memoir

As a nation, we give thanks this month, and readers can, too, since November’s new releases include several kinds of fiction (sci-fi, climate dystopia and thriller, among them) and nonfiction featuring a memoir from a nonagenarian legend, an octogenarian legend and an almost-septuagenarian legend. Happy reading!

FICTION:

Stations: A Novel
By Louise Kennedy
Riverhead Books: 288 pp., $28
(Nov. 3)

Kennedy (who penned the international bestseller “Trespasses”) is Irish and knows that country’s Roman Catholicism well, which means that her latest book’s title signals differences in class and status — but also has that whiff from the church thurible that signals the Stations of the Cross, or the Way of Sorrows. Roisin, a teen in 1982, falls hard for her friend Tina’s upper-class boyfriend, Red Camelin. She’ll undergo her own sorrows when she finds him again, in London, living in a squat.

A Glacier’s Guide to Dying: A Novel
By Michelle Porter
Algonquin Books: 272 pp., $29
(Nov. 3)

Robbie, a young Métis man, thinks the best way to find his missing father is through his Anglo uncle, Doug, who lives in Montana. When Robbie and his mother travel by bus from Alberta, Canada, they part ways for a time before he discovers raging wildfires threaten her location. Meanwhile, Doug has made a confession that haunts the men as they follow a pregnant bison onto an unstable glacier. It’s an unusual, slightly surreal, meditation on climate change.

Monsters of Ohio: A Novel
By John Scalzi
Tor Books: 272 pp., $30
(Nov. 3)

It’s a familiar scenario: A civil servant gets laid off and moves back in with family, far from Washington, D.C. Scalzi’s latest sees Mike Boyd return to Richland, Ohio, where the town’s major employer might be shutting down, and strange things are happening to mammals both two- and four-legged. As Mike teams up with a few pals, a police officer and an events organizer, a funny and remarkably optimistic story of small-town resistance unfolds.

This Impossible Life: A Novel
By Chinelo Okparanta
Mariner Books: 432 pp., $32
(Nov. 10)

Okparanta’s “Under the Udala Trees” was set during the 1960s Biafran War; her new novel takes place in 1993, as siblings Alohan and Ivie, ages 11 and 4, face a family tragedy that eventually leads to their separation. As the brother and sister forge lives, more tragedies occur. However, the author wants readers to see that displacement of many kinds, malignant or benign, can have far-reaching consequences — and sometimes those can be overcome.

27 Knots: A Novel
By Martin J. Smith
Open Road Media: 334 pp., $26
(Nov. 24)

The title refers to knots tied in a U.S. Navy Riverine force beret, each knot symbolizing what the men in those units believe is “an assassination in the name of duty.” Fifty years ago, the teenage Vance was sent to Vietnam and hunted down Viet Cong forces in the Mekong Delta. Today, he’s headed to Washington, D.C., for the funeral of a comrade — but another of his comrades might threaten his carefully constructed life. A thoughtful and riveting thriller.

NONFICTION:

Just a Shot Away: Martin Scorsese’s Life in Film
By Mark Binelli
Metropolitan Books: 544 pp., $36
(Nov. 3)

“As far back as I can remember, I always wanted to be a gangster,” says Henry Hill in “Goodfellas,” and what better way to be a gangster than to create your own? In this hefty biography of director Martin Scorsese, long-time journalist Binelli leaves no reel unturned as he chronicles his subject’s Little Italy origins, years as a “functioning cokehead,” and rise to fame through films including “Taxi Driver,” “Raging Bull” and “The Departed.”

Take My Word for It: A Memoir
By LeVar Burton
Random House: 352 pp., $32
(Nov. 10)

Burton’s multifaceted roles as Kunta Kinte in “Roots,” as Geordi La Forge in “Star Trek: The Next Generation” and as the host of “Reading Rainbow” have affected his life deeply. As he explains in his lovely memoir, Kunta Kinte allowed him to understand Blackness as a cultural phenomenon, while Geordi LaForge lived in a future where Blackness was no longer an issue — and his passion for liberation led to encouraging kids to “Take a look, it’s in a book.”

China Whisperers: The Voices that Have Shaped America’s Views of Its Chief Geopolitical Rival
By Robert D. Kaplan
Scribner: 448 pp., $32
(Nov. 10)

While we watch shows like “The Diplomat” and “Black Doves” focusing on our country’s European allies, another global power deserves attention. As longtime political expert Kaplan explains, our understanding of China has been filtered through the perspectives of groups that include today’s technophiles and linguists, who help our government negotiate a land of great progress and huge differences. Perhaps we should send Jack Reacher to Beijing?

The Last Leaf: Reflections on Late-Life Creativity — and My Longest Love Affair
By Willie Nelson
Penguin Press: 208 pp., $30
(Nov. 10)

Leave it to the tireless singer-songwriter and ganja connoisseur to give his new book such a punny title (and one that also references his song “Last Leaf on the Tree”). Nelson claims he’s slowing down in his old age, but given his prolific touring and recording, plenty of young musicians want what he’s having. His focus on living in the present, his decades-long marriage to wife Annie, and memories of true friends all show Nelson’s wisdom.

Secrets: A Reporter’s Memoir
By Bob Woodward
Simon & Schuster: 592 pp., $35
(Nov. 24)

Since, along with his colleague Carl Bernstein, Woodward once held that most secret of secrets — the identity of the Watergate informant known as “Deep Throat” — it’s fitting for him to use it as the title for this engrossing memoir. He’s covered everything from the White House to the Pentagon; expect a long list of source names, some of whom, Woodward says, permitted him to do so, while others are now a matter of public record.

Patrick is a freelance critic and author of the memoir “Life B.”

While growing up in Palo Alto, it was not uncommon for animator Lisa Hanawalt to pretend she was a horse. This game of make-believe was a way for Hanawalt to escape her “burdensome and awkward” body, as she writes in her candid new illustrated memoir, “I Can’t Stop Thinking About Horses And Sex.” “But when I was a horse, I was powerful, graceful, and gorgeous.”

Although Hanawalt might be an unapologetic horse girl, she really hates a horse pun. So when it came time to choose a title for the book, she decided to keep it literal. “This is just the most true version of what this book actually is,” Hanawalt says about the utterly confessional nature of her book’s title, which groups two seemingly unrelated subjects that her mind wanders to when she’s bored. “They’re the two most mentally engaging things I can imagine,” she writes as a self-described “anixous lil freak.”

“I Can’t Stop Thinking About Horses and Sex” by Lisa Hanawalt

(Drawn & Quarterly)

Sitting in her Los Angeles home, the designer of such adult animated touchstones as Netflix’s “BoJack Horseman,” “Long Story Short,” and her personal creation “Tuca & Bertie” is drinking from a mug of tea as we chat over Zoom. When I ask what people’s responses have been so far to her book’s cheeky title, she says, “They just laugh. A lot of them are just like, ‘Well, I have to read that.’”

In many ways, “I Can’t Stop” represents a culmination of Hanawalt’s shtick for truth-telling via colorful anthropomorphized characters. The 43-year-old’s sketches are famously loose, bright and unrefined. Topics like weird body stuff, sex and horniness are never off the table. A typical drawing might feature an animal-human hybrid (say, a bird head on a human body) doing something utterly mundane while Hanawalt’s inner monologue appears in thought bubbles to reveal an intensely personal thought most people would never say out loud, let alone publish in a book.

“They all have personal things in them, some more overtly than others,” Hanawalt says about her particular oeuvre, which includes 2013’s “My Dirty Dumb Eyes,” 2016’s “Hot Dog Taste Test,” 2018’s “Coyote Doggirl” and 2020’s archival collection “I Want You,” as well as countless contributions over the years to publications like the New York Times, McSweeney’s, Vanity Fair and the now-defunct women’s humor blog the Hairpin.

“I think [‘I Can’t Stop Thinking About Horses and Sex’] fits in with ‘My Dirty Dumb Eyes’ and ‘Hot Dog Taste Test’ in that it’s another kind of mishmash book, and it all goes together in my mind,” Hanawalt adds of her nonlinear storytelling, which in this book intersperses memories of couples therapy and egg-freezing with drawings of a sloth dancing with a bear. Or a deep dive on the filmography of Kevin Costner.

Hanawalt has never shied away from getting personal, but there’s no question that “I Can’t Stop” takes her disarming and revelatory style to a new level. “I think it just needed that extra layer of me going through a midlife crisis and breaking up with my partner and going through all this weird stuff. It’s a weird combo with the horse stuff because my love of horses is so pure.”

An illustration from “I Can’t Stop Thinking About Horses and Sex” by Lisa Hanawalt.

(Drawn & Quarterly)

If Hanawalt ever felt embarrassment at being a horse girl (and she certainly has — as she got older, Hanawalt eased off of the horse games out of fear of being bullied), that shame has since evaporated. About eight years ago, as she faced a combination of career burnout and gut-health issues, Hanawalt started taking riding lessons in an attempt at self-care. “There’s something about riding that clears my head and eases my physical pain, for a moment,” she writes in a comic titled “How I Got a Horse.” When her then-partner (comedian and podcaster Adam Conover) noted how relaxed Hanawalt seemed when she’d return home from riding, he urged her to consider buying a horse of her own.

So Hanawalt reactivated her dormant Facebook account and began scrolling through local horse sale groups. That’s where she discovered Juniper (“Juni” for short), a 2006 Norwegian Fjord Mare. “I bought her somewhat impulsively,” Hanawalt says. “It was a huge lifestyle shift. Having a horse is often very stressful because it’s like a pet you have to rent an apartment for. It’s expensive, and they injure themselves … But then, being with her, I’m present in a way that I never am in the rest of my life. It just feels nice to care for another creature, human or animal.”

Spending time with Juni and a cast of new friends at the stables was physically and emotionally therapeutic for Hanawalt, particularly as new issues began to sneak up on her. For instance, she began to wonder if she still wanted to remain child-free. Simultaneously, her long-term relationship of 14 years was beginning to come apart. She describes in the book how she and Conover made a Hail Mary attempt at ethical nonmonogamy — an experience she’s glad to have had, even if Hanawalt jokes today about how she’s “a true polyamory fail.” She adds, “I don’t think it’s for me at all, and I never did. But I was willing to give it a go [as a] last-ditch effort to save something I really cared about. I think that’s the case for a lot of people.”

An illustration from “I Can’t Stop Thinking About Horses and Sex” by Lisa Hanawalt.

(Drawn & Quarterly)

Hanawalt admits how anxious she was to talk about her breakup in the book — so much so that she considered avoiding it altogether. “I was dancing around it, and then I was like, ‘I don’t need to explain every little part of it,’” she says. Hanawalt even solicited creative feedback from Conover, who responded by playing her bits of a new stand-up special, which showcased his perspective of their breakup (that special will be the forthcoming “Big Divorce Energy,” out Oct. 23 on YouTube).

“It’s really nice that we still have that kind of relationship,” Hanawalt says of her ongoing connection and friendship with Conover. “Because I really value his opinion and input. He’s just a really smart, creative person, and that was always a strong point in our relationship. I also just wanted him to be OK with how I was representing us. I’m still very protective of that.”

The latter half of “I Can’t Stop” finds Hanawalt processing the end of her relationship, dipping a toe back into the dating world, and exploring fertility options such as egg-freezing. Despite its heavy subject matter — one especially tough passage looks back at a sexual assault Hanawalt experienced when she was an adolescent — “I Can’t Stop” is packed with absurdist doodles that keep the mood light without seeming dismissive. For example, as she describes how Juni behaves when she’s in heat, Hanawalt considers her own overwhelming “livestock mode,” which once included a hyper-fixation on Kevin Costner. This is all laid out in a section titled “Costner Watch,” where Hanawalt decides to consume every film the actor ever made.

Artist and author Lisa Hanawalt with her beloved horse Juniper.

(Annie Noelker / For The Times)

“Yeah, I was losing my mind,” Hanawalt laughs at “Costner Watch.” “I don’t know. It was a cope, in hindsight.”

As she prepares to celebrate the release of “I Can’t Stop” with a six-date book tour, Hanawalt can’t say for sure if she’s answered any existential midlife questions. She jokes that her eggs are “still on ice.” She’s working on several new animation projects, though isn’t sure at this point which, if any, will move forward. (It probably also doesn’t help that the animation industry is currently experiencing a severe downturn, with record-high unemployment among even the most seasoned creators. “It’s a weird time,” she says.) To round things out, Hanawalt says she’s “selling hats” and even working with a perfume maker to eventually release a “horsey-themed” fragrance.

Hanawalt also has no clue what being a self-proclaimed horse girl even means in the year 2026. The other horse people she hangs out with at the barn, where Juni lives, come from “every possible income level and political belief, and they’re all kind of shoved together,” Hanawalt tells me. “It’s kind of like ‘Lord of the Flies.’

“It’s just so fun to have a community with people and be able to trust them,” Hanawalt says of the friendships she’s made through caring for Juni. “We help each other. Just to be able to go out on the trail and talk about blow jobs or whatever with women I truly connect to … They’re some of the coolest people I’ve ever met in my whole life.”

All that is to say, Hanawalt has grown more comfortable in not quite knowing what’s next. “You’re never fully happy or fulfilled,” she says. “And that’s part of being alive.”

Catch Lisa Hanawalt live Oct. 22 at 7 p.m. at Skylight Books in conversation with Priyanka Mattoo. 1818 N. Vermont Ave., Los Angeles.

Brodsky is an L.A. culture and music writer. Her biography of Stevie Nicks, “Lessons & Lace,” published by Penguin Random House, is out now.

AN explosive sexting scandal almost wrecked Christian Horner’s marriage to pop royalty – and a year later, his F1 career was in tatters.

The multi-millionaire racing tycoon, married to ex-Spice Girl Geri Halliwell, was sacked by Red Bull with a £76million payoff after sending hundreds of texts to an attractive aide, pestering her for pics and sexy chat.

Geri was left heartbroken and humiliated by the WhatsApp messages, leaked in 2024 — a day after Horner was cleared of inappropriate, and controlling behaviour towards the woman in an independent probe.

Loyal Geri stood by her man, but Red Bull’s track performance took a hit amid the damning claims.

Now Horner, 52, has written an extraordinary new memoir, Drive, out on Thursday, which is essentially a grovelling, 320-page love letter to his wife of 11 years.

In it, he swerves the awkward reason his marriage nearly hit the skids.

Instead, he praises Geri for steering him through the darkest days of his life — while glossing over the aide who complained about his conduct.

The former Red Bull chief executive was eventually cleared of any wrongdoing, and his book does not link the embarrassing scandal to his sacking after 20 years in the top Formula One job.

Instead, he blames a series of poor results on the race track, and does not attempt to explain or justify why he sent the flirty messages.

Yet Horner DOES recall his wife heroically mustering every ounce of Girl Power as the crisis erupted.

Initially baffled by the allegations levelled against him, Horner writes: “What was going on?

“The lawyer, presumably aware that a wrecking ball was being aimed at my life, explained the situation as my sense of bewilderment rose.

“Geri knew by my face that something was very wrong.

“She fell silent as she listened. We both understood the implications immediately. She looked at me. ‘Just tell your truth’, she said.

“‘That’s all I can do’, I replied.

“She reassured me that everything would be all right.

“Her resilience was remarkable.

“Our lives had been turned upside down, yet she found the strength and conviction to support me through an immensely difficult period, one that was undoubtedly challenging for her as well.

“Her belief in me gave me the determination to move forward. At a time when my confidence was being tested, Geri provided the perspective and stability that I needed most.

“Without her support, I’m not sure I could have navigated those months in the same way.”

Days after Horner was cleared of behaving inappropriately in 2024, Red Bull suspended his accuser on full pay. The woman, who was not named, then agreed to leave Red Bull for a £3million settlement and dropped her claims.

She signed a non-disclosure agreement that prevents her from talking about the scandal.

Her appeal over the outcome of the probe into Horner was thrown out.

Despite landing another job in motor racing, she was dismissed less than a year later amid “trust issues”.

The other glaring omission in Horner’s carefully-curated life story is the bitter feud with his parents.

Garry and Sara Horner were so horrified when their son hooked up with Geri that they refused to attend the wedding.

Christian and his previous partner, pub landlady Beverley Allen, had a baby daughter, Olivia, who was 19 months at the time of the nuptials.

In Drive, his relationship with Beverley, who died from cancer aged 58, is dispatched in a couple of swift sentences, and he describes falling for Geri like something out of a cheesy romcom.

He says marrying the singer at Woburn Abbey, Beds, in 2015 was the happiest day of his life.

“It was obvious that Beverley and I were drifting apart,” writes Horner.

“Our relationship was now more of a loving friendship than anything else, and it was clear that what had once brought us together was no longer there. We had never married, though we had a daughter, Olivia, and although our relationship had faded, we remained amicable.

“The following year, my relationship with Geri began. She had a natural warmth and confidence, and she treated everyone the same, whether they were royalty or a road sweeper.

“It was clear there was something between us.” Their controversial courtship and Beverley’s heartbreak are skipped entirely, along with him being such a workaholic that he once missed Olivia’s birth.

Months after he began dating Geri, he proposed while hiking up Mount Fuji in Japan, and became a second father to Bluebell, her daughter from a previous relationship with screenwriter Sacha Gervasi.

He says: “Geri was the woman I wanted to marry. I knew it almost from the moment we started going out. Our connection was undeniable; I had never experienced anything like it before. I had totally fallen for her.

“Within twelve months, we were engaged. I wasn’t planning to propose at the ­time — the thought of buying a ring hadn’t even occurred to me — but the occasion seemed too perfect.

“The sun was dipping behind the mountain, the shadows were lengthening, so I grabbed the moment, and Geri, to my relief, said yes.

“With the emotion of the proposal beginning to sink in, we hitched a ride on a passing dustcart and rode to the bottom, laughing.

“Geri and I later married at a beautiful service. Daniel Ricciardo drove us in a vintage Rolls-Royce to the reception; Daniil Kvyat chauffeured the bridesmaids. Geri’s father had sadly passed away when she was in her twenties, so her daughter, Bluebell, walked her down the aisle.

“I knew that when I married Geri, I’d be taking on responsibility for Bluebell, and I couldn’t have been more pleased with the arrangement.

“It was one of the happiest days of my life.” Geri slotted into Horner’s life in the Cotswolds and took to wearing prim, all-white outfits as she embarked on her luxurious role as lady of the manor.

She said in 2019 that her plain wardrobe freed up time and brain space: “I was at a moment in my life when I just needed simplicity.

“Also, if you only wear white, everything matches.”

Within a year of marrying, she was pregnant with their son Monty.

And now, following Horner’s astonishing Red Bull payoff, which was revealed this month, they are considering upgrading their £9.2million Oxfordshire mansion.

They recently viewed Edgcote House, Notts, a sprawling, £45million estate with a private racecourse which featured in the BBC’s Pride And Prejudice. Love-struck Horner might still be unemployed, but he insists the marriage has been all smooth sailing, raving: “I couldn’t have imagined anyone better to spend my life with.

“Geri was unswervingly supportive of what our family wanted to do. In a relationship where both parties were exposed to public scrutiny, she was able to deal with the pressure like it was irrelevant.

“Clearly, years spent at the centre of global fame had given her an extraordinary sense of composure.

“In moments of stress, she had the capacity to compartmentalise the negative emotions and focus on the positives.

“I learned so much from her about how to handle the never-ending stress and cutthroat politics of Formula One.” Horner also bats off the backlash that came his way following his appearances on Netflix’s Drive To Survive.

Last year, he was booed by an angry crowd at the O2 Arena. He was previously dubbed a “Karen” for incessantly complaining about Lewis Hamilton and other teams.

He recalls: “Overnight, Formula One’s audience had grown beyond the traditional fanbase, and with it came a level of scrutiny I’d never experienced before.

“Every comment, every expression and every disagreement became part of the story. In creating a bingeable show, Netflix filmed hundreds of hours of footage and naturally presented the juiciest material, which I ­understood.

“But the fact that Red Bull were going up against Lewis, a national treasure in the UK, meant we were sometimes cast as the villains.

“Before long, I had become Drive To Survive  ’s equivalent of Darth Vader.

“Fortunately, Geri understood the fickle nature of public perception better than I ever could. Really, I should have expected it. It wasn’t pleasant, but I accepted it.

“’It doesn’t matter if they boo’, she said. ‘Booing means they care. It’s only a problem when they ignore you’. Fair enough, I thought. To enjoy the rewards of success, I also had to accept the scrutiny that sometimes came with it.”

Horner admits Beverley’s death last summer was tough on their daughter. “As it became obvious that the end was drawing closer, I talked through the situation with Olivia. It was probably the hardest thing I’ve ever done in my life.

“For the past few years, her mum had been in and out of hospital, and she was growing weaker.

“There was no getting away from what was coming. It all seemed so unfair. I had only recently turned fifty and was lucky enough to still have both my mother and father. I felt upset Olivia wouldn’t have the same experience.

“No little girl should have to go through this, I thought. I wanted to do everything that I could to help.

“But I couldn’t do the one thing she needed most of all. I couldn’t save her mum.”

• Drive by Christian Horner is published on Thursday by Penguin Random House.

What is pornography? We tend to think of it monolithically, as something created by and for hetero men, reinforcing sexist stereotypes and machismo behavioral codes. For over 20 years, Erika Lust has been fighting against those preconceptions, creating adult content that expands the parameters of pornography while approaching it as something akin to mainstream independent cinema. Her subscription-only website features content that leaps over gender boundaries, and has pulled in fans around the globe.

In her new book “Lust,” the filmmaker makes a convincing case for an ethical, intelligent porn that can expand our ideas about sex and intimacy. I recently chatted with Lust about sex, power and the internet.

✍️ Author Chat

Are we calling it pornography? Adult content? What do you call it?

For me, it is pornography. What I do is pornography because I work with explicit images, but I also work with cinema, and I strive for cinematic vision and craft. I don’t just pick up a camera, film people having sex and put it online. It is a whole creative process. So when I talk about my work, I see myself first as a filmmaker whose subject matter happens to be pornography.

What compelled you to create adult content?

I was born in Sweden, and I became a feminist quite young. I studied political science in college. When I was exploring my sexuality in my late teens and early twenties, I became more and more interested in finding out about our desires and who we are and what we are attracted to. And then I started to watch porn [and] felt horrible watching it. I felt a little bit troubled by the images. Why are all these female characters just there to please the man? It wasn’t about the women, it wasn’t their stories, and that made me feel a bit angry. When I talked to other women about this, they felt the same way. I felt there was something to explore there. Of course at the time, I had no idea I would be doing this for a living.

There are a lot of tired tropes about adult content that you debunk in your book. That the performers come from broken homes and are forced to do things on camera without their consent and so on.

It’s so easy for people to think that in the sex industry there’s going to be exploitation. But my experience is the opposite. Because people I work with dare to talk about sex. The conversation is over the table, not under the table. The people I have met and worked with in this business are intelligent and smart, with a very clear plan of their future. They take care of themselves, their bodies and their sexuality.

In “Lust,” Erika Lust debunks tropes and stereotypes surrounding the production of pornography.

(Jahel Guerra)

How has technology affected how we think about sex?

There’s a lot of sex anxiety going on in our society, and I think that also has a lot to do with technology and how it has taken over our lives. And I’m reading more articles about the intimacy crisis, and the fear that people have of connecting with other people, and young people who are not having sex. Technology has gone wild. It has taken over our lives. People are afraid of other people, of friction, of negotiating boundaries. They don’t know how to explain their own desires so they would rather talk to robots. I think we need to disconnect from technology, and think more deeply and talk to each other — not just about sex, but about everything.

Given the ubiquity of free adult content on the web, how do you compel customers to subscribe to your site?

I think people that subscribe are looking for something completely different, something more elevated, and they understand that that kind of film costs money. I can’t shoot without paying my crew and my staff. Shooting with an Alexa camera is not the same thing as picking up my mobile phone. And then I need crew members who can work with that technology, I need gaffers and electricians, I need to pre-light the set the day before, and so on. The budgets that I’m working with are really budgets for independent films. We have a staff of 45 working with me and my husband.

It’s the last artistic underground, really. I did notice that Bruce LaBruce, a filmmaker whom you mention in your book, has a collection of his films presently being shown on Criterion Channel.

I never think it’s going to become mainstream. My true hope is that we can at least be known as an independent porn culture making quality films that aren’t exploitative. That people understand that it exists, and that it’s an option apart from the mainstream porn websites.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Chuck Lorre has written a memoir, “Sitcom,” about his career

(Christopher Patey / For The Times)

How does Bonnie Garmus follow her blockbuster 2022 novel “Lessons in Chemistry”? With “Peck & Peck,” a “whimsical and winning ode to the written word, and send-up of the pretensions of its gatekeepers,” writes Leigh Haber.

Chuck Lorre, one of the most successful and prolific writers and producers in TV history, has written “Sitcom,” a memoir in which he reveals, among other things, his decade-long tenure as a card-carrying Scientologist. Writing the book “was cathartic,” he tells Mary McNamara. “There’s a little bit of therapy going on in this book. I got to say some things out loud that in the past I would have kept hidden because they were embarrassing.”

At a time when it seems like anger and hostility has become the fossil fuel of everyday life, author and conflict expert Priya Parker’s new book “The Art of Fighting” argues for civil and spirited debate as a balm for our troubled times. “As a conflict resolution facilitator for the last 25 years, I can say that healthy community needs healthy conflict,” Parker tells Margaret Wappler.

Finally, Maddie Connors talked to Michael Douglas about his new memoir, “One Helluva Ride,” a book about his life and career. “Your 80s may be a good time to share,” the 82-year-old actor tells Connors. “People interested in movies, we give them a certain insight into the process, and maybe they could learn something. For others, it’s just gossip.”

📖 Bookstore Faves

Formerly a pop-up bookstand, Reverie Bookstand is a brick-and-mortar bookstore on Sunset Boulevard in Echo Park.

(Reverie Bookstand)

Located on a busy stretch of Sunset Boulevard in Echo Park, Reverie Bookstand is doing its level best to buck the AI tsunami, selling used books created by humans in a variety of subjects. In an email exchange, owner Tim Horner tells us what’s selling in his store.

What prompted you to open the store?

I was driving by and I saw it was for lease. I had been selling books for some years as a scout for other bookstores, and also at flea markets where I would pop up with a ”bookstand.” So it wasn’t a brand new idea; I had always dreamt of it. The owner of the building was a part of a small team that ran a collective DIY venue and gallery called Echo Curio around 12 years ago. It has since shut down, but Echo Curio was a place I came to as a young person back in the day. So the landlord was sympathetic to the cause and the idea of having a bookstore here. So I went for it.

What genres does the store tend to emphasize?

I specialize in poetry, mysticism, occult and out-of-print secondhand books and paper goods. All the books here in the store are used books. So far it hasn’t been difficult to keep the shelves full, I know some spots.

Who are you customers?

The clientele here is diverse. Students, working-class people, artists, local neighborhood families, musicians and people from all walks of life who simply love books and reading. A thing I am grateful for is how kindhearted and empathetic (most) book people are. It gives me a lot of strength and motivation everyday to know that my book-buying addiction is not in vain but is actually going to some strange use in helping connect people with literature.

What’s selling right now?

The things that are selling the most are things California-related and writers from California especially — Joan Didion, John Steinbeck, Octavia Butler.

Why do we still need bookstores when AI can write books for us?

I think bookstores are relevant still because we all need some type of human connection for our well-being, and books encourage that behavior. Whether it’s connecting with a space and people or connecting with authors, a bookstore is a place where you can actually browse for something and be in the moment with other people that are possibly interesting. The gesture alone validates itself in that you’re telling the world. I am open to ideas, things, places, people, and along the way you find a book you didn’t know existed, a nicer copy of something you already have, or a book you’ve been meaning to read but had forgotten about. And until this point there is no tangible way to browse for these things I have online yet and hopefully ever.

Reverie Bookstand is located at 1519 Sunset Blvd., Los Angeles.

Movie stars are an endangered species. They still exist, sure. Their beautiful faces still fill 50-foot screens, beaming down on us. Yet, there is a shortage of, say, Michael Douglas. A man who, over the span of decades, played an American president, a troubled detective, and a Wall Street tycoon so convincingly that the FBI recruited the actor to do a PSA for investment bankers about the perils of financial fraud.

The night before I meet Michael Douglas on Zoom, I have a hard time sleeping. I want to be well-rested before I meet the leading man — perhaps one of the last leading men from an era in Hollywood that felt limitless. What do I mean by that? He’ll tell you. His new memoir details his movie-making career as a prolific producer and actor, along with his affair with his “Romancing the Stone” co-star Kathleen Turner, mudslides in Mexico, snorting cocaine with O.J. Simpson, encounters with Princess Diana and screaming matches with Paul Verhoeven that end in blood. In short: the life of a movie star.

“People say to me: Michael Douglas. When I see your name, I don’t know what I’m going to get, but I know it’s going to be good,” Michael Douglas says.

(David Urbanke / For The Times)

Halfway through our conversation, something unanticipated happens: Douglas reveals that he doesn’t quite see himself as a movie star. After gentle pushback, he elaborates. Instead, Douglas sees himself as a chameleon.

“People say to me: Michael Douglas. When I see your name, I don’t know what I’m going to get, but I know it’s going to be good,” he says.

He’s speaking from his home in New York. Behind him is a moody 18th-century Orientalist painting, its scene too indistinct for me to make out. His smiling face — which, like most American moviegoers, I had watched 50 feet tall in the dark — glows with warmth even on my laptop screen. It seems abnormal even to witness him in miniature.

To be clear: Michael Douglas is a movie star, whether or not he wants to cop to it over Zoom. It’s in his blood. His father, Kirk Douglas — born Issur Danielovitch to Russian Jewish immigrant parents — was a legendary actor whose shadow Douglas struggled to escape, as he details in the early chapters of his memoir. He spent his childhood on movie sets, watching his father spar with iconic directors like Stanley Kubrick. Michael Douglas was subject to violent and angry outbursts as well. “Dad’s volatility kept us on edge,” he writes. He felt suffocated by his father’s legacy, often hoping to shake the title of “Kirk Douglas’ son.”

Early in his career, Douglas left his starring role on TV’s “The Streets of San Francisco” after producing his first film, “One Flew Over the Cuckoo’s Nest,” which became a breakout success. On that film, he had to deliver the shattering news to his father that he was too old to play the lead — essentially, firing his father from his dream role. It was a betrayal. Instead, the role went to Jack Nicholson, who would later win an Academy Award for his humanizing portrayal of Randle McMurphy. The film won multiple Academy Awards, launching Douglas’ career as a heavyweight producer and later an actor. Escaping the shadow of being Kirk Douglas’ son has been a lifelong battle for the actor.

(Grand Central Publishing)

Occasionally, inheritance can be a burden. In his own life, Douglas details how he was a distracted father and husband who lost sight of his son, Cameron Douglas. During Cameron’s childhood, Douglas was elsewhere — on location in the Mexican jungle in “Romancing the Stone,” then a disastrous film production in Morocco for “Jewel of the Nile” that included a fatal plane crash that resulted in three crew members’ deaths. To cope with the breakneck pace of show business, Douglas sought refuge in women, cocaine and work.

Cameron’s troubled youth reached a crescendo when he was sentenced to five years in federal prison for drug smuggling, with an additional sentence for drug possession in prison — serving seven years in the end. It was enormously painful for Douglas, who also struggled with addiction, and had sought out treatment to provide an example to his son.

In a late chapter, he recalls confiding in Rob Reiner, who also had a son who struggled with addiction issues. In the memoir, Douglas addresses the killing of Rob and Michelle Reiner in December 2025; their son Nick has been charged with murder. “We both had sons with serious drug issues and we both, at times, had been at the end of our rope,” Douglas writes. “It was a heartbreaking confessional for us, but I know we gave each other some measure of comfort during the hard times.”

Why trudge through movie history, turning over every stone and every wound, in a nearly 500-page memoir? Because, according to Douglas, it’s time.

“Your 80s may be a good time to share,” the actor says, who recently turned 82. “People interested in movies, we give them a certain insight into the process, and maybe they could learn something. For others, it’s just gossip.” His battle with Stage 4 oral cancer brought the contours of his life into stark relief, sharpened by seven weeks of radiation and chemotherapy. His official diagnosis was tongue cancer, but he told the public he had throat cancer, hoping to stall speculation in the press about the possibility of disfigurement — and, more specifically, the prospect of losing his tongue. It was isolating, and Shane Salerno — the memoir’s co-author — stayed by Douglas’ side.

Michael Douglas.

(David Urbanke / For The Times)

As much as Douglas’ memoir, “One Helluva Ride,” is a revealing and delightful account of a life in show business, it is also a love letter to California — a place where Douglas spent much of his adult life, beginning at UC Santa Barbara. The college travel brochure read: campus by the sea. “I remember the cover of it was a guy walking down the beach with a surfboard, two girls in two-piece bathing suits. In 1963, I never saw a two-piece bathing suit back east.” He was sold.

The California years made an impression. Douglas is still, at heart, a hippie. Raised in stiff East Coast prep culture, he was reborn in the California sunshine. “I transferred into becoming a hippie, influenced by the Maharishi Mahesh Yogi, hallucinatory drugs, and the world that existed in the early ‘60s in San Francisco.”

Strangely, Douglas argued that some of the utopic sentiments of the 1960s are returning. “People are beginning to look back at that time, and realize how important family is — cooperation, sharing,” he says. “Socialism is not a four-letter word or something that’s terrible. There are other things to pursue in life other than just making money.”

“Your 80s may be a good time to share,” Michael Douglas says.

(David Urbanke / For The Times)

Like the characters he portrayed, Douglas is far from perfect. He admits that he struggled — in his first marriage, and later as a father. After marrying Diandra Luker, Douglas was unfaithful, having relationships with co-stars, most notably Turner on the set of “Romancing the Stone” in the Mexican jungle. The two denied the relationship for years. Now, with Turner’s blessing, Douglas writes about their involvement in his memoir.

Before Turner, there was Diane Thomas, the film’s waitress-turned-screenwriter, with whom Douglas had an affair. Thomas’ life was tragically cut short in a car accident involving a Porsche that Douglas had gifted her.

Then there were the rumors. On the set of “Basic Instinct,” some speculated that Douglas and Sharon Stone were having an affair. They weren’t, he explains. Douglas was instead locked in a power struggle with director Verhoeven, who, during one particularly heated argument with the actor, suffered a burst artery in his nose, turning the confrontation into a bloody scene. Douglas, meanwhile, was involved with another co-star, Jeanne Tripplehorn. “They were so focused on a possible relationship between Sharon and me, they missed the real relationship happening between me and Jeanne,” he writes.

When he and his current wife, actor Catherine Zeta-Jones, made it official, Douglas went to the other room to make breakup calls to five other women. (By this point in the memoir, Douglas has enough goodwill to pass this off as charming.) “From the moment I met Catherine, and we formed our family, I was a new man,” he writes.

The memoir enshrines Douglas’ petty show-business grievances too: a repaired grudge against David Letterman, a TV co-star who stole his longtime girlfriend, and a bouquet sent to Julia Roberts to apologize for his drunken buffoonery. In Douglas’ words: “There’s two or three people that I share my hostilities with.” He clashed with Brian De Palma, who was originally attached to direct “Fatal Attraction” and tried to have Douglas fired. De Palma underestimated Douglas and was replaced by Adrian Lyne. Years later, De Palma apologized, but Douglas rejected it.

It is impossible to tell the story of Douglas’ career without the women he encountered. The films he championed helped establish a new type of female lead — in all their powerful, morally ambiguous and deranged glory. “An actress was not allowed to play a villain,” he says. In “One Flew Over the Cuckoo’s Nest,” the actor struggled to cast Nurse Ratched. “A whole number of leading actresses turned that part down until we found Louise Fletcher, who went on to win an Oscar.”

For Glenn Close, Sharon Stone and Kathleen Turner, acting opposite Michael Douglas was transformative. After her role as a murderous, sex-crazed bisexual in “Basic Instinct,” Stone became one of the biggest stars of the 1990s and earned an Oscar nomination for Martin Scorsese’s “Casino.” Close‘s portrayal of the mistress-turned-lovesick psychopath in “Fatal Attraction” earned the actor her first lead Oscar nomination after three supporting nods. Turner went from being primarily known as the sexy femme fatale of “Body Heat” to a Golden Globe-winning star with box-office clout after her collaboration with Douglas. Sure, she sued him, too, but their friendship survived.

However, it wasn’t until his role as Gordon Gekko, the fast-talking, impulsive tycoon in 1987’s “Wall Street,” that Douglas was in full force, winning an Academy Award for lead actor. Directed by Vietnam veteran Oliver Stone, Douglas delivered an unforgettable performance about the dangers of unchecked capitalism and greed. At an early New York screening, Douglas recalls Wall Street traders being stunned by the film’s stinging accuracy. “A lot of the Wall Street characters were there, very cocky at the time; they all were shocked because we caught them.”

To his surprise, Wall Street financiers approached him on the street to praise Gekko — anointing him as their hero. “I said, ‘I was the villain.’ ‘No, no, no,’” he said. “So it showed me a lot.”

It speaks to Douglas’ gifts as an actor that he could transcend the caricature of white male entitlement he portrayed with such precision. In “Falling Down,” filmed during the 1992 uprising triggered by the Rodney King verdict, Douglas plays an unemployed defense worker, a man so consumed by disillusionment and blinded by his own sense of victimhood that he cannot recognize the harm he inflicts on others. The character would prove eerily prescient, anticipating an archetype that would take shape in the decades to come. An entire generation mistaking the actor’s brilliance as an invitation.

Perhaps that is the strange thing about being a movie star: Audiences decide who you are, and what you mean to them. For a chameleon, an actor who spent a lifetime resisting other people’s definitions of him, that might be the ultimate paradox.

As our conversation winds down, I remind him of his immense contributions to filmmaking, through producing and acting. It seems redundant, but I say it anyway. His response is polite.

“Quirky,” he said. “‘Falling Down,’ ‘The War of the Roses’ — I love those quirky films.”

“I’m proud of my movies,” he says. “I’m very proud of my movies.”

Connors is a culture journalist in L.A. She covers books, food, entertainment and offbeat Los Angeles. She’s currently at work on a book of essays about tourism in all its forms.