“Our little angel, we love you forever & you’re with us always,” the Vesias wrote. “There are no words to describe the pain we’re going through but we hold her in our hearts and cherish every second we had with her.”
The Vesias had been expecting the birth of Sterling, their first child, during the Dodgers’ postseason run. Her death came during the World Series, forcing Vesia to step away from the club.
The day before Game 1 of the World Series, the Dodgers publicly announced Vesia was not with the team because of a “deeply personal family matter.” The Dodgers left him off their World Series roster, as well as the family medical emergency list, so as not to pressure him into feeling he needed to return.
“This is so much bigger than baseball,” Dodgers president of baseball operations Andrew Friedman said at the time. “And for us, it was doing whatever small part we could to just 100% be supportive.”
The Dodgers’ bullpen honored Vesia in Game 3 of the World Series, with each reliever writing his No. 51 on the sides of their caps for the rest of the series. The Toronto Blue Jays’ relievers did the same in Games 6 and 7, a gesture several Dodgers publicly recognized and deeply appreciated.
“I think it really speaks to the brotherhood of athletes, major league baseball players,” said Dodgers manager Dave Roberts ahead of Game 7. “Baseball is what we do, but it’s not who we are. And for these guys to recognize Alex and what he and Kayla have gone through — ‘heartbreaking’ is not even a good enough descriptor.”
“For those guys to do that, it’s incredible,” outfielder Kiké Hernández added. “They’re trying to win a World Series, but they understand that this is — life is bigger than baseball, and baseball’s just a game. For them to do that with the stakes where we’re at, hats off to them, and I want them to know that we appreciate ‘em.”
The Vesias also thanked the Dodgers, Blue Jays and baseball fans for their support.
“Our baseball family showed up for us and we wouldn’t be able to do this without them,” they wrote. “We have seen ALL your messages, comments and posts. It’s brought us so much comfort.”
Vesia was a key part of the Dodgers’ bullpen in both the regular season (when he had a 3.02 ERA in a career-high 68 appearances) and the first three rounds of the playoffs (when he allowed just two runs in seven outings).
On Thursday, the Dodgers picked up Vesia’s $3.65-million option for next season, avoiding arbitration before what will be his final year before reaching free agency.
Warning: This story contains information some readers may find distressing
Quarterback Dak Prescott says the Dallas Cowboys’ players are “hurting” following the death of team-mate Marshawn Kneeland.
Defensive lineman Kneeland, drafted by the Cowboys in the second round in 2024, died aged 24 on Thursday.
Frisco Police Department in Texas said Kneeland appeared to have taken his own life after a vehicle pursuit and multi-agency search on Wednesday night.
Kneeland, in his second season with the Cowboys, scored his first NFL touchdown by recovering a blocked punt on Monday in a loss to Arizona.
Prescott and his team-mates had a team video call in the wake of Kneeland’s death which the 32-year-old said had been “very tough” following a “tragic loss”.
“I hurt for Marshawn, I hurt for his family, I hurt for his girlfriend, I hurt for every single one of my team-mates,” Prescott told CBS Texas.
Prescott’s own brother Jace died by suicide, external in 2020 and he has worked with mental health initiatives in the past few years.
He acknowledged Kneeland’s death had been “triggering” and it was “hard to balance” his emotions.
“This is a pain that you don’t wish upon anybody,” he said.
“You wish none of us had to go through this. You wish Marshawn didn’t have to go through what he went through.
“Tough moment for this team. I feel and hurt for everybody that’s involved in this and Marshawn’s family and loved ones.”
The Cowboys have a bye this week on the NFL schedule before they return to competition on 17 November at Las Vegas.
This article contains some spoilers for the Netflix miniseries “Death by Lightning.”
If politics today make your head spin, wait until you see Netflix’s “Death by Lightning.” The four-part miniseries, premiering Thursday, chronicles one of the more jaw-dropping stretches of post-Civil War American history, when corruption ran rampant, a presidential nominee was drafted at the 11th hour, only to be assassinated early in his term by one of his biggest fans — becoming perhaps the greatest head of state we never really got to have.
And the show answers the burning expletive-laced question posed by its first line: Who is Charles Guiteau?
“I’ve been in a James Garfield rabbit hole for seven years of my life at this point,” says showrunner Mike Makowsky, who adapted Candice Millard’s 2011 chronicle of Garfield and Guiteau, “Destiny of the Republic.” Those who paid attention in history class probably remember that Garfield served briefly as our 20th president in 1881 before being shot and killed. Those who remember more than that are few and far between.
“My own agent half the time refers to him as Andrew Garfield,” says Makowsky. “And I have to confess, I knew very little about Garfield, like most Americans, until I picked up Candice Millard’s remarkable book.”
Realizing he knew little about one of the four American presidents to be assassinated, Makowsky thought, “Since I would desperately like to be on ‘Jeopardy!’ someday, I was like, ‘Let me educate myself.’ I wound up reading the entire book in one sitting.”
“Death by Lightning,” directed by “Captain Fantastic” auteur Matt Ross, boasts a remarkable cast: Betty Gilpin as First Lady Lucretia Garfield; Nick Offerman as Garfield’s successor, a hard-drinking, hard-partying Chester A. Arthur; Michael Shannon as James Garfield, the polymath president, crusader against corruption and noble to a fault; and Matthew Macfadyen as Charles Guiteau, the frustrated office-seeker who shot him.
“I wanted to cast people who were somewhat counterintuitive,” says Ross. “If you read the cast list for this, you might assume Michael Shannon was playing Guiteau because he has played a lot of complicated, for lack of a better word, villains — tough guys, bad guys. And Matthew Macfadyen has played more heroic characters.”
Guiteau is definitely no Darcy from “Pride and Prejudice,” or Tom Wambsgans from “Succession,” for that matter. In the series’ conception of him, he shares more DNA with Martin Scorsese’s unhinged protagonists than he does with Darcy — or, certainly, with Garfield.
The proto-incel with a gun
As portrayed in “Death by Lightning,” Guiteau is a rotten-toothed, scheming, big-dreaming, delusional charlatan and possible sociopath. He’s the proto-incel, and the diametrical opposite to Garfield, whom Makowsky defines as “lawful good,” to borrow the Dungeons & Dragons classification.
“I think the most reductive view of Guiteau is ‘chaotic evil,’ right? But that’s the least interesting rendering of this person,” he says. “What are the societal factors that alienate a man like Guiteau from his fellow human beings? The show is meant to probe into his psyche.”
He was a member of the Oneida community, a religious sect based in New York that practiced communalism, free love and mutual criticism, which is depicted in the series (and yes, they founded the flatware company). But Guiteau couldn’t partake in what Makowsky delicately called the “benefits” of such a society, largely because his delusions of grandeur alienated him from others there. The women reportedly nicknamed him “Charles Gitout.”
“Everyone who encountered him described him as being disagreeable, odd, rude, selfish,” Ross says, explaining the need for an actor who had the opposite qualities. “He’s an extreme example of someone who had no work to be seen for, but was so desperately looking for affirmation and love.”
Charles Guiteau (Matthew Macfadyen) was part of the Oneida community, which practiced communalism and free love, but he wasn’t accepted by its members.
(Larry Horricks/Netflix)
Ross describes Macfadyen as someone who’s empathetic, warm and funny. “I wanted that humanity because the real Guiteau was a deeply disturbed man who was psychologically brutalized by his father to the point he was a non-functioning person.”
Makowsky says as he was reading Millard’s book, he thought of Rupert Pupkin, Robert De Niro’s deranged-fan protagonist in Scorsese’s “King of Comedy.” “This guy showing up, day in and day out, hoping for an audience with his hero [Garfield], being continually rebuffed to the point where something in his brain breaks,” he says of Guiteau. “He felt like a direct historical antecedent to the Rupert Pupkins and Travis Bickles of the world. He fell through the cracks and we lost potentially one of our greatest presidents because of it.”
Makowsky recalls shooting the only dialogue scene between Garfield and Guiteau, when the “greatest fan” finally gets to meet his idol. To Makowsky’s surprise, Macfadyen’s Guiteau “just burst into tears. That wasn’t scripted. It was so overwhelming to him. I think in that moment, more than any other in the series, you feel something for this man.”
Party (hearty) over country
Garfield was succeeded in office by Chester A. Arthur, whom Makowsky calls one of the least likely persons to ever become president. “The man had never held elected office,” he says. “His one political appointment prior to his nomination for vice president was as chief crony of the spoils system of [New York Sen.] Roscoe Conkling’s political machine. The level of corruption was so audacious and insane.”
He’s played with oft-drunken brio by Nick Offerman, whose voice Makowsky says he heard in his head as soon as he started writing the role: “I was like, it has to be Nick Offerman.” He took some liberties with the character and events, including a memorable sequence where Arthur and Guiteau go on a bender. Makowsky says they “probably never had a wild night out in New York, but it was an indelible proposition and I couldn’t resist.”
Nick Offerman plays eventual President Chester A. Arthur, who was closely aligned with New York Sen. Roscoe Conkling (Shea Whigham).
Betty Gilpin portrays First Lady Lucretia Garfield as her husband’s intellectual equal. (Larry Horricks / Netflix)
As to the first lady, “Lucretia Garfield was every bit her husband’s intellectual equal. But she couldn’t vote. There was a ceiling to what a woman in her day could accomplish,” Makowsky says, wistfully musing on what she might have achieved, given the chance. “And Betty [Gilpin] radiates that strength and that acute intelligence.”
Having recently given birth, Gilpin took her family along to Budapest for filming, voraciously researching Lucretia and reading her entire correspondence with her husband. The role gets meatier as the series progresses until she initiates an unforgettable, blistering encounter with Guiteau to button the story.
“Betty jokingly said to me, ‘If you cut that scene, I will kill you.’ I was like, ‘There’s no way that scene is being cut. It’s one of my favorite scenes in the entire show,’” Ross recalls. “Everyone who read it was like, ‘Oh my God, this scene.’ And Betty just knocked it out of the park, take after take after take.”
The forgotten president
Ross says when he first read Makowsky’s scripts, he thought they were “fantastically relevant” and offered a fresh look at American history. “As an American, I’m always trying to figure out what it means to be American,” he says. “The story of Garfield, you couldn’t make it up. He was a hero of working people and the promise of American democracy — having a representational democracy where those in power and the wealthy are not controlling the laws of the land, which could not be more relevant today.”
Makowsky calls Garfield “a poster boy for the American dream,” rising from poverty to the nation’s top office.
“He was a war hero and a Renaissance man that did math theorems while he was in Congress and who could recite Homer from memory,” he says. “This remarkable individual, fiercely intelligent and a brilliant, powerful orator, was far ahead of his time on certain political questions of the day. He was an outspoken proponent for civil rights and universal education and civil service reform.”
In real life, and as depicted in the series, Garfield worked with notable Black leaders like Frederick Douglass and Blanche Bruce, the first Black register of the Treasury, whom he appointed.
“The great tragedy is we were robbed of a potentially generational leader in Garfield,” Makowsky says.
“Death by Lightning” showrunner Mike Makowsky says Americans were robbed of a “potentially generational leader” in James Garfield.
(Larry Horricks / Netflix)
Garfield wasn’t even seeking the nomination when he spoke on behalf of another candidate at the Republican National Convention of 1880, but his speech so moved the delegates that they eventually persuaded him to accept the nomination after more than 30 votes failed to produce another winner. It reminded Makowsky of then-Sen. Barack Obama’s 2004 speech at the Democratic National Convention, where he presented “a strong and confident, optimistic vision for the future of our country.”
Nowadays, such a rise seems less likely. “I don’t know if that would happen today, obviously because of money in politics; no one can run if they don’t have phenomenal backing,” Ross says.
Ross emphasizes the show is “not a history lesson,” drawing a distinction between drama and documentary. At times, “Death by Lightning” plays like a black comedy. Makowsky’s dialogue, while usually honoring what we think of as the formality and vocabulary of the 1880s’ idiom, occasionally veers into hilariously cathartic invective that bracingly reminds us these were living, breathing people with fire in their bellies.
“Ken Burns could make a 10-hour documentary to encapsulate all the nuances of this incredible story,” says Ross. What Makowsky did, Ross says, was contextualize the history through the prism of two very different people, Garfield and Guiteau.
“One is this incredibly admirable American figure I think everyone should know about, the greatest president we never really had. And then the other is a charlatan, a deeply broken, deeply mentally ill man who just kind of wanted to be Instagram-famous, just wanted to be known. You see this moment in history through their eyes, and I thought that was delicious.”
“Death By Lightning,” premiering Thursday on Netflix, introduces itself as “a story about two men the world forgot,” and while it is undoubtedly true that few in 2025 will recognize the name Charles Guiteau, many will know James A. Garfield, given that he was one of only four assassinated American presidents. There are less well remembered presidents, for sure — does the name John Tyler ring a bell? — and assassins better known than Guiteau, but if you’re going to make a docudrama, it does help to choose a story that might be more surprising to viewers and comes with a murder built in. It is also, I would guess intentionally, a tale made for our times, with its themes of civil rights, income inequality, cronyism and corruption.
Indeed, most everything about the Garfield story is dramatic — a tragedy, not merely for the family, but for the nation. For the sense one gets from “Death by Lightning” and from the historical record it fairly represents, is that Garfield, killed after only 200 days in office, might have made a very good chief executive. (The stated source for the series is Candice Millard’s 2011 book “Destiny of the Republic: A Tale of Madness, Medicine and the Murder of a President”; Millard is also a voice in the more briefly titled, illuminating “American Experience” documentary “Murder of a President.”)
That the longtime Ohio congressman did not seek but was drafted for the job — a compromise chosen, against his protests, on the 36th ballot at the 1880 Republican National Convention, where he’d given a stirring speech to nominate a fellow Ohioan, Treasury Secretary John Sherman — made him, one might say, especially qualified for the job; unlike some politicians one might name, he was self-effacing and humble and not out for personal gain. But he saw, finally, that he had a chance to “fix all the things that terrify me about this republic,” most especially the ongoing oppression of Black citizens, a major theme of his inauguration speech (with remarks transferred here to a campaign address delivered to a crowd of 50,000 from a balcony overlooking New York’s Madison Square Park). “I would rather be with you and defeated than against you and victorious,” he tells a group of Black veterans gathered on his front porch, from which he conducted his campaign. (Some 20,000 people were said to have visited there during its course.)
Political machinations and complications aside, the narrative, which stretches two years across four episodes, is really fairly simple, even schematic, cutting back and forth between Garfield (Michael Shannon, between tours covering early R.E.M. albums) and Guiteau (Matthew Macfadyen), a drifter with delusions of grandeur, as they approach their historically sealed date with destiny. Garfield is goodness personified; we meet him on his farm, cooking breakfast for the family, planing wood to make a picnic table. (A table we will meet again.) Guiteau goes from one failed project to another, living it up on money stolen from his sister, running out on restaurant checks and rooming house bills, telling lies about himself he might well have thought were true, until he decides that politics is the place to make his mark. Under the impression that he was responsible for Garfield’s election, he believed the new president owed him a job — ambassador to France would be nice — and when none was coming, turned sour. A message from God, and the belief that he would save the republic, set him on a path to murder.
Matthew Macfadyen plays Garfield’s assassin, Charles Guiteau, in the miniseries.
(Larry Horricks / Netflix)
The series largely belongs to them — both actors are terrific, Shannon imbuing Garfield with a gravity leavened with kindness and humor, Macfadyen’s Guiteau, optimistically dedicated to his delusions yet always about to pop. But it’s a loaded cast. The ever-invaluable Betty Gilpin, in her fourth big series this year after “American Primeval,” “The Terminal List: Dark Wolf” and “Hal & Harper,” plays Garfield’s wife, Crete, fully up on the political scene and free with her opinions. Shea Whigham is New York senator and power broker Roscoe Conkling, Garfield’s moral opposite, and the series’ villain, if you excuse Guiteau as mentally ill. (The jury didn’t.). As wise Maine Sen. James Blaine, Bradley Whitford exudes a convincing, quiet authority, honed over those years working in the pretend White House on “The West Wing.” All the men have been whiskered to resemble their historical models.
Where most of them, even Guiteau, remain consistent from beginning to end, it’s Nick Offerman’s Chester A. Arthur who goes on a journey. Conkling’s right hand, in charge of the New York Customs House — which generated a third of the country’s revenues through import fees — he’s offered the position of vice president to appease Conkling, New York being key to winning the election. Arthur begins as a thuggish, cigar-smoking, sausage-eating, drunken clown, until he’s forced, by events, and the possibility of inheriting the presidency, to reckon with himself.
When First Lady Crete Garfield wonders whether there should be a little extra security (or, really, any security at all) around her husband, he responds, “Assassination can no more be guarded against than death by lightning — it’s best not to worry too much about either one,” giving the series its title and clearing up any confusion you may have had about its meaning. Indeed, Guiteau moves in and out of what today would be well guarded rooms with surprising ease, managing encounters (some certainly invented) with Crete, Blaine, a drunken Arthur and Garfield, whom he implores, “Tell me how I can be great, too.”
Created by Mike Makowsky, it isn’t free from theatrical effects, dramatic overreach or obvious statements, but as period pieces go, it’s unusually persuasive, in big and little ways. Only occasionally does one feel taken out of a 19th century reality into a 21st century television series. The effects budget has been spent where it matters, with some detailed evocations of late 19th century Chicago and Washington that don’t scream CGI. The first episode, which recreates the 1880 convention, held at the Interstate Exposition Building in Chicago, aligns perfectly with engravings of the scene and brings it to life, supporting the wheeling and dealing and speechifying in a way that one imagines is close to being there.
Because we know what’s coming, the series can be emotionally taxing, especially as a wounded Garfield lingers through much of the final episode, while being mistreated by his doctor, Willard Bliss (Zeljko Ivanek), who ignores the advice of the younger, better informed Dr. Charles Purvis (Shaun Parkes), the first Black physician to attend to a sitting president; many, including Millard, believe it was the doctor who killed him through a lack of sanitary precautions, and that Garfield might have recovered if he’d just been left alone, an idea the series supports.
But you can’t change history, as much as “Death By Lightning” makes you wish you could.
Former USC and NFL linebacker Keith Browner died Tuesday morning in San Leandro, the Alameda County Sheriff’s Office Coroner’s Bureau confirmed Wednesday. He was 63.
Keith Browner Jr. told TMZ that he talked to his father Monday night when the elder Browning was having stomach problems, vomiting and feeling tired. Browner Jr. said his father told him he would go to the hospital the next morning.
Browner was getting ready to go to the hospital Tuesday morning, according to TMZ, “when he curled over the side of a chair and collapsed to the floor next to his girlfriend.” TMZ also reported that “it appears” Browner suffered a heart attack and that his death was “unexpected and sudden.”
Alameda County authorities provided no cause of death Wednesday.
Born in Warren, Ohio, Browner was the fifth of six brothers, all of whom played college football and four of whom went on to play in the NFL. A second-round pick (30th overall) for the Tampa Bay Buccaneers in 1984, Browner also played for the San Francisco 49ers, Los Angeles Raiders and San Diego Chargers during a five-year NFL career.
Oldest brother Ross Browner spent 10 years in the NFL, playing for the Cincinnati Bengals and Green Bay Packers. Jimmie Browner Jr. played two years with the Bengals. Joey Browner was a six-time Pro Bowl player who spent nine seasons with the Minnesota Vikings and one with the Buccaneers.
Browner Jr. followed in his father’s footsteps as a college and pro football player. A standout defensive end at Dorsey High, Browner Jr. played three seasons at California and one season with the Houston Texans.
A nephew, Ross Browner’s son Max Starks, played nine years for the Pittsburgh Steelers and one for the St. Louis Rams.
Browner — who was 14 when his father, Jimmie, died of cancer at age 49 — said his mother Julia was the driving force behind her sons’ passion for the sport.
“She’s the one who always urged us to play,” he told the Dayton Daily News in 2023, “and sometimes she’d be right out there with us in the yard when we were having pick-up games.”
A three-sport standout at Warren Harding High, Browner spent four seasons at USC (1980-83), overlapping with brother Joey for the first three. He was named a captain for his final season and finished his college career with six interceptions in 34 games played.
Browner made the NFL’s all-rookie team in 1984. After three years with the Buccaneers, he split the 1987 season between the 49ers and Raiders before spending his final NFL season with the Chargers.
He finished his NFL career with 10.5 sacks, four interceptions (including one returned 55 yards for the Chargers against the Seattle Seahawks in 1988) and five fumble recoveries, then played two seasons in the Canadian Football League and six in the Arena Football League.
Browner is survived by his son and four daughters.
Residents say the powerful storm brought ‘raging’ flash floods that destroyed homes, overturned cars and blocked streets.
Published On 5 Nov 20255 Nov 2025
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Residents of the central Philippines have slowly begun cleanup efforts after powerful Typhoon Kalmaegi swept through the region, killing at least 85 people and leaving dozens missing.
Scenes of widescale destruction emerged in the hard-hit province of Cebu on Wednesday as the storm receded, revealing ravaged homes, overturned vehicles and streets blocked with piles of debris.
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Among the 85 deaths were six military personnel whose helicopter crashed in Agusan del Sur on the island of Mindanao during a humanitarian mission. The country’s disaster agency also reported 75 people missing, and 17 injured.
In Cebu City, Marlon Enriquez, 58, was trying to salvage what was left of his family’s belongings as he scraped off the thick mud coating his house.
“This was the first time that has happened to us,” he told the Reuters news agency. “I’ve been living here for almost 16 years, and it was the first time I’ve experienced flooding [like this].”
Residents rebuild their damaged houses in Talisay, Cebu province, on November 5, 2025 [Jam Sta Rosa/AFP]
Another resident, 53-year-old Reynaldo Vergara, said his small shop in the city of Mandaue, also in Cebu province, had been lost when a nearby river overflowed.
“Around four or five in the morning, the water was so strong that you couldn’t even step outside,” he told the AFP news agency. “Nothing like this has ever happened. The water was raging.”
The storm hit as Cebu province was still recovering from a 6.9-magnitude earthquake last month that killed dozens of people and displaced thousands.
The area around Cebu City was deluged with 183mm (seven inches) of rain in the 24 hours before Kalmaegi’s landfall, well over its 131mm (five-inch) monthly average, according to weather specialist Charmagne Varilla.
Residents clean up their damaged houses in Talisay, Cebu province on November 5, 2025 [Jam Sta Rosa/AFP]
The massive rainfall set off flash floods and caused a river and other waterways to swell. More than 200,000 people were evacuated across the wider Visayas region, which includes Cebu Island and parts of southern Luzon and northern Mindanao.
Before noon on Wednesday, Kalmaegi blew away from western Palawan province into the South China Sea with sustained winds of up to 130km per hour (81 miles per hour) and gusts of up to 180km/h (112mph), according to forecasters.
The storm is forecast to gain strength while over the South China Sea before making its way to Vietnam, where preparations are under way in advance of Kalmaegi’s expected landfall on Friday.
China has warned of a “catastrophic wave process” in the South China Sea and activated maritime disaster emergency response in its southernmost province of Hainan, state broadcaster CCTV said.
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As one century gives way to another, a child is born in Mumbai. “The millennium’s gift,” Chandni Contractor, is a source of joy to her parents. When Chandni turns 4 and reveals herself to be a musical prodigy, she becomes a source of wonder. At the age of 13, she dazzles audiences across India with her piano and sitar performances. Five years later, she enthralls Majnoo, the playboy son of billionaire parents, and the pair go on to have a spectacular wedding. But their marriage sours and her in-laws turn overbearing. Eventually Chandni snaps and wreaks havoc by playing a different kind of music, one that has the power to destroy livelihoods and lives.
“The Musician of Kahani” is one of five stories in a new collection by Salman Rushdie. “The Eleventh Hour” sees the acclaimed Indian-born British American author exploring the weighty matters of life and death. That he should choose to craft tales around these twin themes is hardly surprising. In 2022, he was nearly killed in a frenzied attack at an event in upstate New York. Two years later, in his up-close-and-personal memoir, “Knife,” he recounted his ordeal and told how he had come to embrace what he called “my second-chance life.” Rushdie’s brush with death and new lease on life renders his latest stories — his first fiction since the attack — all the more potent and poignant.
The collection’s opener, “In the South,” gets underway both innocently and ominously: “The day Junior fell down began like any other day.” What follows is a chronicle of a death foretold. Senior and Junior are two octogenarian neighbors in Chennai, India, who spend their time together arguing. The former has had a rich and fulfilling life, but as so many of his friends and family have died — or “gone to their fiery rest” — he now longs for death. The latter, afflicted by “the incurable disease of mediocrity,” has led a disappointing life yet still possesses a lust for it.
When a tsunami hits the city, it kills Junior. At first Senior is angry (“Why not me?” he rages), but his dominant emotion turns to sadness after he realizes he has lost a man who was his “shadow.” Or so he believes. For Junior’s passing is not the end. Senior continues to see, and quarrel with, his fallen friend. As Rushdie puts it: “Death and life were just adjacent verandas.”
One of the finest stories here, “Late,” involves another apparition. English academic S. M. Arthur wakes up in his university college (an unnamed King’s College, Cambridge) and discovers he is dead. Feeling like “a broken entity trapped in a kind of prison,” he finds peace by communing with the one person who can see him, Indian student and fellow lonely soul, Rosa.
The pair form a bond in the empty college over the Christmas holidays. Despite their affinity, Arthur harbors secrets. When Rosa is tasked with sorting his papers, she comes across a mysteriously locked box file, the contents of which he refuses to disclose. Then Arthur takes stock of his situation and decides he can’t rest until Rosa helps him get even with a past persecutor. What is in the box and why the need for revenge?
Weighing in at over 70 pages, “Late” constitutes more a novella than a story, as does “The Musician of Kahani” and the equally substantial “Oklahoma.” This last offering about writers, writing and elaborate vanishing acts is artfully structured and formally daring, made up of multiple layers, diverse references, literary ventriloquy and slick twists and turns. In a lesser writer’s hands, this novella might have been too clever for its own good; however, Rushdie, a seasoned pro, achieves the perfect balance.
He hasn’t done so in recent years in his long-form fiction. “The Golden House” (2017), “Quichotte” (2019) and his last novel, “Victory City” (2023), were blighted in places by digressive riffs and monologues, bottomless subplots, “humorous” character names (Evel Cent, Thimma the Almost as Huge) and excessive magic-realist high jinks comprising talking revolvers, ferocious mastodons, an Italian-speaking cricket and a demigoddess who grows a city from seeds and lives for 247 years. Sometimes this hocus-pocus worked wonders; at other times it felt like cheap tricks.
Rushdie has far more success in “The Eleventh Hour.” His narratives are more streamlined. His flights of fancy— malevolent music, undead scholars, imaginary brothers, a cult led by a guru with 93 Ferraris in an “experimental township” called the Moon — are more controlled and add subtle strokes of color. Some groan-inducing puns aside, Rushdie’s comic touches are deftly managed, appearing as sharp satirical swipes or witty repartee. “You look like a man who is only waiting to die,” says Junior to Senior, who in turn retorts: “That is better than looking, as you do, like a man who is still waiting to live.”
Rushdie exhibits further playfulness by scattering clues and inviting his reader to trace connections. Arthur is in part a crafty composite of the writer E.M. Forster and the computer scientist Alan Turing — all three being, like their creator, King’s College alumni. “And at midnight, the approved hour for miraculous births in our part of the world, a baby was born to a Breach Candy family,” Rushdie writes of Chandni, with a knowing nod to the key time, place and circumstances in his 1981 masterpiece “Midnight’s Children.”
The book’s last and shortest entry, the fabular “The Old Man in the Piazza,” makes for a somewhat slight coda. Otherwise, this is an inventive and engrossing collection of stories which, though death-tinged, are never doom-laden. With luck this master writer has more tales to tell.
Malcolm Forbes is a freelance writer and critic from Edinburgh, Scotland, who writes for the Economist, the Washington Post and other publications.
Diane Ladd, the Oscar-nominated actor who received acclaim for her work in films including “Rambling Rose,” “Wild at Heart” and “Alice Doesn’t Live Here Anymore,” has died. She was 89.
Oscar winner Laura Dern, Ladd’s daughter with Oscar-nominated actor Bruce Dern, announced her mother’s death in a statement shared Monday. “My amazing hero and my profound gift of a mother, Diane Ladd, passed with me beside her this morning, at her home in Ojai,” Dern wrote. A cause of death was not revealed.
“She was the greatest daughter, mother, grandmother, actress, artist and empathetic spirit that only dreams could have seemingly created,” “Marriage Story” star Dern said in her statement. “We were blessed to have her.”
The Wheel viewers were left feeling emotional on Saturday night
The Wheel fans were “in tears” as a contestant won the jackpot after their daughter’s death.
Michael McIntyre‘s The Wheel sees members of the public answer trivia questions with the support of celebrity experts.
The famous faces on tonight’s show included Josh Widdecombe, Chris Harris, Colin Jackson, Harriet Kemsley, Shirley Ballas, Frankie Bridge, Jordan North and William Hanson.
40-year-old father-of-two Gordon, who is from Glasgow, was one of the contestants taking part and shared his heartfelt story.
The NHS porter manager revealed to Michael that his 10-year-old daughter, Bella, lives with cystic fibrosis and has always dreamed of visiting Japan.
His other daughter, Ruby, sadly passed away over two and a half years ago from a brain tumour.
If he went on to win, Gordon shared that he was planning to donate some of the money to the Brain Tumour Charity in memory of his daughter, with the rest of the funds going towards Bella’s dream holiday.
Later in the show, Gordon reached the final question, and went on to play for £31,000 with the help of comedian Harriet Kemsley.
They were asked which pop legend secured the first solo UK number one single, with the possible answers being Rihanna, Katy Perry, Lady Gaga and Beyoncé.
The pair jointly decided to go with Beyoncé, with the room soon being lit up in gold as Gordon successfully won the jackpot.
Gordon became emotional as he spoke about his late daughter, saying: “When she was diagnosed, she was given six to nine months to live but with her attitude – she was just a ray of sunshine – she had a really good three years.
“She started school, she was a bridesmaid at my brother’s wedding, so as a family mantra we came up with the motto, ‘Be a bit more Ruby.'”
The show’s viewers quickly took to X to share their delight after Gordon’s win, with one person writing: “Love it when the person you’re rooting for on The Wheel actually wins! Go on Gordon!”
Another added: “Most deserving winner on The Wheel losing a child to a brain tumour and another seriously ill with cystic fibrosis. This world is so cruel. Well done Gordon!”
A third said: “Oh I am actually crying. What a well deserved winner,” with another similarly sharing: “Aww Gordon! That was so emotional!!”
