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If our waking hours are a canvas, the art is how one fills it: tightly packed, loosely, a little of both. At a time when they were both 40 and the art scene in ’70s New York was in thrall to street-centered youth of all stripes, real-life writer Linda Rosenkrantz asked her close friend, photographer Peter Hujar, to make a record of his activities on one day — Dec. 18, 1974 — and then narrate those details into her tape recorder the following day at her apartment.

The goal was a book about the great mundane, the stuff of life as experienced by her talented confidants. In Hujar’s case, an uncannily observant queer artist and key gay liberation figure planning his first book, what emerged was a wry narrative of phone calls (Susan Sontag), freelancing woes (is this gig going to pay?), celebrity encounters (he does an Allen Ginsberg shoot for the New York Times) and chance meetings (some guy waiting for food at the Chinese restaurant). The Hujar transcript, recovered in 2019 sans the tape, was ultimately published as “Peter Hujar’s Day.”

Now director Ira Sachs, who came across the text while filming his previous movie “Passages,” has given this quietly mesmerizing, diaristic conversation cinematic life as a filmed performance of sorts, with “Passages” star Ben Whishaw perfectly cast as Hujar and Rebecca Hall filling out the room tone as Rosenkrantz. (They also go to the roof a couple of times, which offers enough of an exterior visual to remind us that New York is the third character getting the time-capsule treatment.)

From the whistle of a tea kettle in the daylight as Hujar amusingly feels out from Rosenkrantz what’s required of him, to twilight’s more honest self-assessments and a supine cuddle between friends who’ve spent many hours together, “Peter Hujar’s Day” captures something beautifully distilled about human experience and the comfort of others. For each of us, any given day — maybe especially a day devoid of the extraordinary — is the culmination of all we’ve been and whatever we might hope to be. That makes for a stealthy significance considering that Hujar would only live another 13 years, succumbing to AIDS-related complications in 1987. It was a loss of mentorship, aesthetic brilliance and camaraderie felt throughout the art world.

Apart from not explaining Hujar for us (nor explaining his many name drops), Sachs also doesn’t hide the meta-ness of his concept, occasionally offering glimpses of a clapperboard or the crew, or letting us hear sound blips as it appears a reel is ending. There are jump cuts too, and interludes of his actors in close-up that could be color screen tests or just a nod to Hujar’s aptitude for portraits. It’s playful but never too obtrusive, approaching an idea of how art and movies play with time and can conjure their own reality.

The simple, sparsely elegant split-level apartment creates the right authenticity for Alex Ashe’s textured 16mm cinematography. The interior play of light from day to night across Whishaw and Hall’s faces is its own dramatic arc as Hujar’s details become an intimate testimony of humor, rigor and reflection. It’s not meant to be entirely Whishaw’s show, either: As justly compelling as he is, Hall makes the act of listening (and occasionally commenting or teasing) a steady, enveloping warmth. The result is a window into the pleasures of friendship and those days when the minutiae of your loved ones seems like the stuff that true connection is built on.

For a historian who writes about war, Rick Atkinson is surprisingly optimistic. The Pulitzer Prize-winning author and former journalist — who recently released the second volume in a trilogy of books about the American Revolution — believes that the bedrock of American democracy is solid enough to withstand any assaults on its founding principles.

As the guest of honor at a Sunday night dinner sponsored by the Library Foundation of Los Angeles as part of its biennial Literary Feasts fundraiser, Atkinson was the most upbeat person at the event, which took place just before Election Day. Speaking to about 18 guests gathered around two circular tables carefully laid out on the back patio at the home of fellow writers and hosts Meenakshi and Liaquat Ahamed, Atkinson buoyed the flagging spirits of those certain that the country was currently dangling on the precipice of disaster at the hands of the Trump administration.

Book lovers attend a Literary Feast dinner featuring Pulitzer Prize-winning historian Rick Atkinson at the home of writers Meenakshi and Liaquat Ahamed.

(Jason Armond / Los Angeles Times)

“We’re the beneficiaries of an enlightened political heritage handed down to us from that founding generation, and it includes strictures on how to divide power and keep it from concentrating in the hands of authoritarians who think primarily of themselves,” Atkinson said with the cheery aplomb of a man who has spent the bulk of his time burrowing deep inside archives filled with harrowing stories of the darkest days the world has ever seen. “We can’t let that slip away. We can’t allow it to be taken away, and we can’t allow ourselves to forget the hundreds of thousands who’ve given their lives to affirm and sustain it over the past 250 years.”

The questions and conversation that followed Atkinson’s rousing speech about the history of the Revolution — including riveting details about key players like George Washington who Atkinson noted had “remarkably dead eyes” in order to not give away a scintilla of his inner life to curious onlookers — was what the evening’s book-loving guests had come for.

“We’re the beneficiaries of an enlightened political heritage handed down to us from that founding generation,” said Rick Atkinson.

(Jason Armond / Los Angeles Times)

A total of 40 authors are hosted at salon-style events at 40 houses with more than 750 guests over the course of a single evening, raising more than $2 million for the Library Foundation, which is a separate entity from the public library. Founded in 1992 in the wake of the devastating 1986 fire at downtown’s Central Library, which destroyed more than 400,000 books, the foundation seeks to continue the community-driven mission of the library when funding runs short, including supporting adult education, early literacy programs for children, and services for immigrants and the unhoused.

“I often describe it as the dream-fueling work, the life-changing work,” said Stacy Lieberman, the Library Foundation’s president and chief executive. “Because it’s a lot of the one-on-one support that people will get.”

The Foundation typically raises about $7 million to $8 million a year, with an operating budget of nearly $11 million, so money raised through the Literary Feasts is a significant slice of the funding pie. The feasts began in 1997 and have continued apace every other year since then, featuring a who’s who of literary accomplishment across every genre. Writers past and present include Sue Grafton, Jane Fonda, Ann Patchett, Viet Thanh Nguyen, Abraham Verghese, Scott Turow and Michael Connelly.

Dinner hosts fund the events themselves — no small outlay considering the lavish offerings.

Guests were served steak with roasted carrots, turnips and potatoes.

(Jason Armond / Los Angeles Times)

The Ahameds delighted guests with a tangy grapefruit and greens salad, followed by tender steak with roasted carrots, turnips and potatoes; a dessert of hot apple tart à la mode drizzled with caramel sauce; and plenty of crisp red and white wine. Both hosts are literary luminaries in their own right: Liaquat, a former investment manager, won the 2010 Pulitzer Prize for history for his book “Lords of Finance: The Bankers Who Broke the World” and Meenakshi recently published “Indian Genius: The Meteoric Rise of Indians in America.”

The couple travels in bookish circles and enjoys hosting salons at their home, including one earlier this year in support of New Yorker political columnist Susan Glasser and her husband, New York Times chief White House correspondent Peter Baker. As friends of Atkinson, the Ahameds did their part to introduce him, and later tried their best to entice him to stop taking questions and eat his dinner.

The guest of honor could not be persuaded. There was too much to say. “The Fate of the Day,” which explores the bloody middle years of the Revolution from 1777 to 1780, was released in April, and Atkinson has spent the past eight months touring and speaking on panels with documentarian Ken Burns to promote Burns’ six-part documentary series “The American Revolution,” which premieres Nov. 16 on PBS.

Atkinson is a featured speaker in the series and has been involved with it for about four years.

The dinner featuring Rick Atkinson was one of 40 taking place across town that evening. The events raised $2 million for the Library Foundation of Los Angeles.

(Jason Armond / Los Angeles Times)

The week before the Literary Feast, Atkinson and Burns spoke to members of Congress in Washington, D.C., and also screened a 40-minute clip at Mount Vernon where Atkinson discussed Washington’s unique talents as a general.

“I’ve seen the whole thing several times and it’s fantastic,” Atkinson said of the 12-hour film. “It’s as you would expect: beautifully filmed, wonderfully told, great narrative.”

The country is now more than four months into its semiquincentennial, which Atkinson joked “sounds like a medical procedure,” but is actually the 250th anniversary of the founding of the United States. It’s well known that Trump is planning a splashy party, with festivities and commemorations intensifying over the next eight months, culminating in a grand celebration in Washington, D.C., on July 4, 2026.

Rick Atkinson’s book “The Fate of the Day,” which explores the bloody middle years of the Revolution from 1777 to 1780, was released in April.

(Jason Armond / Los Angeles Times)

“My hope is that as a country, we use the opportunity to reflect on those basic questions of who we are, where we came from, what our forebears believed and what they were willing to die for,” said Atkinson. “I’m optimistic because I’m a historian, because I know our history. No matter how grim things seem in 2025, we have faced grimmer times in the past, existential threats of the first order, starting with the Revolution.”

The politically deflated might also consider World War II — the subject of Atkinson’s Liberation Trilogy — the second volume of which won the 2003 Pulitzer Prize for history. The writer knows his stuff. Guests — and readers — take heart.

When Xavier “X” Atencio was plucked by Walt Disney in 1965 to be one of his early theme park designers, he was slotted on a number of projects that placed him out of his comfort zone.

Atencio, for instance, never would have envisioned himself a songwriter.

One of Atencio’s first major projects with Walt Disney Imagineering — WED Enterprises (for Walter Elias Disney), as it was known at the time — was Pirates of the Caribbean. In the mid-’60s when Atencio joined the Pirates team, the attraction was well underway, with the likes of fellow animators-turned-theme park designers Marc Davis and Claude Coats crafting many of its exaggerated characters and enveloping environments. Atencio’s job? Make it all make sense by giving it a cohesive story. While Atencio had once dreamed of being a journalist, his work as an animator had led him astray of a writer’s path.

Atencio would not only figure it out but end up as the draftman of one of Disneyland’s most recognizable songs, “Yo Ho (A Pirate’s Life for Me).” In the process, he was key in creating the template for the modern theme park dark ride, a term often applied to slow-moving indoor attractions. Such career twists and turns are detailed in a new book about Atencio, who died in 2017. “Xavier ‘X’ Atencio: The Legacy of an Artist, Imagineer, and Disney Legend” (Disney Editions), written by three of his family members, follows Atencio’s unexpected trajectory, starting from his roots in animation (his resume includes “Fantasia,” the Oscar-winning short “Toot, Whistle, Plunk and Boom” and even stop-motion work in “Mary Poppins”).

For Pirates of the Caribbean, Atencio is said to have received little direction from Disney, only that the park’s patriarch was unhappy with previous stabs at a narration and dialogue, finding them leaning a bit stodgy. So he knew, essentially, what not to do. Atencio, according to the book, immersed himself in films like Disney’s own “Treasure Island” and pop-cultural interpretations of pirates, striving for something that felt borderline caricature rather than ripped from the history books.

Xavier “X” Atencio got his start in animation. Here, he is seen drawing dinosaurs for a sequence in “Fantasia.”

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Indeed, Atencio’s words — some of those quoted in the book, such as “Avast there! Ye come seeking adventure and salty old pirates, aye?” — have become shorthand for how to speak like a pirate. The first scene written for the attraction was the mid-point auction sequence, a section of the ride that was changed in 2017 due to its outdated cultural implications. In the original, a proud redheaded pirate is the lead prisoner in a bridal auction, but today the “wench” has graduated to pirate status of her own and is helping to auction off stolen goods.

At first, Atencio thought he had over-written the scene, noticing that dialogue overlapped with one another. In a now-famous theme park moment, and one retold in the book, Atencio apologized to Disney, who shrugged off Atencio’s insecurity.

“Hey, X, when you go to a cocktail party, you pick up a little conversation here, another conversation there,” Disney told the animator. “Each time people will go through, they’ll find something new.”

This was the green light that Atencio, Davis and Coats needed to continue developing their attraction as one that would be a tableau of scenes rather than a strict plot.

Tying it all together, Atencio thought, should be a song. Not a songwriter himself, of course, Atencio sketched out a few lyrics and a simple melody. As the authors write, he turned to the thesaurus and made lists of traditional “pirating” words. He presented it to Disney and, to Atencio’s surprise, the company founder promptly gave him the sign off.

“Yo Ho (A Pirate’s Life for Me),” Atencio would relay, was a challenge as the ride doesn’t have a typical beginning and ending, meaning the tune needed to work with whatever pirate vignette we were sailing by. Ultimately, the song, with music by George Bruns, underlines the ride’s humorous feel, allowing the looting, the pillaging and the chasing of women, another scene that has been altered over the years, to be delivered with a playful bent.

The song “altered the trajectory” of Atencio’s career. While Atencio was not considered a musical person — “No, not at all,” says his daughter Tori Atencio McCullough, one of the book’s co-authors — the biography reveals how music became a signature aspect of his work. The short “Toot, Whistle, Plunk and Boom,” for instance, is a humorous tale about the discovery of music. And elsewhere in Atencio’s career he worked on the band-focused opening animations for “Mickey Mouse Club.”

“That one has a pretty cool kind of modern instrument medley in the middle,” Kelsey McCullough, Atencio’s granddaughter and another one of the book’s authors, says of “Mickey Mouse Club.” “It was interesting, because when we lined everything up, it was like, ‘Of course he felt like the ride needed a song.’ Everything he had been doing up to that point had a song in it. Once we looked it at from that perspective, it was sort of unsurprising to us. He was doing a lot around music.”

Xavier “X” Atencio contributed concepts to Disneyland’s Haunted Mansion, including its famous one-eyed cat.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Atencio would go on to write lyrics for the Country Bear Jamboree and the Haunted Mansion. While the Haunted Mansion vacillates between spooky and lighthearted imagery, it’s Atencio’s “Grim Grinning Ghosts” that telegraphs the ride’s tone and makes it clear it’s a celebratory attraction, one in which many of those in the afterlife prefer to live it up rather than haunt.

Despite his newfound music career, Atencio never gave up drawing and contributing concepts to Disney theme park attractions. Two of my favorites are captured in the book — his abstract flights through molecular lights for the defunct Adventure Thru Inner Space and his one-eyed black cat for the Haunted Mansion. The latter has become a fabled Mansion character over the years. Atencio’s fiendish feline would have followed guests throughout the ride, a creature said to despise living humans and with predatory, possessive instincts.

In Atencio’s concept art, the cat featured elongated, vampire-like fangs and a piercing red eye. In a nod to Edgar Allan Poe’s story “The Black Cat,” it had just one eyeball, which sat in its socket with all the subtlety of a fire alarm. Discarded eventually — a raven essentially fills a similar role — the cat today has been resurrected for the Mansion, most notably in a revised attic scene where the kitty is spotted near a mournful bride.

Xavier “X” Atencio retired from Disney in 1984 after four-plus decades with the company. He drew his own retirement announcement.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Co-author Bobbie Lucas, a relative of Atencio’s colloquially referred to by the family as his “grandchild-in-law,” was asked what ties all of Atencio’s work together.

“No matter the different style or no matter the era, there’s such a sense of life and humanity,” Lucas says. “There’s a sense of play.”

Play is a fitting way to describe Atencio’s contributions to two of Disneyland’s most beloved attractions, where pirates and ghosts are captured at their most frivolous and jovial.

“I like that,” Lucas adds. “I like someone who will put their heart on their sleeve and show you that in their art.”

If you’re looking to save money on a UK hotel stay, there’s one day of the week you should always book on

Whilst holidaymakers frequently look to secure a staycation during this period, it might seem logical to book over the weekend whilst enjoying a relaxing brew. Nevertheless, this approach could result in higher costs.

Rather, you should hold off until the surge of weekend reservations subsides and corporate travel arrangements are finalised. This puts Tuesday as the optimal day for holiday booking, given increased availability and booking platforms seeking to fill remaining accommodation swiftly.

Consequently, being adaptable proves beneficial if you can tolerate the uncertainty.

Hotels generally maintain a cancellation period of 24 to 48 hours, prompting them to market any cancelled accommodations – occasionally at discounted rates, reports the Express.

Whilst extremely risky and spontaneous, some excellent hotel bargains can emerge after 6pm – provided you happen to be nearby.

Nevertheless, these guidelines are reversed regarding major chains such as Premier Inn and Travelodge.

Travel specialist Linda Reynolds, from Personal Travel Agents, informed The Guardian that she advises travellers to reserve early for optimal deals.

For instance, Travelodge promotes “rooms from £35 or less” when secured in advance; and particular travel platforms prove valuable additions to your toolkit.

Google Hotels, Kayak and Trivago, for example, will alert subscribers when rates drop, ensuring you’re informed about fantastic holiday bargains.

When to book a holiday

When it comes to choosing your actual hotel dates, Sunday through to Thursday typically offers the best value, helping you dodge those weekend price surges targeting short-break travellers.

It’s also worth keeping school holidays, bank holidays and local festivities in mind, as these will inevitably push costs up and are worth swerving if possible.

Reynolds said: “Sunday nights in cities are usually cheaper than Friday or Saturday nights because leisure demand dips after the weekend.

“In rural locations, including coastal areas, midweek (Monday to Thursday) is often cheaper than weekends, when leisure travellers arrive.”

If you’re plotting a London getaway, think about booking accommodation outside the city centre in zones two to three.

These areas offer better value, excellent transport links and still provide an authentic taste of the capital.

The same principle works for other major cities including Glasgow, Manchester, Edinburgh and Bristol.

Meanwhile, money coach Maddy Alexander-Grout suggests checking out Plans Change marketplace, which lets holidaymakers flog their trips at reduced rates – with discounts starting at 25% off.

“In my job, I travel around the country a lot, and I regularly use the site, saving about 20% on a hotel booking direct,” she said.

THIS holiday home brings a new meaning to the phrase ‘beach break,’ as the property actually backs onto the sea.

The coastal retreat actually sits on the shingle beach, so you can bathe in the sun during the summer, or cosy on up with a cup of tea in the winter months.

Sykes Cottages announced their ‘Gems Winners 2025‘ – which were judged by a panel of experts – including the Assistant Travel Editor Sophie Swietochowski.

Categories like ‘Best Farm Stay’ and ‘Best Newcomer’ were included, but the cottage called Bucket and Spades picked up ‘Best for Beaches’ – and Sophie revealed why it stood out to her.

She said: “When judging the Sykes Gems Awards, this property instantly stood out to me. Why? It’s its proximity to the beach. With bi-fold doors that open directly onto a pebble shore, but with your own private garden area, holidaymakers can benefit from a day at the seaside without needing to leave the home for the day.

“That’s a huge perk in my eyes. It reminds me a little of a beachside property in the Maldives that I once stayed in – I’d wake up and immediately plod into the open sea.”

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The cottage literally sits on the beach at Pevensey Bay in pretty East Sussex and is set over three floors starting with the open plan lounge, kitchen diner, where you’ll find bifold doors that open onto the beach.

Outside, there’s a private beachside area with a table, parasol and stepping stones that lead out onto the wider beach.

There are two double bedrooms with ensuites and the king room which has a balcony where you can enjoy a morning coffee looking at the view.

Inside, the rooms have a coastal and calming feel filled with light tones of blue along with splashes of hot pink and orange.

The cottage sleeps up to six guests, and there’s off-road parking for three cars – to bring along a pet dog costs an extra £40.

According to Sykes Cottages, if you book now, staying on Friday, November 7, 2025, for seven nights, you’ll be set back £1446 – but split between six guests, it’s £163.71pp, or £27.28pppn.

It’s very popular too, one visitor wrote in a review: “If I owned this property I wouldn’t rent it out because I’d live there myself”.

They added: “The location is amazing, Pevensey Bay is a well kept secret. I don’t think I would ever get tired of staring out at the view.”

The cottage has a customer rating of 4.9 out of five stars and a top Sykes rating.

Pevensey Bay sits between Eastbourne and Hastings on the East Sussex coast and is an old fishing village.

It might look familiar to anyone who watched ITV‘s Flesh and Blood series in 2020 as it was used as a filming location along with the nearby town of Eastbourne.

The village is small but still has a local shop and places to eat like The Aqua Bar and Castle Inn.

When it comes to coastal adventures, guests can walk to reach Cooden Bay in one direction and Eastbourne Sovereign Harbour in the other.

Sovereign Harbour has The Waterfront’s bars, restaurants and cafés with views out to the marina.

Further inland is the village of Westham, which is home to the Castle Cottage Tearoom, and as the name suggests, it sits right next to Pevensey Castle.

Pick up a slice of homemade cake, or enjoy a traditional cream tea for £8.20, or opt for sandwiches or toasted paninis instead.

Other nearby spots include Beachy Head, which is where you’ll find Britain’s highest chalk cliff with incredible panoramic views out to sea.

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For more incredible holidays stays, check out this one on the UK’s new Riviera with white sand beaches, celebrities and hidden holiday homes only visible from the sea.

Plus, here’s the secluded English cottage where your garden is the beach and people say it ‘doesn’t even look real’.

An underrated period drama based on one of the most influential books of all time is available to watch for free

Viewers shouldn’t miss out on this incredible four-part drama based on a classic novel, as it’s available to watch without spending a penny.

This breathtaking adaptation was originally aired in 2023 on ITV and PBS Masterpiece in the US and has developed a passionate cult following despite not receiving critical fanfare at the time.

Based on the novel by Henry Fielding, Tom Jones brings the seminal 1749 novel to life like never before with an ensemble cast of British legends.

William Tell’s Solly McLeod portrays the titular downtrodden hero, a young man with mysterious parentage who falls in love with his spirited neighbour Sophia Western (played by Sophie Wilde).

Sophie decides to flee her arranged marriage to be with Tom, but the pair are kept apart by a series of increasingly fraught misadventures.

They’re accompanied by some of the most recognisable names from the British screen, including Coronation Street’s Lucy Fallon, Harry Potter’s Shirley Henderson, New Tricks’ Alun Armstrong and Ted Lasso star Hannah Waddingham.

Many viewers consider the drama an essential watch and it’s still currently available to stream for free on ITVX.

One 10/10 review from an IMDb user declared it “Gorgeous viewing with a top notch cast”.

They continued: “The cast list is like a who’s who of the cream of British talent, topped by two lovely and good looking leads.

“The episodes fair gallops on its way, cutting through the boring exposition and getting quickly to the important stuff, the love story between Tom and Sophia.”

The review continued to particularly praise Waddingham’s performance as Lady Bellaston, declaring “Seriously, put this woman in EVERYTHING”.

“If you get a chance, watch it in one go, it’s perfect lazy weekend viewing,” the reviewer concluded.

Another warned that fans of the book should expect some changes to the narrative, but admitted: “Even though the story is not like really really the one from the book is one pretty entertaining and very fun to watch. The choice of actors was really good and they did a great job.

“I really recommend for you to watch it if you want some light series combined with romance, a bit of jealousy and of course some British scenery.”

And a 9/10 review said: “This is what you want from English costume drama – and more. I really liked it.

“Fans of historical dramas and literary adaptations will find Tom Jones a must-watch, as it stays true to the spirit of the novel while making it accessible and enjoyable for modern audiences.”

In the mood for a cosy period romance with plenty of laughs and scenery-chewing performances from British greats? Look no further.

Tom Jones is available to stream on ITVX.

“Bread of Angels,” Patti Smith’s mesmerizing new memoir, only deepens the mystery of who this iconic artist is and where her singular vision originated. I’ve long been struck by her magnetism on stage, her fearless approach to her craft, and the stark beauty of her words on the page, including the National Book Award-winning “Just Kids.” She has a preternatural belief in her own instincts and a boundless curiosity that, taken together, help explain the extraordinarily rich life and oeuvre she’s constructed. This transcendent — and at times terrifying — account of that evolution enriches that understanding. And yet, Smith’s persona remains veiled — sphinx-like — an ethereal presence whose journey to fame was fueled by her questing spirit and later detoured by tragedy.

Like Jeanette Walls’ classic, “The Glass Castle,” Smith’s saga begins with a hard-scrabble childhood she relates as if narrating a Dickensian fairy tale. In the first four years of her life, her family relocated 11 times, moving in with relatives after evictions, or into rat-infested Philadelphia tenements. Smith’s mother was a waitress who also took in ironing. Her father was a factory worker, a World War II veteran scarred by his experience abroad. They shared their love of poetry, books and classical music with their daughter, who was reading Yeats by kindergarten.

Smith, who was born in 1946, was often bed-ridden as a young girl, afflicted with tuberculosis and scarlet fever, along with all the usual childhood ailments. She writes: “Mine was a Proustian childhood, one of intermittent quarantine and convalescence.” When she contracted Asian flu, the virus paralyzed her with “a vise cluster of migraines.” She credits a boxed set of Puccini’s “Madame Butterfly” recordings her mother bought with tip money for her return to health.

As a 3-year-old, Smith recalls grilling her mother during evening prayers, posing metaphysical questions about Jesus and the soul, immersing herself in Bible study and later joining her mother as a Jehovah’s Witness. She didn’t confine herself to a single religious discipline, though. For example, while still a young child, she saw the movie “Lost Horizons” and became entranced by Tibet and the teachings of Buddhism — “an awareness of the interconnectedness of all things.” While “this seemed beautiful,” she writes, “it nonetheless troubled me.”

There is a romantic quality even to the deprivations Smith chronicles, an effect heightened by what she chooses to highlight or withhold. With little money for toys, she and her siblings entertained themselves using the knobs on a dresser as instruments on a ship, sailing on faraway seas. She and her younger siblings regularly set out with their mother to the nearby railroad tracks, where they harvested leftover lumps of coal to fuel their pot-bellied stove — the apartment’s sole source of heat. Under the floorboards of her closet, Smith conceals “glittering refuse I had scavenged from trash bins, fragments of costume jewelry, rosary beads,” along with a blue toothbrush she’s invested with magical powers.

Their apartment building overlooks a trash-strewn area dubbed “the Patch,” which is bordered by “the Rat House.” There, Smith proclaims herself general of the neighborhood’s Buddy Gang, fearlessly fending off bullies twice her size, while at school, she was viewed as odd by her teachers, “like something out of Hans Christian Andersen.”

Within this urban setting, Smith often paused to marvel at nature. Taking a short cut on the long walk to school, she stumbles on a pond in a wooded area. A snapping turtle emerges and settles a few feet away. “He was massive,” she recalls, “with ancient eyes, surely a king.”

It’s impossible to know if Smith was really this self-possessed and ruminative as a child or if nostalgia has altered her perspective. What’s undeniable, though, is that her extraordinary artist’s eye and soulful nature emerged at an age when the rest of us were still content to simply play in our sandboxes. She recollects fishing Vogue magazines out of trash cans around age 6 and feeling “a deep affinity” with the images on their pages. She’s immersed in Yeats and Irish folk tales while being bored at school reading “Fun With Dick and Jane.” On her first visit to an art museum, viewing Picasso’s work produces an epiphany: She was born to be an artist. A decade later, she boards a bus bound for New York City.

At this point, about a third of the way into the book, we enter the vortex that is Patti Smith’s talent and ambition on fire. The pace of the memoir accelerates. An alchemy infuses each chance encounter. Opportunities abound. Everywhere she turns there are talented photographers, poets, playwrights and musicians encouraging and supporting her. She writes poetry and finds a soulmate in Robert Mapplethorpe. She meets Sam Shepard, who features her poem in a play he’s writing. She meets William Burroughs, performs a reading with Allen Ginsberg. She forms a musical partnership with Lenny Kaye, and begins performing her poetry, with the 19th century French poet Arthur Rimbaud as her spiritual inspiration.

Smith’s story unfolds as a bohemian fairy tale. Luck is with her, bolstered by a fierce conviction in her own bespoke vision. “There was no plan, no design,” she writes of that time, “just an organic upheaval that took me from the written to the spoken word.” Bob Dylan becomes a mentor. Her fame grows enormous with the 1975 release of “Horses” and the international touring that followed, yet she retains the bearing of an ascetic. She writes: “We hadn’t made our record to garner fame and fortune. We made it for the art rats known and unknown, the marginalized, the shunned, the disowned.”

Smith’s rock star trajectory is diverted by her love affair with Fred Sonic Smith, for whom she ditches her career at its height, against the advice of many of those closest to her. But as with every decision she’s ever made, she can’t be dissuaded. In this intimate portion of the book, we receive glimpses of two passionate artists hibernating, in love. They marry, have two children, and cultivate an eccentric version of domestic bliss. But harsh reality intervenes and the losses begin to accumulate. One after the other, Smith loses the men she loves most — Robert, then Fred, then her beloved brother, Todd. These losses haunt the memoir; she grapples with them by returning to the stage with a fierce new hunger.

The book’s final pages reveal Smith continuing to grieve, mourning the loss of other loved ones — her parents, Susan Sontag, Sam Shepard. I wish I could simply reprint those pages here — they moved me deeply. At 78, she reflects on the process of “shedding” — which she describes as one of life’s most difficult tasks. “We plunge back into the abyss we labored to exit and find ourselves within another turn of the wheel,” she writes. “And then having found the fortitude to do so, we begin the excruciating yet exquisite process of letting go.”

“All must fall away,” she concludes. “The precious bits of cloth folded away in a small trunk like an abandoned trousseau, the books of my life, the medals in their cases.” What will she retain? “But I will keep my wedding ring,” she writes, “and my children’s love.”

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

Sitting on the border of England and Wales, this quaint town has open bookshelves in the streets and independent bookshops lining the roads, drawing in readers from across the UK

Nestled beneath the ruins of a picturesque castle, with open bookshelves lining the streets and independent bookshops at every turn, Hay-on-Wye is an avid reader’s dream come true.

This quaint town, largely dedicated to the joy of reading, has been a haven for book lovers since 1961 when Richard Booth opened his first shop. It quickly transformed into a literary hotspot.

Today, it boasts over 20 bookshops and hosts an annual festival that attracts some of the world’s most esteemed authors and thinkers. The Hay Festival spans ten days from May to June each year.

The inception of the Hay Festival in 1988 put the town firmly on the global map as a literary sanctuary. Past guest speakers have included renowned actors such as Judi Dench and Jude Law, and even former US president Bill Clinton.

Among the castle ruins lies a unique book spot where visitors can browse open-air shelves brimming with books. Operating on an honesty system, tourists are expected to leave money in a payment box after selecting their books, which typically range from £1 to £6.

A TripAdvisor review says: “This is a very interesting place to visit with fabulous guides who have so much knowledge of the castle and it’s history…. there is also a very good gift shop with an amazing array of history books and gifts of all kinds. I would definitely encourage you to visit.”

Book lovers will find plenty to explore amongst the town’s beloved independent shops. The original Richard Booth Bookshop remains one of Hay’s largest, offering both new and second-hand titles alongside welcoming nooks where visitors can settle in with a good read.

For something different, the Hay Cinema Bookshop occupies a former picture house spread across two storeys. Its extensive collection is made easier to browse thanks to helpful signage throughout the sprawling sections.

Castle Bookshop earns high praise from bibliophiles and ranks amongst TripAdvisor’s must-visit destinations in the town. One review notes: “Best place in Hay for all types of books, with many bargains to be had. Has a lovely selection of old as well as new books.

“The only bad mark is it is not good for the disabled, as everything is up and down steps and tight walkways. But if you are a book fan, you must give it a visit.”

This castle in Wales has been compared to the Leaning Tower of Pisa and is said to be ‘like stepping into a giant storybook filled with knights and kings’

Brimming with history and overflowing with character, this Welsh castle has captured the hearts of visitors who’ve compared its splendour to some of the globe’s most iconic landmarks.

Caerphilly Castle is a medieval fortress dating back to the 13th century and, after a two-year restoration, has reopened its doors to the public. Visitors can now wander through the Great Hall and inner castle ward whilst exploring cutting-edge digital exhibitions inside. It was originally built by Gilbert de Clare as part of his strategy to maintain control of Glamorgan – then Wales’s most populous and industrialised county.

With the Prince of Wales’s influence rapidly expanding, he needed to establish his authority swiftly. To achieve this, construction began in 1268 on what became the nation’s largest castle and second only to Windsor Castle across the entire UK.

Spanning more than 30 acres with massive walls and gatehouses, alongside extensive water defences, it’s fair to say his ambitions were realised. One visitor shared their impressions on TripAdvisor, saying: “A sprawling site that is quite impressive.

“The large site minimises crowding, so you should be able to enjoy the site at your leisure – we certainly did. Limited amount of interiors remaining but still well worth the visit.”

To grasp just how enormous this fortress truly is, it’s three times larger than the Principality Stadium, Wales’ rugby headquarters. Many have likened it to Italy’s iconic Leaning Tower of Pisa, thanks to its own tilting tower which makes it all the more distinctive.

One visitor said: “Caerphilly Castle is like stepping into a giant storybook filled with knights and kings. From the moment you lay eyes on its towering walls, impressive moat and imposing towers, you are transported back in time.”

Another highlighted the tower as their standout feature, saying: “This is one of the most beautiful castles in the UK. It is very pretty, especially the leaning tower.”

Located in South Wales, Caerphilly Castle sits just 30 minutes by car from Cardiff city centre. It’s also conveniently positioned less than an hour from Swansea and within 90 minutes of Gloucester.

Entry to the castle is reasonably priced, with adult tickets at £11.90 and family passes at £38.10, whilst disabled visitors and children under five can enter free of charge. Commenting on the admission cost, one guest remarked: “I have paid more for far less at other mansion houses, etc, and this was so worth the entrance fee.”

Former Vice President Kamala Harris has yet to decide if she’ll run for president in 2028. She’s also not going to dish on her former boss, Joe Biden. And her advice for a Brown-skinned person just getting into politics? There will be many situations when you walk into a meeting room and no one looks like you. Keep your chin up, your shoulders back and remember — all of us have your back.

“All of us” referred to the cheering, sold-out crowd at the Wiltern Theatre in Los Angeles on Tuesday evening who’d come to see the former Democratic presidential candidate speak about her new book, the election-campaign memoir “107 Days.” The chanted “Kamala!” “Kamala!” as she walked on stage. The outbursts of adoration continued for the next hour in eruptions of applause and supportive shout-outs (“We love you!”) as she spoke about everything from the need to pass Proposition 50 to how she coped with the devastating loss to Donald Trump in the 2024 election.

Moderated by actor Kerry Washington, “A Conversation With Kamala Harris” was one of nearly 20 stops on a tour that’s already seen Harris speak in New York, London and at the Wiltern last month. Zealous attendees paid anywhere from $55 to $190 on tickets to see Harris again following “one of the wildest and most consequential campaigns in American history” (the latter is an official descriptor for her book). The memoir details her historically short run for president, the whirlwind 107 days between the time Biden withdrew from the race and Harris become the Democratic nominee to her devastating loss on Nov. 5.

Harris fans flock to the Wiltern to see Kamala speak about her book, “107 Days.”

(Jason Armond / Los Angeles Times)

Were there any great revelations or gotcha moments on stage Tuesday evening? Not really, but that’s not what this tour is about — at least for those who chose Harris over watching Game 4 of the World Series between the Los Angeles Dodgers and the Toronto Blue Jays. The former attorney general of California shared her thoughts about the current Department of Justice — a “thin-skinned president” is using it as his own personal tool of “vengeance.” She explained how her loyalties to Biden may have cost her votes, and called out the Washington Post and the L.A. Times, whose “billionaire owners pre-capitulated” to Trump when they pulled their respective editorial boards’ endorsements for Harris. She drew a big laugh when discussing the importance of parsing fact from fiction in today’s mediaverse, and made up her own example of misinformation: “Circumcisions are causing autism!” And on a more serious note, she detailed the emotional fallout she experienced after losing the election: “For months [she and her husband, Doug Emhoff] never even mentioned it.”

Criticisms of Harris’ book have centered around a frankly tired refrain that she should accept more personal accountability for the election loss as opposed to blaming the influence of outside forces. On Tuesday she appeared willing to explore those themes when she said she constantly interrogated herself on the campaign trail: Are you doing everything you can to win this election? But before she could go much deeper, Washington told her that she needed to know that we, the audience, understood she did everything she could. The crowd erupted in affirming shouts and applause.

Clearly, a book tour attended by The Converted is not going to produce headline-worthy grist, especially with an interviewer who is an admitted Harris friend and supporter. That’s what debates and media interviews are for, and this was a fan event.

And her base was thirsty. Since Harris has largely stayed out of the spotlight since last November, the audience appeared ready to relive some of the joy they felt in the brief time she was running for office, and perhaps find a glimmer of hope in dark times for those who see the current administration’s actions as anti-democratic, at best.

Before “The Conversation With Kamala Harris” kicked off at 7 p.m., attendees who spotted Harris’ husband, Emhoff, in the first few rows of the venue lined up to shake his hand and take selfies with the former second gentleman of the United States. The close access to SGOTUS was surprising, given the heightened security around political figures after violent events such as the home-invasion assassinations of Minnesota state representative Melissa Hortman and her husband in June, and the killing of conservative activist Charlie Kirk at a speaking event last month. Yet the atmosphere was casual and relaxed.

Despite heightened threats of politically-motivated violence, President Trump pulled Harris’ Secret Service detail, as he has done to many of those he sees as his enemies. But as a former state office holder, Harris’ security detail Tuesday was provided by the California Highway Patrol.

The conversation lasted a little over an hour, with a few prescreened questions at the end from audience members, such as the query from an attendee who identified himself as Ramon Chavoya, a proud Latino. He asked for Harris’ advice on getting into local politics. She was the first Black and first South Asian female candidate to be chosen by either party to run for the Oval Office. Her very presence was a reminder that the face of the nation is changing, despite a rise in xenophobic movements and legislation. She advised the aspiring young politician that he would likely stand out, but that he wasn’t alone. “We’re all in the room with you,” she said, a sentiment Harris’ supporters surely understood.

FORMER Corrie actress Michelle Keegan is being courted for her first Hollywood film role.

US screen star Reese Witherspoon is keen for the 38-year-old to play the lead in a big-budget movie adaptation of her new novel.

Oscar-winner Reese, 49, wrote crime thriller Gone Before Goodbye with American author Harlan Coben, who was behind Michelle’s Netflix hit show Fool Me Once.

Harlan introduced the women to each other at the launch of the book at the ­London Literature Festival, held at the capital’s Festival Hall last weekend.

A source said: “Harlan has been singing Michelle’s praises to Reese and she was keen to meet her. They got on really well and it was clear Reese was really taken with Michelle.

“The plan is to turn the book into a film and Michelle is their first choice to take on the role of the lead character, Maggie McCabe.

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“She is a combat surgeon and Michelle previously played an Army medic in Our Girl on the BBC, so it’s a role they know she could take on with style.

“It’s early days but Harlan and Reese think Michelle is tailor-made for this role and would love her to come on board when the time is right.”

Ex-soap star Michelle became a global success after the mystery drama Fool Me Once was released last year.

The series became one of Netflix’s most watched TV shows of 2024 — with more than 107 million people streaming it worldwide in the first 90 days.

Best-selling author Harlan said of his leading lady: “I think what Michelle has, besides tremendous talent and all the other stuff, is a genuine authenticity.

“I think the audience, loves her, people want to follow her life, because they sense that there’s a kindness and a gentleness.

“And that’s really her, she’s truly authentic.”

Speaking last year, 63-year-old Harlan insisted he would be keen to work with her again and reckoned: “If we could get Michelle, we’d love to get Michelle.”

Fans of Michelle, from Stockport — who has a daughter with Heart FM DJ husband Mark Wright — will next see her on screen in ITV crime drama The Blame.

She plays Detective Inspector Emma Crane in the six-parter, which is an adaptation of ­Charlotte Langley’s 2023 debut novel of the same name.

Michelle is also known for her roles in the Sky One comedy drama Brassic and BBC drama Ten Pound Poms, about Brits who migrated to Australia in the 1950s.

In the world of child prodigies, novelists are the rarest breed. Barbara Newhall Follett, born in Hanover, N.H., in 1914, fit the bill. By the time she was 9 years-old she had completed her first novel, a subsequent draft of which was published by Knopf when she was 12. Two years after that, she released her second novel. Both were met with critical acclaim, and Newhall became a celebrity in the publishing world.

Nearly a decade later, after a fight with her adulterous husband, the 25-year-old Follett left her apartment in Brookline, Mass., with $30 in her pocket and a notebook. She was never seen or heard from again. The mystery of the vanished former child genius has pulled at the public imagination ever since, resulting in a number of books and articles about her life and disappearance, including a 2019 essay in the Los Angeles Review of Books speculating that Newhall had committed suicide by ingesting barbiturates.

Barbara Follett, a child literary prodigy, is the subject of a new musical titled “Perfect World.”

(Courtesy of Stefan Cooke / Farksolia.org)

A world-premiere musical can now be added to the growing list of Newhall-themed explorations. “Perfect World,” written by Alan Edmunds and composed by Richard Winzeler, with lyrics by both men, opens Saturday at the El Portal Theatre in North Hollywood, running through Nov. 9.

The project marks Edmunds’ debut as a librettist. The retired psychologist — who specialized in gifted children — hit upon the idea of creating a musical about Follett’s life after a deep dive into her archives at Columbia University almost 15 years ago.

“As I’m reading through this, I start to feel the tragedy of what really happened to her,” Edmunds said during an interview at the theater over the pounding of hammers and the buzzing of drills as the detailed set was put together. “I thought this is the hero’s journey. Unfortunately, it’s not a happy ending.”

Edmunds was so inspired by the 15 boxes of archival material, including hundreds of hand-typed letters that Follett wrote to dozens of relatives and acquaintances, and endless lyrical descriptions of the imaginary world of Farksolia at the heart of her debut novel, “The House Without Windows,” that he drafted his initial outline for the musical on his knee while taking the subway from Columbia to Broadway to see “La Cage aux Folles.”

The show’s team took creative license in the retelling of Follett’s story, but for the most part Edmunds adhered to the broad strokes of her short, vibrant life. The musical hops back and forth between two story lines: Follett’s experiences up until her disappearance, and the nationwide investigation that unfolded afterward, led by the dogged Capt. Stahl and forever pushed forward by her grieving mother, Helen Thomas Follett.

Follett’s childhood was marked by unhappiness, Edmunds said, noting that Helen, who wrote for a commercial shipping company, and Follett’s father, a Knopf literary editor named Wilson Follett, fought often.

“They were at each other hammer and tongs,” Edmunds said. “And even when they wrote about Barbara, subsequently, you could feel the animosity between them.”

This made sense because about a year after the publication of Barbara Follett’s first book, Wilson left Helen for a much younger woman, moving in with her in Greenwhich Village. Her father’s desertion dealt a crushing blow to Barbara, who adored him. She subsequently embarked on a sailing journey with Helen from New York to Barbados and then on through the Panama Canal. Barbara became seriously ill during the journey — the result of nerves and depression, Helen thought.

Barbara Follett, a child literary prodigy, is the subject of a new musical titled “Perfect World.”

(Courtesy of Stefan Cooke / Farksolia.org)

Around that time, Follett met and fell in love with a 25-year-old sailor named Edward Anderson. Helen did not approve, and Edmunds said she conspired to get Anderson fired from his position as second mate. The loss of Anderson was the second major blow in Follett’s life, Edmunds said, and it’s a thread that runs through the musical, leading to Follett’s meeting with a recent Dartmouth graduate named Nickerson Rogers — the man who would become her husband, and who would eventually leave her after having an affair with her best childhood friend.

The couple shared a love of nature, and before they were married, spent months hiking and camping together along the Appalachian Trail. Photos from the early 1930s show a slender, bare-legged Follett with short-cropped hair, sitting beside an open fire with a cooking pan and an old tin coffee pot.

Follett’s life was filled with crushing disappointment and near-constant stress, but nature provided a release. This is likely why she conjured up the perfect world of Farksolia at such a young age. It was an escape, and Follett packed it with as much detail as possible, including its own system of mathematics, its own language — Farksoo — and its own alphabet.

The heroine of “The House Without Windows” is a young girl named Eepersip who runs away from home to live contentedly with her animal friends in the woods. If it sounds simple, it was. But that was also its genius.

Critics loved it and it sold more than 20,000 copies upon its initial printing.

“I can safely promise joy to any reader of ‘The House Without Windows.’ Perfection,” wrote the English author of children’s books, Eleanor Farjeon, in a review.

Barbara Follett, a child literary prodigy, is the subject of a new musical titled “Perfect World.”

(Courtesy of Stefan Cooke / Farksolia.org)

There are many theories about what happened to the adventurous and headstrong young woman after she vanished, including that she was killed by her husband, who had demanded she stop writing and failed to report her missing until two weeks after she left. Others think she simply moved far away, changed her name and continued to write under a pseudonym. Then there is the recently surfaced idea that she went to a family-owned cottage in the woods and swallowed enough barbiturates to end her life. That theory holds that a body discovered in the late 1940s was misidentified as another woman, when it was actually Follett.

Edmunds has given the matter extensive thought and believes that Follett loved life too much to kill herself. The idea that appeals to him the most comes from a crumb of a clue in Follett’s archives — a letter from the sailor Anderson that Follett received a short time before her disappearance. It could be surmised from her letters that she never stopped loving Anderson. Could it be that she went to find him when her husband’s affair became known to her?

Edmunds ultimately decided not to go down the rabbit hole of speculation about Follett’s demise, opting instead to focus the musical on Follett’s life, “What she did, how she rescued herself, how she was so engaged and connected to nature, and how she wanted people to take care of each other and be good to each other,” Edmunds said. “How we could have a better world.”

When booking a flight, most people will always choose between window or aisle — but one of these choices is actually significantly better than the other for a couple of reasons

When it comes to booking a flight, there are typically two preferred seating options. No one fancies being sandwiched in the middle of a row, so most passengers will always opt for either window or aisle. However, one of these choices is significantly superior to the other for a couple of reasons.

One key reason is that this seat is more likely to be thoroughly cleaned between flights, reports the Express.

According to Andrea Platania, travel expert at Transfeero, the aisle seat is “always a winner”.

She explained: “Cabin crews have limited time between flights to clean every row, and reaching window seats properly is tricky.

“The aisle seats tend to be wiped more thoroughly simply because they’re easier to access.”

In addition to likely receiving a more comprehensive cleaning, the aisle seat also feels a bit fresher during long-haul flights. This is due to the way air circulates within the plane’s cabin.

Andrea clarified: “Air in the cabin circulates from top to bottom and side to side. So while the whole plane shares the same filtered air, being in the aisle gives slightly more exposure to moving air, as it can feel fresher, especially on older aircraft.”

Those who favour the aisle seat often mention more freedom to move as one of the reasons they prefer it. You don’t have to scramble over other people to get to the loo, or stretch your legs.

Andrea stated: “You can move when you want without asking anyone to stand up or doing that awkward shuffle past strangers. Being in the aisle means you can stretch, go to the loo or grab something from the overhead bin whenever you please.”

Those lucky enough to snag an aisle seat are also typically among the first to disembark the flight.

Andrea added: “When everyone stands up at once, you’re already halfway to the door while the window seat passengers are still waiting to squeeze out.

“For business travellers or anyone catching a transfer, those few minutes can be priceless.”

The On The Beach worker shared five destinations he is convinced will go viral next year

With 2026 rapidly approaching, many families are already planning next year’s holiday. For those in need of inspiration, a travel blogger and On The Beach specialist has revealed five destinations he expects to explode in popularity next year – and which you could book now to avoid the rush.

Rob Brooks, a travel enthusiast and influencer with the travel company On The Beach. He is well-known online for providing budget-friendly travel advice, hotel reviews, and holiday tips, which has helped him amass a significant following on social media, especially on TikTok where he goes by the username @Robonthebeach.

In a new post, Rob shared a video titled: “Five destinations I think are about to go viral, my 2026 holiday destination predictions.” His caption said: “Trust me, these 5 holiday destinations will be all over your ‘for you’ page next year.” Rob told viewers: “There are five destinations that I think are about to go viral in 2026.

“I spent a lot of time recently looking through the holiday data from this year, and I think these places are gonna be huge next year. These are places rising fast in 2025 that I think are about to hit the next level next year.”

Sharing fifth place on his list, Rob said: “Porto in Portugal. Lisbon had its moment, and Porto’s next. It’s cheaper. People say it’s trendier, and it’s got that perfect mix of Old Town charm and ocean views.

“It’s becoming the new city break with sunshine favourite, and we’ve seen bookings here shoot up already this year. The fact that it still flies under the radar against Lisbon and the Algarve makes it feel like the next big thing for travellers, and I found three nights in Porto next year with flights from £213 per person. Not bad.”

Moving onto the fourth spot, he said: “Seville in Spain. Seville is the Spanish city that’s finally getting the love it deserves. It’s got the architecture of Madrid, the atmosphere of Barcelona, but it’s half the price and the food’s better. 2025 was its breakout year, and we can see that in the booking numbers. But 2026 is when it’ll go properly big time. And at these prices, I’m not surprised. I found three nights in Seville with flights for just £182 per person.”

In third, Rob said: “Bulgaria. This one’s a bit of a dark horse. Bulgaria is becoming the go-to for affordable beach holidays. But it’s not just about being cheap anymore. The hotels are improving, the beaches are spotless, and Sunny Beach is growing up a little bit. It’s still dead fun. There’s just less chaos. If value stays king next summer, which I think it will, Bulgaria will be massive.

“We’ve seen more bookings this year, and the data shows more searches for lower-cost Eastern European holidays. And when I did a search myself, I found seven nights in Sunny Beach with flights for a family of four for £214 per person, and that’s all-inclusive.”

Revealing second place, the blogger said: “Agadir in Morocco. It’s a four-hour flight from the UK, the weather is about 25 degrees all year, and the resorts have gone up a notch in the last few years. All-inclusive holidays here tend to be cheaper than the Canaries, and people are realising that it’s an exotic destination, but without a long-haul flight. In recent years, we’ve seen Agadir popping up as a real contender to the usual winter sun destinations. This year it’s gone up again. You can expect to see more deals like this one in 2026. Seven nights in Agadir, all-inclusive package with flights, just 370 quid per person. It’s a no-brainer.

Rob’s top spot goes to Egypt, reports the Express. He said: “I feel like I bang on about Egypt, but it’s had one of the biggest glow-ups in years. Sharm El-Sheikh and Hurghada genuinely have world-class hotels now, proper five-star resorts with stunning views of the Red Sea, and unbeatable weather all year round. The beaches and the diving and the all-inclusives are unmatched at its price. And I think 2026 is the year that Egypt becomes the luxury destination without the long-haul flight. And here’s why. Five-star all-inclusive in June 2026 for seven nights is just £412 per person.

“So that’s my five to watch for 2026. Porto, Seville, Bulgaria, Agadir and Egypt. Each one of them has seen a big surge already, and each one of them offers something different to people.”

The video racked up over 300k views and thousands of likes. One viewer replied: “Agadir in November was gorgeous! Just chilly on evenings.”

Another commenter thought: “Seville is so beautiful and underrated. Great food spots and amazing things to do. Just don’t go in June you will be cooked in the heat.”

Septuagenarian TV star Kelsey Grammer is still growing his family, most recently with the arrival of his newest child.

The beloved “Cheers” and “Frasier” actor, who turned 70 in February, is now a father of eight. Grammer announced he and wife Kayte Walsh welcomed their fourth child together during his appearance on the “Pod Meets World” podcast.”

We just had our fourth one, it just became eight kids,” he said during the podcast episode, published Monday. “Christopher, that’s [who] just joined the family.”

The Emmy-winning TV veteran said his newest son arrived “three days” before the episode taped and joked with podcast hosts Rider Strong, Danielle Fishel and Will Friedle that he has “clusters” of children of different ages.

Grammer and Walsh, 46, married in 2011 and also share a teenage daughter and two sons. People reported in June that the couple was expecting a child again, publishing photos of the two taking a stroll through London.

The five-time Emmy winner has been married four times. Before Walsh, he was married to dancer-model Camille Donatacci. He was also briefly married to Leigh-Anne Csuhany, and dance instructor Doreen Alderman before that. His seven other children, the eldest being actor Spencer Grammer, hail from those previous relationships.

The sitcom star became a grandfather in October 2011, when his son Spencer welcomed a son with ex-husband James Hesketh.

In the past, Grammer has been open about the “beauty of being an older dad.” He told the Guardian in 2018 that raising children later in life he feels fortunate to “get a chance to kinda try it again. That’s been a real gift.”

The actor announced the arrival of his eighth child while promoting his book “Karen: A Brother Remembers,” released in May, about the brutal murder of his sister at age 18 and his lifelong battle with grief. During the episode, Fishel asked the actor how much his children knew about his late sister.

He explained his older children have varying degrees of knowledge about his sister, while his younger kids will have to wait to learn more and read his book. “Some of the stuff is too brutal, they don’t really need to be exposed to that yet,” he said.

Throughout the podcast episode, Grammer also recalled the proceedings in his sister’s case and learning how to process the loss while delivering laughs on TV.

“I didn’t walk around talking about it a lot, it’s been with me since the day it happened,” he said.

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.

HUNGRY Brits are being led by their stomachs when it comes to booking a holiday – as the UK establishes itself as a nation of foodies.

Research from tour operator TUI has revealed that 41 per cent of us would consider booking a trip that’s all about the nosh.

It’s little wonder as, even at home, 39 per cent said they prioritise eating out in local restaurants.

Sophie Swietochowski shares her pick of the best short-haul breaks in 2026 for those who love their grub . . . 

AYIA NAPA, CYPRUS

TO get a bit of guidance on your foodie adventure, take a look at TUI’s new Dine & Discover packages, which are designed to send travellers to hotels renowned for their food.

As well as excellent grub and booze within the resorts’ restaurants, visitors will be treated to special extras, such as a complimentary cookery lesson or a cocktail mixology class, as part of the deal.

WAIL OF A TIME

I drove Irish Route 66 with deserted golden beaches and pirate-like islands

TEMPTED?

Tiny ‘Bali of Europe’ town with stunning beaches, €3 cocktails and £20 flights

The 5H Amanti, MadeForTwo hotel in Ayia Napa, on Cyprus’s south-eastern coast, is marketed as a couples-only resort and is the ideal spot for a romantic escape.

Travellers booked on the TUI package will receive money off a mountain villages tour with lunch and honey tasting.

Or they can opt for a discount on a halloumi-making and bread baking experience.

GO: Seven nights’ B&B at the Amanti, MadeForTwo hotel is from £1,192pp including flights from Manchester on June 1, 2026. See tui.co.uk.

MOROCCO

IF it’s authentically traditional tastings you are after, Intrepid is the holiday company for you.

Their 12-night Morocco Real Food Adventure is undoubtedly something for the bucket list, showcasing everything from camel burgers to traditional family dinners whipped up in local homes – as well as tours of traditional markets.

Cuisine is at the heart of this trip, but you’ll tick off some pretty cool sights, too, as you pass through Casablanca, Meknes, Moulay Idriss, Chefchaouen, Fez and Midelt before moving on to Merzouga, the M’Goun Valley and, of course, Marrakech.

You’ll stay in hotels, guesthouses, gites and a desert camp.

GO: The 12-day trip costs from £984pp including accommodation, breakfasts, most dinners and some lunches.

Price also includes several foodie experiences such as a goats-cheese tasting and cous-cous demonstration. Flights extra. See intrepid.com.

DOLOMITES, ITALY

HAVING your hand held is no bad thing – and because of this, you know you’ll get the best of the best wherever you go when you book one of Saga’s food-and-wine holidays.

Every itinerary on a these getaways has been carefully curated, to include the top spots and activities on offer in that region, whether it be a visit to a local market or a cookery workshop combining culture and grub.

How does la dolce vita in the Italian mountains sound?

This week-long Dolomites tour is lip-smackingly good, with a visit to a working dairy farm, a wine-cellar tour with olive-oil samplings, and demonstrations at an apple orchard.

When you’re not tasting goodies, kick back at your hotel, the Alle Dolomiti over-looking Lake Molvano – enjoy the pool or unwind in the sauna.

GO: A seven-night Food And Wine In The Dolomites trip costs from £1,525pp on a half-board basis, including flights from Gatwick on September 21, 2026. See holiday.saga.co.uk.

BODRUM, TURKEY

HOLIDAY firm Jet2 has a specific section entirely dedicated to foodie escapes.

It is called Perfect For Dining – and these places really are.

The collection of hotels offer gourmet food, with extensive a la carte menus, and have an emphasis on local flavours.

Some of the properties even house Michelin-star restaurants.

Unlike many all-inclusive packages, the all-inclusive-plus deals at the 5H Lujo Art And Joy hotel, in sun-drenched Bodrum, cover everything.

That means not being restricted to the buffet each night, as a la carte dining at breakfast, lunch and dinner is available at most of the 11 onsite restaurants and bars.

You will have to fork out extra for the teppanyaki, steakhouse and Asian joints, though.

Kids will be kept happy with a 24-hour ice cream and frozen yoghurt stand.

GO: Seven nights’ all-inclusive-plus costs from £1,828pp based on a family of four sharing and including flights from Leeds Bradford on April 19, 2026. See jet2holidays.com.

PORTOPETRO, MAJORCA

THE Spanish island of Majorca most certainly pips the other Balearics to the post when it comes to a smashing food and drink scene.

If you’re tempted to visit, it’s worth remembering that customers booking a TUI Dine & Discover package also receive 15 per cent off food and gastronomy experiences with TUI Musement.

And on this gem of an island, that includes a Majorca Winery Visit & Local Food Tasting experience.

You’ll be driven into the heart of the island’s wine country to sample tipples from a small family-run vineyard.

Soak up that booze with homegrown snacks, fresh bread, olive oils and local cheeses.

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CHA-CHA-CHAOS

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A stay at the 5H Ikos Porto Petro also includes a free bottle of cava from the hotel’s private cellar, as well as a cocktail event on site.

GO: Seven nights’ all-inclusive at the 5H Ikos Porto Petro is from £2,240pp including flights from London Gatwick on May 5, 2026. See tui.co.uk.

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.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ 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.”

Nine years after “Go Set a Watchman” published, Robert Allen Papinchak reviews Harper Lee’s latest, “The Land of Sweet Forever,” a collection of stories and essays from the late author, calling it “a rewarding addition and resource to the slim canon of her literary legacy.”

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.”

Finally, Mikael Wood chatted with filmmaker Cameron Crowe about his new memoir, “The Uncool.” Says Crowe of his journalism days, “I did an interview with Bob Dylan for Los Angeles magazine, and I got it so wrong that they didn’t publish it.”

📖 Bookstore Faves

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.

Vroman’s Bookstore is at 695 E. Colorado Blvd. in Pasadena.

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.”

Since the publication of “Gender Queer,” the political climate has been increasingly hostile to the LGBTQ+ community. Right-wing activists and politicians have pushed for legislation to restrict queer and trans rights, including how sexual orientation and gender identity can be addressed in classrooms. Caught in the crossfire of this conservative, anti-LGBTQ+ culture war, “Gender Queer” has become one of the most challenged and banned books in the United States.

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.

(Oni Press)

Eating dirt is usually not a good thing, but in the new Amazon Prime series “Cometierra,” it’s a superpower.

The supernatural crime thriller, which premieres on Halloween, is based on the 2019 Dolores Reyes novel of the same name. The book follows the story of a young woman who has the ability to communicate through visions with the dead and missing people of Argentina by eating the physical land they trod.

“Cometierra” stars Lilith Curiel with supporting roles from Oscar nominee Yalitza Aparicio and Gerardo Taracena. It follows the same outline of the book but is set in contemporary Mexico to address the themes of state violence, femicide and the missing persons epidemic.

The source material and its new twist were what drew Mexican singer-songwriter Natalia Lafourcade to perform the series’s title song, “La Cometierra.”

“We have this reality in Mexico, there’s violence against many women and there’s the disappeared. It’s a very sad situation that we have, but it’s a fact,” the singer said. “It’s inspiring the way the series develops and how this girl, alongside her neighbors, creates a [positive] tribal strength out of her situation.”

Lafourcade especially liked that the series provides an organic avenue for debate and serves as a call to action to recognize that these are all problems in Mexico, while also showing that there is a deep well of beauty within the country.

“We all have a talent that we can always put forward as a service for our family, our country, just for other people,” she said.

The 41-year-old artist’s recently released single channels the energy of the series and its themes by conjuring a spoken word cadence that culminates in a nursery rhyme chant about the powers of the Cometierra.

“I wanted to make a sound that would be very strong and that would present a reality and that the lyrics wouldn’t be smooth,” Lafourcade said. “But at the same time, it would have hope and light and this feeling of joy for the next generations. So I wanted to have this mix of girls singing in a very naive tone, but also mix in a straight voice telling hard truths.”

The song, while geared toward a Mexican experience, now has a striking relevance in the United States as Immigration and Customs Enforcement raids — largely targeting Latinos — continue to take place across the country and as hundreds of detained people have been unaccounted for.

“I hope that music has this capacity to make us wake up and be conscious of situations,” Lafourcade said. “I have realized there are many themes that you can take through music, but sometimes music can become something that you hear truths that probably are not so pretty.”

Regarding some of the ugly truths of the U.S. at the moment, the “Nunca Es Suficiente” artist said that it’s not right that people should feel shame of where they come from and that communities need to show up for themselves at this point in time.

“Nobody should take our pride for our roots, our culture, our people,” she said. “The young lady [in the show] reaches a point where she’s confused about if she should use her power and give it to her people or not. She feels very afraid and insecure and she’s going through all that. But I love how she becomes a hero of her own power and I think that’s the fate of many of us, the way we can make a twist in the story we’re living every day.”