queer: The Annotated Edition” will be available in May. The special hardcover edition of the seminal LGBTQ+ coming of age memoir includes commentary by Kobabe as well as other comic creators and scholars.
“For fans, educators, and anyone else who wants to know more, I am so excited to share ‘Gender Queer: The Annotated Edition,’” Kobabe said in the news release. “Queer and trans cartoonists, comics scholars, and multiple people who appear in the book as characters contributed their thoughts, reactions, and notes to this new edition.”
The new 280-page hardcover will feature “comments on the color design process, on comics craft, on family, on friendship, on the touchstone queer media that inspired me and countless other people searching for meaningful representation, and on the complicated process of self-discovery,” the author added.
Released in 2019, “Gender Queer” follows Kobabe, who uses e/em/eir pronouns, from childhood into eir young adult years as e navigates gender and sexuality and eir understanding of who e is. The books is a candid look into the nonbinary author’s exploration of identity, chronicling the frustrations and joys and epiphanies of eir journey and self discovery.
A page from “Gender Queer: The Annotated Edition” by Maia Kobabe.
(Oni Press)
“It’s really hard to imagine yourself as something you’ve never seen,” Kobabe told The Times in 2022. “I know this firsthand because I didn’t meet someone who was out as trans or nonbinary until I was in grad school. It’s weird to grow up and be 25 before you meet someone who is like the same gender as you.”
In addition to commentary by Kobabe, “Gender Queer: The Annotated Edition” will feature comments from fellow artists and comics creatives Jadzia Axelrod, Ashley R. Guillory, Justin Hall, Kori Michele Handwerker, Phoebe Kobabe, Hal Schrieve, Rani Som, Shannon Watters and Andrea Colvin. Sandra Cox, Ajuan Mance and Matthew Noe are among the academic figures who contributed to the new edition.
“It’s been almost seven years since I wrote the final words of this memoir; revisiting these pages today, in a radically different and less accepting political climate, sparked a lot of new thoughts for me as well,” Kobabe said in the news release. “I hope readers enjoy this even richer text full of community voices.”
A page from “Gender Queer: The Annotated Edition” by Maia Kobabe.
Authors, readers and publishing industry experts lament the underrepresentation of Hispanic stories in the mainstream world of books, but have found new ways to elevate the literature and resolve misunderstandings.
“The stories now are more diverse than they were ten years ago,” said Carmen Alvarez, a book influencer on Instagram and TikTok.
Some publishers, independent bookstores and book influencers are pushing past the perception of monolithic experience by making Hispanic stories more visible and discoverable for book lovers.
The rise of online book retailers and limited marketing budgets for stories about people of color have been major hurdles for increasing that representation, despite annual celebrations of Hispanic Heritage Month from Sept. 15 to Oct. 15 in the U.S. There’s been a push for ethnically authentic stories about Latinos, beyond the immigrant experience.
“I feel like we are getting away from the immigration story, the struggle story,” said Alvarez, who is best known as “tomesandtextiles” on bookstagram and booktok, the Instagram and TikTok social media communities. “I feel like my content is to push back against the lack of representation.”
Latinos in the publishing industry
Latinos currently make up roughly 20% of the U.S. population, according to Census data.
However, the National Hispanic Media Coalition estimates Latinos only represent 8% of employees in publishing, according to its Latino Representation in Publishing Coalition created in 2023.
Brenda Castillo, NHMC president and CEO, said the coalition works directly with publishing houses to highlight Latino voices and promote their existing Latino employees.
The publishing houses “are the ones that have the power to make the changes,” Castillo said.
Some Hispanic authors are creating spaces for their work to find interested readers. Award-winning children authors Mayra Cuevas and Alex Villasante co-founded a book festival and storytellers conference in 2024 to showcase writers and illustrators from their communities.
“We were very intentional in creating programming around upleveling craft and professional development,” Cuevas said. “And giving attendees access to the publishing industry, and most importantly, creating a space for community connection and belonging.”
Villasante said the festival and conference allowed them to sustain themselves within the publishing industry, while giving others a road map for success in an industry that isn’t always looking to mass produce their work.
“We are not getting the representation of ourselves,” Villasante said. “I believe that is changing, but it is a slow change so we have to continue to push for that change.”
Breaking into the mainstream
New York Times bestselling author Silvia Moreno-Garcia, a Mexican-Canadian novelist known for the novels “Mexican Gothic” and “The Daughter of Doctor Moreau,” is one of few Hispanic authors that has been able to break to mainstream. But she said it wasn’t easy.
Moreno-Garcia recalled one of her first publisher rejections: The editor complimented the quality of the story but said it would not sell because it was set in Mexico.
“There are systems built within publishing that make it very difficult to achieve the regular distributions that other books naturally have built into them,” Moreno-Garcia said. “There is sometimes resistance to sharing some of these books.”
Cynthia Pelayo, an award-winning author and poet, said the marketing campaign is often the difference maker in terms of a book’s success. Authors of color are often left wanting more promotional support from their publishers, she said.
“I’ve seen exceptional Latino novels that have not received nearly the amount of marketing, publicity that some of their white colleagues have received,” Pelayo said. “What happens in that situation (is) their books get put somewhere else in the bookstore when these white colleagues, their books will get put in the front.”
Hispanic Heritage Month, however, helps bring some attention to Hispanic authors, she added.
Independent bookstores
Independent bookstores remain persistent in elevating Hispanic stories. A 2024 report by the American Booksellers Association found that 60 of the 323 new independent bookstores were owned by people of color. According to Latinx in Publishing, a network of publishing industry professionals, there are 46 Hispanic-owned bookstores in the U.S.
Online book retailer Bookshop.org has highlighted Hispanic books and provided discounts for readers during Hispanic Heritage Month. A representative for the site, Ellington McKenzie, said the site has been able to provide financial support for about 70 Latino bookstores.
“People are always looking to support those minority owned bookstores which we are happy to be the liaison between them,” McKenzie said.
Chawa Magaña, the owner of Palabras Bilingual Bookstore in Phoenix, said she was inspired to open the store because of what she felt was a lack of diversity and representation in the books that are taught in Arizona schools.
“Growing up, I didn’t experience a lot of diversity in literature in schools.” Magaña said. “I wasn’t seeing myself in the stories that I was reading.”
Of the books for sale at Palabras Bilingual, between 30% to 40% of the books are Latino stories, she said.
Magaña said having heard people say they have never seen that much representation in a bookstore has made her cry.
“What has been the most fulfilling to me is able to see how it impacts other people’s lives,” she said. “What motivates me is seeing other people get inspired to do things, seeing people moved when they see the store itself having diverse books.”
New laws signed by Gov. Gavin Newsom aim to make the artificial intelligence and social media landscape in California safer, especially for minors.
Senate Bill 243, sponsored by state Sen. Steve Padilla (D-Chula Vista) will require AI companies to incorporate guardrails that prevent so-called “companion” chatbots from talking to users of any age about suicide or self-harm. It also requires that all AI systems alert minors using the chatbots that they are not human every three hours. The systems also are barred from promoting any sexually explicit conduct to users who are minors.
The law, to be enacted on Jan. 1, follows several lawsuits filed against developers in which families allege their children committed suicide after being influenced by an AI chatbot companion.
In the same vein, Newsom signed Assembly Bill 316, which removes a civil legal defense that some AI developers have been using to make the case that they are not responsible for any harm caused by their products. They have argued that their AI products act autonomously — and so there is no legal case to blame the developers.
In a bill analysis meant for legislators, Assemblymember Maggy Krell (D-Sacramento) wrote that this change will force developers to vet their product better and ensure that they can be held to account if their product does cause harm to its users.
Another bill, AB 621, increases civil penalties for AI developers who knowingly create nonconsensual “deepfake” AI pornography. The maximum penalties go from $30,000 to $50,000, and from $150,000 to $250,000 in cases where the courts determine that the actions were done with malice.
The author of the bill, Assemblymember Rebecca Bauer-Kahan (D-Orinda), has pointed out how this technology has been used to harm minors. “In one recent instance,” she noted in an analysis supporting the proposed legislation, “five students were expelled from a Beverly Hills Middle School after creating and sharing AI generated nude photos of their classmates.”
Another AI bill, Sen. Scott Wiener’s (D-San Francisco) SB 53, was signed into law by Newsom in late September. It will require large AI companies to publicly disclose certain safety and security protocols and report to the state on critical safety incidents. It also creates a public AI computing cluster — CalCompute — that will provide resources to startups and researchers developing large AI systems.
Bauer-Kahan also was the author of AB 56, which will require social media companies to place a warning label on their platforms for minors starting in 2027. The warning label must tell children and teens that social media is associated with mental health issues and may not be safe.
“People across the nation — including myself — have become increasingly concerned with Big Tech’s failure to protect children who interact with its products. Today, California makes clear that we will not sit and wait for companies to decide to prioritize children’s well-being over their profits,” Atty. Gen. Rob Bonta, who sponsored the bill, said in a news release. “By adding warning labels to social media platforms, AB 56 gives California a new tool to protect our children.”
Other bills recently approved by Newsom look to challenge the Internet’s grip on young people and their mental health.
AB 1043, for example, will require app stores and device manufacturers to take age data from users in order to ensure that they are complying with age verification requirements. Many tech companies, including Google and Meta, approved of the bill, which was written by Assemblymember Buffy Wicks (D-Oakland).
AB 772 will require grade K-12 schools in the state to develop a policy by mid-2027 on handling bullying and cyberbullying that happens off campus. “After-school bullying follows the pupil back to school and into the classroom, creating a hostile environment at school,” author and Assembly Speaker Pro Tem Josh Lowenthal (D-Long Beach) wrote in a bill analysis.
Proponents at the Los Angeles County Office of Education wrote in an earlier analysis that because students these days are constantly connected to the internet, bullying does not stop when school lets out. In addition, social media and texting can broadcast instances of bullying to larger audiences than ever before, according to the analysis.
The California School Boards Assn. opposed AB 772, saying that it wasn’t appropriate for school officials to take responsibility for student actions outside of school. Newsom signed the bill last weekend and included it in a larger package of bills meant to protect children from the effects of social media.
“Emerging technology like chatbots and social media can inspire, educate, and connect — but without real guardrails, technology can also exploit, mislead and endanger our kids. We’ve seen some truly horrific and tragic examples of young people harmed by unregulated tech, and we won’t stand by while companies continue without necessary limits and accountability,” Newsom said in a news release Monday. “We can continue to lead in AI and technology, but we must do it responsibly — protecting our children every step of the way. Our children’s safety is not for sale.”
Diane Keaton, the actor who made film history — and won an Oscar — as the title character in Woody Allen’s beloved 1977 romantic comedy “Annie Hall,” died Saturday. She was 79. Tributes poured in from those who worked with and admired Keaton, including Bette Midler, Kate Hudson, Steve Martin and Josh Gad.
Here are some notable social media posts:
For the record:
8:42 p.m. Oct. 11, 2025An earlier version of this article incorrectly cited films in which Diane Keaton co-starred with actors Kate Hudson, Rosie O’Donnell, Octavia Spencer and Elizabeth Banks. These actors did not co-star in the listed films with Keaton.
Bette Midler, the actor, singer and comedian who starred with Keaton and Goldie Hawn in the 1996 comedy “The First Wives Club,” about three divorced women who seek revenge on their ex-husbands: “The brilliant, beautiful, extraordinary Diane Keaton has died. I cannot tell you how unbearably sad this makes me. She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star. What you saw was who she was …oh, la, lala!”
Steve Martin, who co-starred as Keaton’s husband in the “Father of the Bride” films, reposted an exchange between Keaton and Martin Short:
Short: “Who’s sexier, me or Steve Martin?
Keaton: “I mean, you’re both idiots.”
Martin then commented on the post: “Don’t know who first posted this, but it sums up our delightful relationship with Diane.”
Josh Gad: “What a monumental loss. Diane Keaton in many ways defined my love of movies. From Annie Hall to the Godfather films, from First Wives Club to Baby Boom, from Father of the Bride to Something’s Gotta Give, here resume was nothing short of iconic and hall of fame worthy. I was very fortunate to work with her many years ago on an unproduced HBO pilot and what I found was one of the most humble, ruthlessly funny, and unbelievably talented human beings I’ve ever come across. In many ways, this year will be defined by the loss of a Hollywood we will never again see. There simply are no replacements for a Gene Hackman or a Robert Redford or a Diane Keaton. They were the mavericks who helped redefine movies for a generation. … My heart goes out to Diane’s entire family during this impossible moment. RIP”
Kimberly Williams-Paisley, the actor, author and director who played Keaton’s daughter in the “Father of the Bride” films: “Diane, working with you will always be one of the highlights of my life. You are one of a kind, and it was thrilling to be in your orbit for a time. Thank you for your kindness, your generosity, your talent, and above all, your laughter. 🙏🏻🕊️💔❤️❤️❤️”
Rosie O’Donnell: “oh this breaks my heart – love to her children- what style what grace – she will be missed #ripdianekeaton”
Octavia Spencer: “Today we lost a true original. @diane_keaton wasn’t just an actress: she was a force. a woman who showed us that being yourself is the most powerful thing you can be. From Annie Hall to Something’s Gotta Give, she made every role unforgettable. But beyond the screen, she brought joy, laughter, and style that was all her own… Thank you, Diane, for reminding us that authenticity never goes out of fashion.”
Elizabeth Banks: “She was beloved in her industry. Every one of us idolizes her. Her influence on culture, fashion, art and women can’t be overstated. She was a delight. I am proud I have a career that allowed me to meet her and breathe her air.”
Viola Davis: “No!! No!!! No!! God, not yet, NO!!! Man… you defined womanhood. The pathos, humor, levity, your ever-present youthfulness and vulnerability — you tattooed your SOUL into every role, making it impossible to imagine anyone else inhabiting them. You were undeniably, unapologetically YOU!!! Loved you. Man… rest well. God bless your family, and I know angels are flying you home”
When it was first published in 1975, “Mystery Train: Images of America in Rock ‘n’ Roll Music” was immediately recognized as something new. In six taut, probing, far-ranging essays about certain popular or otherwise forgotten musicians, author Greil Marcus cracked open a world of sojourners, tricksters, killers and confidence men — the lost subterranean underlife of America as inflected in the music itself.
“Mystery Train” was a landmark in cultural criticism that took on Rock ‘n’ Roll as a subject of intellectual inquiry. In 2011, Time magazine named “Mystery Train” one of the 100 greatest nonfiction books of all time. For the book’s 50th anniversary, a new edition has been published, with a wealth of new writing from Marcus that brings his book up to date.
On a recent Zoom call, I chatted with him on the 50th anniversary of his book about its lasting impact, the anxiety of influence and the staying power of criticism.
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✍️ Author Chat
Book jacket of “Mystery Train” by Greil Marcus.
(Penguin Random House)
Congrats on 50 years of “Mystery Train.” Could you have possibly imagined that it would still have a life in 2025 when you wrote it in 1975?
For this book to have this kind of a life, you can’t predict it. I had a miserable time writing it. I’d never written a book before. I rented a room at a house near our little apartment, and just stayed there all day, trying to write or not trying to write, as the case may be. I didn’t have any hopes or ambitions for it. I just wanted it to look good.
This is the thickest edition of “Mystery Train” yet. Your “Notes and Discographies” section, where you update the reader on new books and recordings about the artists, among other things, is longer than the original text of the book.
That’s what’s kept the book alive. I mean, I still think the original chapters read well. I’m glad they came out the way they did, but for me, they opened up a continuing story, and that has sort of kept me on the beat so that I obsessively would follow every permutation that I could and write them in the notes section.
“Mystery Train” changed the way popular music was written about. Who were your literary antecedents?
Edmund Wilson, Pauline Kael, D.H. Lawrence’s critical studies. Hemingway’s short stories, just as a way to learn how to try to write. There was another book that was important to me, Michael Gray’s “Song and Dance Man,” which was a rigorous examination of Bob Dylan’s music. It was totally intimidating. His knowledge of blues, novels, poetry — I thought there’s no way I can write something as good as this. So I started doing a lot more reading, and listening more widely.
For many readers of the book, it was the first time they came across artists like Robert Johnson or Harmonica Frank. How did you discover these artists?
I was an editor at Rolling Stone magazine in 1969 when the Altamont disaster happened, when people were killed at a free Rolling Stones concert. It was an evil, awful day. I was drained and disgusted with what rock ‘n’ roll had become, and I didn’t want to listen to that music anymore. I found myself in this little record store in Berkeley, and I saw an album by Robert Johnson that had a song called “Four Until Late” that Eric Clapton’s band Cream had covered, so I took it home and played it, and that was just a revelation to me. It led me into another world. It became the bedrock of “Mystery Train.”
Rolling Stones frontman Mick Jagger signs autographs at Altamont Speedway. Later, on Dec. 6, the Stones gave a concert where one fan was stabbed to death by a Hell’s Angel.
(Associated Press)
Your book explores how certain myths transfer across vastly disparate cultures. Had you read the great mythologist Joseph Campbell prior to writing the book?
I read a lot of Joseph Campbell in graduate school. Probably a half-dozen of his books. In some ways they cover the same territory as “Mystery Train.” Campbell makes the argument that myths persist, they don’t even need to be cultivated. They cultivate us, and they are passed on in almost invisible ways. That really struck a chord with me when reading Campbell’s work.
You’re very good at explaining what music sounds like. Are you influenced by fiction at all?
I’d say fiction is part of my work. One of the books that hovered over me when I was writing “Mystery Train” was “The Great Gatsby.” Certain lines, they sang out.
What is the purpose of criticism?
My next book is about Bryan Ferry, the leader of the band Roxy Music. Now, you listen to a song like Roxy Music’s “More Than This” and you say, what makes this so great? How did that happen? What is going on here? That’s what criticism is, just wrestling with your response to something. That thing where someone has captured a moment so completely that you sort of fall back in awe. That’s what I’ve been doing my whole life as a writer. There is this urge to, not exactly take possession of something, but to become a part of it to some small degree.
Your book plumbs the murky depths, exploring the mysterious dream life of America as transmuted through certain music. Are there any mysteries left for you?
Oh, yes, absolutely. I remember when I met Bob Dylan in 1997. He was getting an award, the Dorothy and Lillian Gish Prize, and I was to give a talk. We met and he asked what I was working on. I had just published a book called “Invisible Republic,” about his “Basement Tapes.” He said, “You should write a sequel to that. You only just scratched the surface.” Now, I’m not saying I did a bad job. He said that to me because certain music has infinite depth. So, yes, there are certainly more mysteries to think about.
📰 The Week(s) in Books
(Jay L. Clendenin / Los Angeles Times)
Valerie Castallanos Clark loves Jade Chang’s new novel, “What a Time to Be Alive,” calling it “equal parts love letter to Los Angeles, narrative about being a first-generation Asian American, exploration of grief and love and a found-family novel featuring an adoptee that doesn’t put reunion as the emotional climax.”
With “Shadow Ticket,” Thomas Pynchon has delivered a late-career gem, according to David Kipen: “Dark as a vampire’s pocket, light-fingered as a jewel thief, ‘Shadow Ticket’ capers across the page with breezy, baggy-pants assurance — and then pauses on its way down the fire escape just long enough to crack your heart open.”
Stories Books & Cafe is on Sunset Boulevard in Echo Park.
(Claudia Colodro)
Ever since it opened its doors in 2008, Stories Books & Cafe has been a community cornerstone. A snug yet carefully curated store, with loads of obscurantist art books and choice indie press titles, Stories also has a cafe tucked in the back that is always bustling. Owner Claudia Colodro runs the store as a creative cooperative with her five co-workers. I talked to the team about the shop on Sunset.
Stories is small, yet I always see titles in there I don’t see anywhere else.
Stories prides itself on its painstaking curation, influenced by every employee’s area of expertise. Much like the community we have garnered, Stories leans toward the eclectic, esoteric and even fringe. Over our 17 years in existence, Stories has been a bookstore that loves our local authors and independent publishers, and encourages readers to come in with an open mind more than a predetermined list.
Remarkably, you have endured in a neighborhood that has seen a lot of store closures, post-COVID.
In a world predominantly automatized and authoritative, we like our people and books to be a countermeasure to the mainstream creature comforts — in hopes to push people out of the path of least resistance and into the unseen abundance.
Christopher Soto, the founder of the Center for California Literature.
Los Angeles is, historically, a haven for writers and poets. In its city sprawl and California light, L.A. has fostered legendary writers from Joan Didion to Octavia E. Butler, created countercultural literary communities like the Watts Writers Workshop, and inspired Raymond Chandler’s “The Long Goodbye” and Ray Bradbury’s “Fahrenheit 451.”
Despite Los Angeles’ contributions to a rich literary history, the literary community struggles to stay rooted in place as writers’ spaces and financial support move elsewhere.
Take the National Endowment for the Humanities, which canceled over $10.2 million in humanities and arts funding to already-awarded projects in California. Or the devastating Pasadena and Altadena wildfires that decimated historic libraries and cultural archives.
For writers across the city, L.A. can feel like shaky literary ground. That’s where Christopher Soto has stepped in.
The Center for California Literature is Soto’s hopeful initiative for connecting writers across L.A. through readings, conversations and advocacy. In a period in which writers feel unsupported and concerned about the state of the arts, Soto says that the center is needed in L.A. more than ever.
The inspiration came about after Soto was commissioned by the L.A. Times to write a piece titled “Writers on Loving and Leaving Los Angeles,” about writers having to move out of L.A. due to a lack of opportunities. He says right as he was working on the article, it was decommissioned. The reason? The books editor who would have worked on it was laid off and subsequently had to leave L.A.
“It was so ironic. That article and the research I did for it really led me to see that there is a need for a structural solution. People shouldn’t have to choose between having a thriving arts life and having to leave their home,” Soto says.
Soto knew that waiting would only exacerbate the literary loss; if he wanted change, he said he needed to make it. He reached out to inspiring writers in his community for their support and found that people were searching for a place to gather and organize themselves. Roxane Gay, renowned author of the New York Times bestselling novels “Bad Feminist” and “Hunger,” is one of the center’s biggest supporters.
“There’s a lot of stories that literature is dead, or that literary communities are dying, but clearly they’re not. They’re alive and they’re well and we have to remember that,” Gay says. “Writing is a very solitary endeavor, but while we might write alone, we don’t exist as writers in the public sphere alone. We need community, whether it’s people to share our work with, people who understand our frustrations, or having people who will read our work.”
Soto and Gay imagine a future where the center is shaped by writers’ needs. With community as a centerpoint, the organization aims to serve poets and authors by giving them a platform to share their work, attend workshops and create connections among peers.
Gay joined a collective of notable speakers the night of the center’s official launch, which took place at Central L.A. start-up gallery Giovanni’s Room and was co-hosted with the Los Angeles Review of Books. Outside the launch, pupusas were sizzling and poets and book nerds stood in line for a bite or a read from a nearby Libros con Alma pop-up book cart.
The long line approaching the door was full of chatter and reunited friends, who stepped into the lobby and talked closely over the music mixed by DJ Izla. Although the gallery itself filled up quickly, growing warm and pupusa-scented, the energy was one of excitement and anticipation for people’s favorite authors and for a new beginning in the L.A. writers world.
In a corner of the gallery, in front of a paper backdrop and lush potted plants, Grammy-nominated contemporary poet aja monet stepped before the mic to open the night. She was assertive the moment she spoke, clarifying the pronunciation of her name (ah-ja) and simply introducing poems from her time as a political organizer in Florida.
As monet delved into her work, her voice was serious, contained and bursting with emotion. With every stanza, she settled into a musical rhythm that was satiric and bitingly honest. Her poems ranged from swampy oppressive memories of Florida to the nature of poetry to musings on hypocritical activists.
“A poem can rinse, reflect and reveal us / I give thanks for the intimacy of planting poems / the living that brings poems into being,” monet read.
The crowd hummed and swayed in agreement and cheered in recognition of the feelings that she captured. After her moving set, Viet Thanh Nguyen picked up right where she left off. Nguyen is best known for his debut Pulitzer Prize-winning novel “The Sympathizer,” which discusses the Vietnam War’s impact on the U.S. through the lens of a Vietnamese American immigrant who navigates Hollywood social politics, integration and racial tension.
In the section Nguyen read that night, the main character challenges stereotypes of Vietnamese characters in a film, an attempt that is quickly shut down by a Hollywood executive. Nguyen chuckled as he finished — “The Sympathizer” was adapted into an HBO show, placing Nguyen into the very Hollywood spaces he criticized. He acknowledges this and affirmed that “after spending a lot of time in Hollywood, nobody has disputed this characterization.”
Author, actor and television writer Ryan O’Connell added to the conversation with a lengthy reading of “The Slut Diaries,” explorations of rediscovering sexuality in his 30s as a gay man with cerebral palsy. His reflections on sex and dating through the lens of gay and disabled identity, and the hilariously vulgar encounters that ensued, drew hoots and hollers from the crowd.
Camille Hernandez, a writer and poet laureate of Anaheim, was among O’Connell’s laughing audience.
“I love being from here, and I want to lift up the literature from here. It is really beautiful that you could be from some place with such a rich literary heritage, but it’s such a travesty that not many people know about it, so efforts like this are so important to uplifting writers like us, who can be funny and honest like Ryan O’Connell or inspiring like Roxane Gay once they have the community to support them,” Hernandez says. “We deserve this.”
As Gay closed the night, her brief statement encapsulated the promising energy of the center’s first gathering.
“We deserve the material and creative resources to practice our craft. We deserve an abundant community that is mindful of the past and active and engaging the present and able to imagine a radical and expansive future,” Gay said. “And so I hope that everyone here will join us in that work.”
As authors, poets and hopeful writers filtered out into the crisp night, conversations abounded about what was next. Some were excited for an afterparty rumored to feature Erykah Badu. Others projected a next reading presided by an even bigger crowd, feeding the hunger for the literary arts that the center aims to feed. Whatever comes next, the literary community of L.A. has a new home to gather in.
Over the last decade or so, publishers of American genre fiction have borrowed a page from Hollywood’s playbook by essentially packaging novels like films, grafting together collaborators from two different A-lists: those that feature bestselling novelists and major celebrities. Large commercial rewards have been reaped from these crossbred literary partnerships. Bill and Hillary Clinton, to name just two examples, have both enjoyed bestsellers with big-time writing partners James Patterson and Louise Penny, respectively.
Now we have Reese Witherspoon, already a major force in American publishing, teaming up with Harlan Coben, one of the world’s biggest selling thriller writers, to create “Gone Before Goodbye,” a book that taps into our fascination with the follies of the impossibly rich at the same time that it ponders real questions about the ethics of social engineering via medical advances in organ regeneration.
Now, it must be said that book critics are cynical snobs by nature, and something like “Gone Before Goodbye,” which at first blush seems to have been a project drummed up in a talent agency conference room, is prone to be received with a derisory scoff and a stiff-armed shove from those who are just waiting to sink their teeth into the new Thomas Pynchon novel. But this is Harlan Coben and Reese Witherspoon we’re talking about here, two formidable talents whose track record for delivering smart entertainment is unimpeachable. “Gone Before Goodbye” is not some magpie creature patched together from shopworn thriller tropes, even if certain plot elements feel a bit much. Instead, what the two authors have delivered is a story that pulls the reader deep into a rarefied world where ethics are mere technicalities and the needs of the rich take precedence over petty trivialities like, say, morality.
The book’s protagonist, Maggie McCabe, a brilliant Army combat surgeon who, along with her husband, Marc, and their friend Trace, teamed up after college to create WorldCures Alliance, “one of the world’s most dynamic charities, specializing in providing medical services for the most impoverished,” working as field surgeons risking their lives on the front lines in Afghanistan and the Middle East. The trio once had big plans centered on the prototype of an artificial heart they designed, THUMPR7, which they were convinced would change the world by extending the lives of millions, rich, poor or otherwise.
When the book begins, these plans have been torn asunder: Marc, as it transpires, has been killed in a rebel attack on a refugee camp in Libya. Trace has gone missing along with the artificial heart prototype. And Maggie has lost her medical license due to a hiccup of bad judgment on her part. At loose ends and broke, Maggie, and the reader, are then swept into a strange adventure when a successful cosmetic surgeon named Evan Barlow approaches her with an offer to wipe out her family’s debts in exchange for Maggie committing to perform surgery for a client in Russia who is willing to pay her millions.
Off Maggie goes into the dirty world of the Russian oligarchy, in a city called Rublevka, “perhaps the wealthiest residential area in the world,” where a shady creep named Oleg Ragoravich, one of the 10 wealthiest and most reclusive Russian billionaires, has a job for her. It’s well below Maggie’s pay grade: Oleg wants augmentation mammoplasty for his mistress Nadia. Ragoravich is predictably oleaginous, a man with a file cabinet full of hidden agendas, but he is charmingly persuasive, and the money has already been wired into Maggie’s account. She is in before she even has a chance to back out.
Naturally, there is a great deal more involved than a simple boob job. Without giving too much away, Witherspoon and Coben in this novel have tapped into the wealthy’s obsession with using technology to foster super-agers. As the stakes get higher, the plot ripples out into larger and larger concentric circles that envelop Maggie’s life and everyone in it. But there is so much to take in while this happens, so much voyeuristic pleasure to be had as Maggie acclimates into an almost impossibly lush and lavish world that toggles between Russia and Dubai, the de facto playground for raffish oligarchs intent on bad behavior.
Witherspoon and Coben revel in the details. The plane that spirits Maggie from New York to Russia is a “full-size 180-seat Airbus A320 renovated for private use,” kitted out with a 65-inch contoured TV, a gourmet kitchen and a marble ensuite bathroom with an “oversize rain showerhead.” Ragoravich’s dacha is a “garish and almost grotesque” palace clad in marble that makes Maggie think of Versailles, but in a way that makes Versailles seem dumpy. Everything within is “not so much an attempt to classily suggest opulence and power as to batter you with it.” This is the kind of thriller that invites you into a gilded empyrean that compels you and repels you in equal measure.
The book’s plot mechanics hum along with great pace and verve, even if a few of its particulars are too far-fetched to swallow. With “Gone Before Goodbye,” the two authors deliver a fun ride into a shadow land where the rich are convinced that money can insulate them from everything, including their own mortality — even if they have to murder a few people to get there.
Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”
NEW YORK — A new report on book bans in U.S. schools finds Stephen King as the author most likely to be censored and the country divided between states actively restricting works and those attempting to limit or eliminate bans.
PEN America’s “Banned in the USA,” released Wednesday, tracks more than 6,800 instances of books being temporarily or permanently pulled for the 2024-2025 school year. The new number is down from more than 10,000 in 2023-24, but still far above the levels of a few years ago, when PEN didn’t even see the need to compile a report.
Some 80% of those bans originated in three states that have enacted or attempted to enact laws calling for removal of books deemed objectionable — Florida, Texas and Tennessee. Meanwhile, PEN found little or no instances of removals in several other states, with Illinois, Maryland and New Jersey among those with laws that limit the authority of school and public libraries to pull books.
“It is increasingly a story of two countries,” says Kasey Meehan, director of PEN’s Freedom to Read program and an author of the report. “And it’s not just a story of red states and blue states. In Florida, not all of the school districts responded to the calls for banning books. You can find differences from county to county.”
King’s books were censored 206 times, according to PEN, with “Carrie” and “The Stand” among the 87 of his works affected. The most banned work of any author was Anthony Burgess’ dystopian classic from the 1960s, “A Clockwork Orange,” for which PEN found 23 removals. Other books and authors facing extensive restrictions included Patricia McCormick’s “Sold,” Judy Blume’s “Forever” and Jennifer Niven’s “Breathless,” and numerous works by Sarah J. Maas and Jodi Picoult.
Reasons often cited for pulling a book include LGBTQ+ themes, depictions of race and passages with violence and sexual violence. An ongoing trend that PEN finds has only intensified: Thousands of books were taken off shelves in anticipation of community, political or legal pressure rather than in response to a direct threat.
“This functions as a form of ‘obeying in advance,’” the report reads, “rooted in fear or simply a desire to avoid topics that might be deemed controversial.”
The PEN report comes amid ongoing censorship efforts not just from states and conservative activists but from the federal government. The Department of Education ended an initiative by the Biden administration to investigate the legality of bans and has called the issue a “hoax.” PEN’s numbers include the Department of Defense’s removal of hundreds of books from K-12 school libraries for military families as part of an overall campaign against diversity, equity and inclusion initiatives and “un-American” thinking.
In Florida, where more than 2,000 books were banned or restricted, a handful of counties were responsible for many of the King removals: Dozens were pulled last year as a part of a review for whether they were in compliance with state laws.
“His books are often removed from shelves when ‘adult’ titles or books with ‘sex content’ are targeted for removal — these prohibitions overwhelmingly ban LGBTQ+ content and books on race, racism, and people of color — but also affect titles like Stephen King’s books,” Meehan says. “Some districts — in being overly cautious or fearful of punishment — will sweep so wide they end up removing Stephen King from access too.”
PEN’s methodology differs from that of the American Library Assn., which also issues annual reports on bans and challenges. PEN’s numbers are much higher in part because the free expression organization counts any books removed or restricted for any length of time, while the library association only counts permanent removals or restrictions.
Both organizations have acknowledged that because they largely rely on media reports and information that they receive directly, their numbers are far from comprehensive.
The PEN report does not include data from Ohio, Oklahoma, Arkansas and other red states because researchers could not find adequate documentation. Meehan said PEN also doesn’t know the full impact of statewide laws.
Italie writes for the Associated Press. AP writer Kate Payne in Tallahassee, Fla., contributed to this report.
J.K. Rowling wants you to know that “Harry Potter” actors “have every right” to disagree with her about trans rights — but she’s taking the kid gloves off.
“Like other people who’ve never experienced adult life uncushioned by wealth and fame, Emma has so little experience of real life she’s ignorant of how ignorant she is,” Rowling wrote on X as she alluded to the alleged harm to women’s rights Watson has caused with her support of the trans community. “Her ‘public bathroom’ is single occupancy and comes with a security man standing guard outside the door,” the author added. “Has she had to strip off in a newly mixed-sex changing room at a council-run swimming pool?”
Rowling has long argued that only those who are assigned female at birth should be recognized as women. Rather than acknowledging trans people and identity, Rowling referenced only “ideology” and “an activist movement” in her post.
The author specifically called out Watson and fellow “Harry Potter” star Daniel Radcliffe for what she sees as their continued public critiques of her anti-trans politics and “assum[ing] the role of de facto spokespeople for the world [Rowling] created.”
Rowling’s lengthy post came in response to Watson saying in a recent episode of “On Purpose With Jay Shetty” that their opposing views on trans rights do not mean she can’t or doesn’t “treasure” Rowling as a person.
“I will never believe that one negates the other and that my experience of that person, I don’t get to keep and cherish,” Watson said. “I think it’s my deepest wish that I hope people who don’t agree with my opinion will love me, and I hope I can keep loving people who I don’t necessarily share the same opinion with.”
In her X post, Rowling said that when she was receiving threats of violence because of her transphobic comments in the past, Watson wrote her a letter that “contained the single sentence ‘I’m so sorry for what you’re going through’ (she has my phone number)” while speaking out against her publicly. Rowling also noted that Watson’s latest comments come at a time when “full-throated condemnation of [the author] is no longer quite as fashionable as it was,” with anti-trans activists and politicians gaining ground in their attacks on trans rights.
“Emma is rightly free to disagree with me and indeed to discuss her feelings about me in public — but I have the same right, and I’ve finally decided to exercise it,” Rowling said.
The world is a confusing and scary place right now. Many of us are anxious wanderers in the wilderness, looking for answers. Is it any wonder that the wellness industry is booming? Into this strange new world comes Jade Chang’s funny and poignant novel “What a Time to Be Alive,” whose protagonist Lola is broke and aimless — until a leaked video transforms her into an instant self-help guru.
Chang, whose first novel, “The Wangs vs. The World,” was a sharp satire on class and ambition, has now turned her gaze to the promise and peril of self-actualization through social media. I sat down with Chang to discuss spiritualism for profit, tech bros and trucker hats.
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✍️ Author Chat
Book jacket of “What a Time to Be Alive” by Jade Chang
(Los Angeles Times illustration; book jacket from Ecco)
This book almost didn’t make it, as you physically lost it.
I started it years ago. I was writing in longhand in a notebook, entire chapters of the book. I lost the notebook and I was devastated. Then I moved on and wrote “The Wangs vs. The World.” It took a long time to get back into writing this new book. By the time I circled back to it, the world had changed so much. I think I have become more generous about things, and the story benefited from it.
Lola, your protagonist, unwittingly becomes an online self-help guru on the basis of a leaked video that is posted on social media. She becomes a sort of accidental wellness expert.
As someone who didn’t grow up with religion, I have always been really fascinated by belief. Why do we want to believe, and how are we compelled to certain beliefs? And it was just kind of fascinating and amazing that people could find so much life in religious stories. As I was developing the story of this novel, I realized that everyone in the digital world takes a page from this book as well, using stories to convert listeners into believers. I think Lola starts out sort of thinking she is in above her head, but by the end, her sincerity shines through. She wants to believe what she is telling others to believe.
Do you think the internet breeds cynicism and has turned us all into an angry mob?
I don’t. The digital world doesn’t make us any different from who we are, but it can throw a lens on certain aspects of our behavior. I think the internet allows us to be our best and worst selves. Think about all those strangers who might contribute to a GoFundMe campaign because someone has had a serious injury and needs to pay their medical bills, which can yield tens of thousands of dollars in some cases. That’s the mob functioning at its best.
But isn’t it a little too easy to pull a con job online?
Yes, it’s easy to be inauthentic online, but it’s important to remember that online performance is a tiny percentage of someone’s life. That’s why I was so interested in writing about the rise of this self-help guru, because usually when these stories are told you only see it from the acolyte’s point of view or the skeptic’s point of view. But we all have to make money, and we all are pulling a little something over on someone at some point — it’s part of surviving in the world.
Lola cauterizes the pain in her personal life by offering panaceas to pain for strangers online, but she affects a false persona to do so.
It’s easy to assume that anything we do, whether it’s on social media or elsewhere online, is performative or fraudulent in some way. RuPaul has a great quote where he says gender is drag. Everything is drag, a performance. Every choice we make is often not reflective of our essential self. You can’t codify identity in clothes or that trucker hat you’re wearing; anything you’re going to choose is going to be influenced by the times in which you live and who you surround yourself with. I can only speak from experience, but I think it’s almost impossible to suppress your true self.
You mentioned how self-help gurus and tech bros have a similar public worldview.
As research for the book, I attended one of Oprah’s Super Soul Sundays at Royce Hall. Every single person that spoke had the same arc: “I was down in the dumps, and then I looked up from that hole and I saw a glimmer in the form of CrossFit,” or drumming, or whatever it was that pulled them up from the brink. Then I went to a TED talk, and these tech gurus are saying the exact same thing. It’s the narrative of our time. I saw that crossover, and I knew I had something to say. I was interested in this internal push and pull of, how much do you give in to this tactic, and how much do you not.
📰 The Week(s) in Books
(Jay L. Clendenin / Los Angeles Times)
Hamilton Cain has mixed feelings about Patricia Lockwood’s autofictional account of the COVID-19 lockdown, “Will There Ever Be Another You,” praising Lockwood’s “rich and kinetic” prose but bemoaning her “self-indulgent and repetitious” narrative.
Steve Henson has a chat with tennis legend Björn Borg about his new memoir, “Heartbeats,” which delves into his heavy cocaine and alcohol use that began shortly after he walked away from the sport at age 26.
Karen Palmer’s harrowing memoir, “She’s Under Here,” “details forgery, a child’s kidnapping, a mental breakdown, struggles to stay afloat — and joy,” writes Bethanne Patrick.
And David A. Keeps reports on the fiscal inequities of the booming audiobook industry: “Many actors are vying for audiobook roles at a time when the talent pool is expanding and casting is becoming a growing topic of debate.”
📖 Bookstore Faves
The Book Jewel, located in the city of Westchester, is just minutes from LAX.
(The Book Jewel)
The Book Jewel is a welcome addition to the neighborhood of Westchester, an expansive bookstore with an excellent selection of fiction and nonfiction titles for locals, or those who might stop by there before catching their flight at nearby LAX. We talked with general manager Joseph Paulsen about the store.
Your store is serving a community that hasn’t had a general interest bookstore in quite some time.
The Book Jewel opened smack-dab in the middle of the global COVID-19 pandemic in August of 2020. Our Westchester community has supported us from Day 1, and we recently celebrated our fifth anniversary. We are the only bookstore in Westchester, and we are locally owned and independent. I live here in Westchester and have raised both of my sons here.
What’s selling right now?
Right now we’re selling tons of children’s literature and graphic novels (“InvestiGators,”Dav Pilkey, etc.). Of course, the ABA Independent Bestsellers. Lots of romantasy.
You are pretty close to LAX. Do you sell a lot of books to travelers?
The travelers give themselves away with their roller bags, and we catch ’em heading out of Los Angeles on the reg! They like long books for long flights. Lots of souvenirs too! We have some unique, local non-book items as well and offer a better vibe than the international terminal.
The Book Jewel is located at 6259 W. 87th St, Los Angeles, CA.
