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Tag: Book Reviews

  • No Secrets Are Safe In This Is A Safe Space

    Book Overview: This Is A Safe Space

    Content Warnings: sexual assault, stalking, blackmail, coercive control, infidelity, trauma

    Summary: Jenna, who runs a successful private therapy practice, still struggles with trust issues of her own. She’s made a promise to stop snooping in her husband Colten’s phone, but sometimes she can’t help herself. One night, she discovers a troubling exchange between him and his cousin Bodie, who’s one of his closest friends. A dancer from a bachelor party they both recently attended is threatening Bodie, claiming they crossed a line sexually and that she’ll expose the truth to his family if she doesn’t get what she wants. They don’t know much about this woman, or how far she’s willing to go. But Jenna might.

    Lexus Chardonnay, the stage name of the dancer from the party, is one you don’t forget. And Jenna’s heard it before—from one of her clients.

    Kaitlyn is a medical school student who dances on weekends to put herself through school. Jenna’s been her therapist for years, except she hasn’t seen her for three months. Not since Kaitlyn stopped showing up for treatment, without explanation. As Jenna begins to listen back to their past sessions, desperate for answers, a more complicated picture emerges, and she must decide who to trust as her career and her family hang in the balance.

    This is a Safe Space By Lucinda Berry
    Courtesy of Simon & Schuster

    Everyone says they want honesty in a relationship, but how many of us have sneaked a peek at a partner’s phone when nobody’s looking? Jenna knows she shouldn’t, yet one quiet night, she breaks her promise and scrolls through her husband’s texts. What she finds isn’t your run-of-the-mill flirty message or a secret Instagram account. It’s something much more alarming: a digital Pandora’s box that threatens not just her marriage, but the very career built on trust and confidentiality.

    Lucinda Berry’s new thriller, This Is A Safe Space, puts a modern twist on the old idea that some secrets refuse to stay buried. In an era when our whole lives (and our darkest lies) can hide behind a lock screen, this story taps into a very real, very today kind of fear. What if the person who creates a “safe space” for others has nowhere safe for herself? It’s a question Jenna is forced to confront as her professional world collides with a deeply personal nightmare.

    1. Our Phones, Our Secrets

    What would someone find if they opened your phone right now? It’s a disarming question, and in This Is A Safe Space, the answer nearly shatters one family. Jenna’s late-night phone snooping isn’t just a plot device; it’s a painfully relatable lapse in judgment. In an age of fingerprint locks and Face IDs, the smartphone has become a diary, confession booth, and safe deposit box of our secrets all in one. Jenna promised herself she’d trust her husband Colten, but the temptation of that glowing screen proves too strong. And when her worst suspicions appear confirmed by a string of cryptic texts, it kicks off a chain reaction of suspicion and fear.

    This thriller gets how a tiny breach of digital privacy can snowball. One moment of “just checking” leads Jenna into a web of lies connecting her home to her therapy practice. It’s a modern scenario that feels disturbingly familiar, tapping into the way real trust issues often begin with a single notification at 2 AM. By anchoring the mystery in something as ordinary as a text message, the story makes its psychological punches hit close to home!

    2. One Name, Two Lives

    Meet Lexus Chardonnay. It’s a stage name you won’t easily forget. For Jenna, it’s the name that makes her blood run cold. Those threatening messages on her husband’s phone revolve around a mysterious dancer with this flashy alias. But Jenna has heard it before, in a far different context. Lexus is actually Kaitlyn, a bright medical student who has sat across from Jenna in therapy for years. By day, Kaitlyn is studying to heal others; by night, under neon lights, she becomes Lexus, dancing to pay the bills.

    This dual life isn’t just a plot twist; it’s a commentary on the curated identities people juggle. On social media, we often present highlight reels of our lives, and some of us even keep whole parts of ourselves hidden under alter egos. The novel deftly shows how those separate worlds can collide in an instant. Jenna suddenly realizes the woman sending shockwaves through her family is the same person she’s tried to help through panic attacks and personal struggles. It’s a collision of worlds that raises the stakes and begs the question: how well do we really know anyone, even those we’re supposed to trust most?

    3. Victim Or Villain?

    Thrillers thrive on uncertainty over who wears the white hat and who’s hiding a dagger behind their back. This Is A Safe Space takes that uncertainty up a notch. The dancer threatening Jenna’s family might be an extortionist preying on men’s worst fears, or she could be a young woman lashing out after surviving something unspeakable. The story constantly tugs the rug out from under assumptions. One chapter, you’re convinced Bodie (Colten’s hapless cousin caught in the scandal) is being unfairly trapped; the next, you wonder if he’s not as innocent as he seems.

    It’s a fascinating tightrope walk between sympathy and suspicion. The novel asks if it’s possible to be both a victim and a perpetrator at once. In real life, people who are hurt sometimes hurt others in return, intentionally or not. Berry isn’t afraid to live in that gray area. She lets readers sit with the discomfort that comes when you simply can’t slot someone into “good” or “bad.” It makes the suspense that much more intense.

    4. When Control Turns Coercive

    Behind the thriller’s twists lies a sobering commentary on power and credibility. The situation Jenna uncovers isn’t just about a scandal. It’s about who gets believed and who gets blamed. Kaitlyn’s alter ego, Lexus, resorts to late-night threats and demands, behaviors that look like stalking on the surface. But the novel nudges readers to consider why she feels this is her only recourse. Women who speak up about being harmed are too often dismissed as “crazy” or attention-seeking, especially if their story threatens a tight-knit family’s reputation. It’s a frustrating reality that This Is A Safe Space digs into: if Kaitlyn truly was wronged, would anyone believe her without proof or pressure?

    The flip side is equally unsettling. If she’s lying, then she’s weaponizing the doubt that real victims face, making it harder for others to trust women’s stories. The narrative walks this fine line without preaching. Instead, it heightens the suspense: every character is unsure who to trust, and that creeping feeling of being watched or manipulated keeps both Jenna and the reader on edge. Coercive control isn’t always overt violence: sometimes it’s a barrage of texts, a veiled threat, or the silent treatment that warps reality. Berry shows how these subtler forms of manipulation can be just as chilling, especially in a world where deleting a message doesn’t erase what happened.

    5. Blurred Boundaries, Big Dilemmas

    Therapists are supposed to keep a professional distance, but what happens when the “someone” needing help is on the other side of the couch and also at your dinner table? Jenna’s predicament is every psychologist’s nightmare scenario. Ethically, a therapist shouldn’t entangle their personal life with a patient’s, yet here she is, smack in the middle of her client’s secret crisis. When Kaitlyn vanished from therapy without a word three months ago, Jenna never imagined their next encounter would be like this. Now Jenna is combing through old session notes and audio recordings, searching for clues in conversations that were meant to heal, not solve a mystery.

    The book grapples with the ethics of these dual relationships in a very human way. Jenna isn’t portrayed as a saint or a sinner for the choices she makes, just a person trying to protect her family and her patient at the same time. It raises tough questions: Can you ever really separate personal feelings from professional duty? Jenna knows the rulebook, but This Is A Safe Space shows how real life often laughs in the face of those rules. The tension of watching her walk that tightrope between what’s right as a therapist and what’s necessary as a wife and mother adds another layer of depth to an already twisty thriller.

    6. When Betrayal Hits Home

    Beyond the mystery and mind games, Berry delves into the emotional wreckage that betrayal leaves behind. Jenna might be a therapist, but discovering her husband’s possible deceit puts her on the other side of the couch, reeling, doubting, and hurt like anyone else. The novel illustrates betrayal trauma in a way that young readers and older ones alike can feel in their gut. When someone you love breaks your trust, it doesn’t just sting; it alters how you see the world. Jenna’s outlook shifts as she grapples with the notion that the man she built a life with may have dangerous secrets. Her empathy is tested too; can she still sympathize with her client’s pain when she’s drowning in her own?

    Lucinda Berry’s background as a psychologist shines through in these moments. The story doesn’t lecture about trauma; it shows it unfolding in real time, from Kaitlyn’s anxiety spirals to Jenna’s simmering panic behind her professional poise. The characters’ reactions feel authentic, messy, and human. This Is A Safe Space isn’t just another page turner; it’s a thriller that truly understands the psychology of broken trust!

    The scariest part of This Is A Safe Space isn’t what people confess; it’s what they keep to themselves.

    What are your thoughts on This Is A Safe Space? Let us know all your thoughts in the comments below or over on TwitterInstagram, or Facebook!

    TO LEARN MORE ABOUT LUCINDA BERRY:
    FACEBOOK | INSTAGRAM | WEBSITE

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    Asia M.

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  • Thirteen’s The Charm: Inside The Dark Enchantment Of Erin A. Craig’s The Thirteenth Child

    Book Overview: The Thirteenth Child

    Content Warnings: death, parent deaths, gore, war, violence, illness and plague, cheating

    Summary: Hazel Trépas has always known she wasn’t like the rest of her siblings. A thirteenth child, promised to one of the gods, she spends her childhood waiting for her godfather, Merrick, the Dreaded End and Death himself, to arrive. When he does, he lays out his plan for Hazel’s future. She will become a great healer, known throughout the kingdom for her precision and skill. To aid her endeavors, Merrick blesses Hazel with a gift, the ability to instantly deduce the exact cure needed to treat the sick.

    But all gifts come with a price. . . .

    Hazel can see when Death has claimed a patient—when all hope is gone—and is tasked with ending their suffering, permanently. Haunted by the ghosts of those she’s killed, Hazel longs to run. But destiny brings her to the royal court,where she meets Leo, a rakish prince, and against her better judgment, she falls in love. But Hazel faces her biggest dilemma yet when she is called to heal the king. Hazel knows what she is meant to do and knows what her heart is urging her toward, but what will happen if she goes against the will of Death for the sake of love?

    The Thirteenth Child by Erin A. Craig

    Imagine being blessed at birth, not by a fairy godmother but by Death himself. That’s the haunting premise of Erin Craig’s The Thirteenth Child, a YA novel that spins a darkly enchanting tale from a Grimm fairy tale. It’s part epic fantasy, part romance, and it’s already topping bestseller lists. So what makes this gothic story stand out? Here are 7 reasons it’s casting a spell on young readers:

    1. A Grimm Inspiration Reborn

    Based on a Brothers Grimm tale, but far from a quaint fable. It draws inspiration from a lesser-known Grimm story called Godfather Death, but don’t expect a straight retelling. Craig uses that dark premise as a springboard for something much bigger! The novel nods to the original folktale’s themes of bargains and fate, then ups the ante with richer characters and higher stakes. It feels like a classic fairy tale at heart, but with far more twists and teeth.

    2. Hazel Trépas: A Heroine With A Dark Gift

    At the story’s heart is Hazel, a girl blessed (and cursed) by Death. Hazel Trépas is the thirteenth child of a poor family, promised from birth to the God of Death. When her eerie godfather finally shows up, he blesses Hazel with the power to heal any illness. The catch? She can also tell exactly when someone is beyond saving, and then she must end their suffering. Imagine the burden of that gift! Hazel is compassionate but haunted, determined to forge her own path despite the grim duty hanging over her. It’s impossible not to root for her as she fights for control of her life under Death’s shadow!

    3. Death As The Ultimate Godfather

    When Death becomes your mentor, expect the unexpected. Merrick, the god of Death himself, isn’t your typical hooded reaper. As Hazel’s godfather, he’s stern and otherworldly, yet oddly caring in his own way (more so than Hazel’s actual parents, frankly). He takes Hazel under his wing to mold her into the great healer he expects. Their bond is a fascinating push-pull of duty and affection. It’s not every day that Death plays dad, and here it’s equal parts chilling and touching.

    4. Gothic Atmosphere And Storybook Vibes

    Think candlelit castles, misty forests, and ghosts at the door. The book’s atmosphere is pure gothic goodness, from midnight chapel vigils to woodland spirits lurking by the road. Craig vividly renders a world where every blessing comes with a curse attached, making it feel like you’ve stepped into an eerie old storybook. Yet for all the dark, lush detail, the writing stays crisp and clear. It gives you goosebumps without ever getting you lost in the woods.

    5. Royal Intrigue And High-Stakes Twists

    Palace politics, family secrets, and fate hanging by a thread. When Hazel is summoned to the royal court to heal a dying king, the story kicks into high gear. Suddenly she’s navigating a den of vipers: scheming nobles, hidden agendas, and maybe even a murderous plot. In this kingdom, no one is entirely trustworthy, and danger lurks in every corridor. The novel delivers twist after twist as Hazel unravels what (or who) is behind the king’s illness. The stakes are sky-high, with Hazel’s own future tied to the fate of the realm, so by the climax you’ll be holding your breath hoping she can cheat Death itself!

    6. A ‘Romantasy’ Worth Swooning Over

    Amid the darkness is a swoon-worthy spark. Even in a dark tale, there’s room for love. Hazel’s chemistry with Prince Leo (the king’s younger son) brings a welcome glow to the gloom. Their banter is quick and witty (Leo’s cynicism meets its match in Hazel’s no-nonsense charm) and their reluctant alliance slowly blossoms into something more. Importantly, the romance never overshadows the main story; instead, it raises the emotional stakes. You’ll find yourself rooting for this couple to find a happily-ever-after, even as doom hangs over them. In a world so shadowed, their romance is a warm, defiant light.

    7. Haunting Themes With Heart

    A fairy tale that makes you think (and maybe cry). Beyond the magic and mayhem, this story tackles big questions about mortality and sacrifice. Hazel’s very role asks: What makes a life well-lived? How far should one go to save someone they love? There are definitely scenes that tug at the heartstrings (keep tissues handy), but there’s also a thread of hope shining through!

    The Thirteenth Child doesn’t just retell a fairy tale: it redefines it for a new generation, turning a morbid premise into a story about the fierce, fragile beauty of life!

    What are your thoughts on The Thirteenth Child? Let us know all your thoughts in the comments below or over on TwitterInstagram, or Facebook!

    Want more book reviews? Check out our library!

    TO LEARN MORE ABOUT ERIN A. CRAIG:
    GOODREADS | FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | WEBSITE

    Asia M.

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  • Who Can Lead the Democrats?

    Kamala Harris almost won in 2024. So why does her new book feel like another defeat?

    Amy Davidson Sorkin

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  • What Happens When Time Is Currency? Exploring AN ETHICAL GUIDE TO MURDER

    Book Overview: AN ETHICAL GUIDE TO MURDER

    Content Warnings: death, murder, violence, alcohol, addiction, grief, ethical dilemmas, self‑harm, suicidal ideation

    Summary: Thea has a secret. She can tell how long someone has left to live just by touching them. Not only that, but she can transfer life from one person to another—something she finds out the hard way when her best friend, Ruth, suffers a fatal head injury on a night out. Desperate to save her, Thea accidentally kills the man responsible and lets his life flow directly into Ruth.

    Thea comes to understand that she has a godlike power, but how to use it quickly becomes a question of self-control. Is it really so wrong to take a little life from a bad person—say, a very annoying boss—and gift it to someone who’s truly good? Realizing she needs to harness her newfound skills, Thea creates an Ethical Guide to Murder. But as she embarks on her mission to punish the wicked and give the deserving more time, she finds good and bad aren’t as simple as she first thought.

    How can she really know who deserves to live and die, and can she figure out her own rules before Ruth’s borrowed time runs out?

    An Ethical Guide to Murder by Jenny Morris
    Image Source: Courtesy of HarperCollins

    The premise sounds like something dreamed up after a late‑night crime podcast binge: what if you could see the exact moment someone will die just by touching them, and what if you could siphon off their remaining hours for someone else? That’s the hook of AN ETHICAL GUIDE TO MURDER, the debut novel by Jenny Morris. The story follows twenty‑six‑year‑old Londoner Thea, a self‑described flake who barely scraped through law school and now works in HR while living with her medical‑student best friend, Ruth. During a night out celebrating Ruth’s success, Thea brushes her roommate’s hand and suddenly knows she will die at precisely 11:44 p.m. When Thea later snatches life from the drunk man who knocks Ruth over, transferring his remaining years to save her friend, she realizes she’s stumbled into a power normally reserved for comic books and ancient myth. Those early pages set up the novel’s central dilemma: if you could decide who deserves to live and who deserves to die, what rules would guide you?

    So, She Wrote An Ethical Rule Book

    Faced with a godlike ability, most of us would panic. Thea makes a spreadsheet. Together with Sam, a high‑powered lawyer and former flame, she tries to codify her newfound talent into something altruistic. The result is the “ethical guide to murder,” a checklist of justifications she’ll use before taking someone’s life: the target must have caused excessive harm, shown no remorse, and be likely to hurt others again. Bonus points if they’ve already killed someone. These rules, borrowed from her own conscience rather than any legal code, sound simple until they collide with messy reality. A belligerent stranger at a club or a corrupt boss might seem like easy marks, but Thea quickly learns that people rarely fit neatly into columns of good and bad.

    This tension between intent and action is where Morris has fun. When Thea lends extra years to a masseuse as a generous tip or takes a few months from an annoying colleague, you start to feel complicit. It’s disturbingly relatable to fantasize about redistributing time from the unpleasant to the deserving. The spreadsheet isn’t enough; morality leaks out around the edges, and Thea’s attempts to play judge and jury feel more like someone gamifying guilt than a righteous crusade.

    Dark Humor In A Morality Play

    One reason the novel might resonate with younger readers is its tonal agility. Morris is a behavioral scientist with a PhD in cognitive psychology. That background peeks through in the way she balances ethical debate with deadpan humor. Thea’s existential crisis is peppered with observational jokes about HR bureaucracy, London nightlife, and the absurdity of trying to quantify morality with bullet points. In one scene, she refers to her power as a “life‑hack” that would make productivity gurus blush. Thea may be saving lives, but she still complains about office politics and ends up planning kills during spin class. That juxtaposition feels very twenty‑first century: serious questions about justice delivered alongside memes about procrastination.

    Morris never lets the humor undermine the stakes. Beneath the quips lies a grieving woman traumatized by her parents’ deaths in a hit‑and‑run. The accident left her with a constant need to right wrongs, and her vigilante streak is as much about revenge as altruism! As Thea’s body count rises and Sam’s influence grows, the tone shifts from quirky urban fantasy to thriller. Theirs is a relationship built on shared secrets and convenience; Sam pushes Thea to kill for his own vision of justice, and we’re left wondering whether she’s fallen for him or for the ease of having someone else make the hard decisions.

    Characters You Love To Side‑Eye

    Readers expecting a plucky heroine may be surprised. Thea is messy. She flunked her bar exams, half‑heartedly chases a career she doesn’t really want, and uses her supernatural gift as both a coping mechanism and a power trip. Her best friend Ruth is grounded and earnest, a doctor who believes in the Hippocratic oath even when it clashes with Thea’s vigilantism. Sam, with his endless legal connections and questionable ethics, oscillates between ally and antagonist. He sees Thea’s talent as a business opportunity, a way to remove obstacles and curry favor, and his moral compass points wherever the money flows. Even Thea’s crusty grandfather, who raised her after her parents’ accident, brings complexity; he embodies the traditional values Thea flouts yet quietly approves of her loyalty to Ruth.

    This cast makes Thea’s world feel like a dysfunctional found family. Their dynamics lean into the blurred lines between friendship and co‑dependence: who hasn’t kept a toxic ex around because they feel like there’s unfinished business? Thea’s loyalty to Ruth is the novel’s beating heart; their bond, forged through childhood illness and shared trauma, anchors the narrative. When Thea’s actions threaten that friendship, the story’s moral stakes become personal.

    When The Fantasy Gets Uncomfortably Real

    The novel’s high concept might sound fantastical, but many of the themes mirror contemporary debates: restorative justice, cancel culture, and who gets to decide what accountability looks like. Morris asks you to confront your own biases. Would you shave years off a murderer’s life to save an innocent? If a corrupt CEO loses a few months of retirement, is that justice or vengeance? And what about smaller, pettier infractions; the commuter who pushes past you on the train, the politician who lies on television? Thea’s internal monologue touches on all of these, and it’s hard not to imagine one’s own ethical spreadsheet.

    The book also critiques the allure of vigilantism. It’s seductive to believe in personal retribution, yet the plot shows how quickly righteous action becomes self‑serving. As the story progresses, Thea becomes addicted to the rush of playing god and justifying her choices by cherry‑picking examples of bad behavior. This slippery slope is dramatized when her and Sam’s schemes veer into financial crimes and personal vendettas. The once‑clear lines blur until she’s unsure whether she’s acting to protect others or to soothe her own unresolved anger.

    Tempo, Twists, And The Payoff

    Pacing can make or break high‑concept fiction, and AN ETHICAL GUIDE TO MURDER mostly delivers. The first half feels like an episodic series of vignettes in which Thea tests out her rules and stumbles through moral messes. Some readers may find these chapters repetitive; the thrill of discovering a new superpower gives way to a rhythm of identification, judgment, and redistribution of time. However, the back half accelerates as Thea and Sam’s enterprises unravel. A financial scandal, an investigation into Ruth’s extended lifespan, and Thea’s hunt for her parents’ killer converge in a taut finale that justifies the slow burn! The climax forces Thea to confront the very question she’s been avoiding: can one ever balance the scales when playing with life itself?

    Why It Clicks With Younger Readers

    There’s a reason this book has been popping up on BookTok feeds and in DMs between friends. The central premise, a woman with an Excel file deciding who deserves more time, speaks to a generation raised on side hustles and moral complexity. For an audience that grew up watching superheroes dismantle systems but also wrestles with the consequences of “canceling” someone, Thea’s story feels like an allegory. It asks whether individual action can substitute for institutional justice, a question that resonates when trust in systems is low.

    The novel’s mix of gallows humor and genuine philosophical inquiry also reflects the way many young adults process trauma: through memes, sarcasm, and earnest conversation in equal measure. Thea’s penchant for witty asides while discussing murder invites the kind of darkly comic commentary that thrives on social media threads. Even the ethics spreadsheet has inspired readers to create their own “life‑swap bingo cards” online. The book’s cultural footprint shows that high‑concept crime fiction can be both thought‑provoking and wildly entertaining!

    The Verdict

    AN ETHICAL GUIDE TO MURDER is messy, provocative, and undeniably fun. Its central conceit will stretch your suspension of disbelief, but its characters and the questions it raises about justice and self‑interest will keep you up at night. Young readers will appreciate the mix of dark comedy and serious introspection, and even those who find Thea unlikable may still be captivated by her journey. Ultimately, the book succeeds not because it tells us who should live or die, but because it forces us to confront why we feel qualified to make that call. It’s a novel that invites you to argue with yourself, jot down rules, cross them out, and then throw the list away! If you’re craving a fresh voice in crime fiction that doubles as a philosophical thought experiment, this one’s worth your time.

    Maybe the real crime isn’t the kill, but how casually we assume we’re the ones who should decide who gets to live!

    What are your thoughts on AN ETHICAL GUIDE TO MURDER? Let us know all your thoughts in the comments below or over on TwitterInstagram, or Facebook!

    Want more book reviews? Check out our library!

    TO LEARN MORE ABOUT JENNY MORRIS:
    GOODREADS | INSTAGRAM | TWITTER

    Asia M.

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  • The Book Club: Another Lynley crime novel, ‘The Barn,’ and a fresh take on ‘P&P’

    Editor’s note: The opinions of the smart, well-read women in my Denver book club mean a lot, and often determine what the rest of us choose to pile onto our bedside tables. So we asked them, and all Denver Post readers, to share their mini-reviews with you. Have any to offer? Email bellis@denverpost.com. – Barbara Ellis

    “A Slowly Dying Cause,” by Elizabeth George (Viking, 2025)

    George follows her typical, successful formula, but with intriguing new details in her latest Lynley crime novel. A murder in Cornwall. Too many potential suspects. A distracted lead investigator. Inspector Lynley and loyal sidekick Sgt. Havers swan in to show the locals how to run a murder investigation. Did I also detect a potential rekindled love interest for Lynley? Can’t wait for the next installment to find out. — 3 1/2 stars (out of 4); Kathleen Lance, Denver

    “Alfie & Me: What Owls Know, What Humans Believe,” by Carl Safina (W.W. Norton & Co., 2023)

    “Alfie & Me: What Owls Know, What Humans Believe,” by Carl Safina (W.W. Norton & Co., 2023)

    The tiny creature originally looked like a wet washcloth and was not expected to live, but it survived and over time became identifiable as an Eastern screech owl. Luckily for us, the chick’s feathers were damaged and an early release back into the wild was impossible. So, Carl Safina listened, watched, and took meticulous notes as this little being gradually became a free-living owl spending most of its time a few feet from the author’s back door. His masterful telling of Alfie’s story would have been enough for me, but Safina, well established as one of the world’s best science writers and author of the acclaimed “Beyond Words,” has turned this story into something grand and monumental. Alfie’s coexistence with the author’s family and the progress she makes in her recovery inspires Safina to tap into his background in philosophy, religion, world literature and traditions. He lays out the most sensible and persuasive explanation as to how we got away from connection and onto the path of destruction that I have ever read. — 4 stars (out of 4); Michelle Nelson, Littleton

    “The Barn: The Secret History of a Murder in Mississippi,” by Wright Thompson  (Penguin Press, 2024)

    This is a deeply researched account of the 1955 murder of Emmitt Till, the cultural circumstances that led up to it, and the resulting cover-up. Thompson argues forcefully about the South’s determination to forget its history rather than to learn from it. He grew up just miles from the barn in which Till was killed, and meticulously re-creates the horror of the times, the crimes, and its lessons. This is a story of power, of white supremacy, and the institutional racism that continues to contaminate our culture. The book made several “best” lists. A powerful read. — 4 stars (out of 4); Jo Calhoun, Denver

    “Longbourn,” by Jo Baker (Knopf, 2013)

    “Fireweed,” by Lauren Haddad (Astra House, 2025)

    Haddad explores issues of race, class and gender through the lens of a young woman living in a small industrial town in British Columbia.  Jenny struggles with underemployment, loneliness, condescension from the men in her life, the disapproval of her cougar mother and, worst of all for her, her failure to conceive a child. Jenny moves beyond her prejudices to offer friendship to her First Nations neighbor. She is shocked when the police, along with everyone else in her life, turn a blind eye when that woman disappears.  Yet, the community rallies and moves heaven and earth to find a missing white woman. The injustice is not lost on Jenny. Haddad chose the title “Fireweed,” because that ubiquitous plant is known as a wound healer, a hopeful metaphor. The Indigenous women of this novel sadly have little more than hope to go on. — 3 stars (out of 4); Kathleen Lance, Denver

    “Longbourn,” by Jo Baker (Knopf, 2013)

    Charming from the first page, “Longbourn” is a fresh look at the events of Jane Austen’s “Pride and Prejudice” through the eyes of three servants in the Bennett household. This tale doesn’t require in-depth knowledge of P&P, but if you recall the main events your enjoyment will be greater. Baker wisely doesn’t attempt to write entirely in Austen’s wry style, but glimmers do peek through. The way Baker slips her story within Austen’s masterpiece is inventive and essentially seamless. The characters have depth, and I cannot choose a favorite: Sarah the maid, Mrs. Hill the cook/housekeeper, or James the footman. I felt for them all. — 4 stars (out of 4); Neva Gronert, Parker

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    Barbara Ellis

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  • Monsters, Mystery, And A Murder: Jennifer Niven’s Dark Academia Thriller, When We Were Monsters, Unmasked

    Book Overview: When We Were Monsters

    Content Warnings: death (including parental death), car accident, drowning, violence, psychological manipulation, grief

    Summary: A dead teacher at an elite boarding school. Four students who had every reason to want her gone. Who is the monster?

    At an elite New England boarding school, eight students are selected for an exclusive storytelling workshop with the one and only Meredith Graffam—an enigmatic writer, director, and actress. For sixteen days, they will live in the isolated estate of the school’s founder, surrounded by snowy woods and a storm-tossed seas. Only one of the chosen will walk away with a lifechanging opportunity to realize their creative dreams.

    Everyone, including Graffam, has a compelling reason to be there—Effy, the orphan, Isaac, the legacy, Ness, the wallflower, Ramon, the outsider, and Arlo, whose unexpected arrival leaves Effy spiraling—but only the most ambitious will last the term. Graffam’s unorthodox methods push the students past the breaking point, revealing their darkest secrets, taking unthinkable risks, and slowly starting to turn on one another. But Graffam never expected they would turn on her . . .

    When We Were Monsters by Jennifer Niven
    Image Source: Courtesy of Penguin Random House

    Ever wondered what secrets lurk behind ivy-covered boarding school walls? Jennifer Niven’s latest novel When We Were Monsters invites readers into an elite world where ambition runs high, creativity is a blood sport, and not everyone makes it out alive. In this engaging new YA thriller, Niven, best known for heartfelt favorites like All the Bright Places, trades small-town angst for a dark academia setting dripping with suspense and stormy New England atmosphere. The result is a story as dynamic and fresh as it is chilling!

    Let’s break down why When We Were Monsters is capturing attention and imaginations, especially among younger readers. From its killer premise (literally) to the relatable fears it taps into, here are the key takeaways from this conversational yet polished review of Niven’s newest page-turner.

    1. A Killer Premise That Hooks You Early

    Niven doesn’t waste time drawing us in; the novel opens with a line that practically dares you not to read on: “The day before we kill Meredith Graffam is calm and blue. Like Massachusetts in summer after rain.” With that evocative sentence, we’re immediately thrust into a murder plot at an elite New England boarding school. The victim? Meredith Graffam, a charismatic yet feared teacher running an exclusive 16-day storytelling workshop for eight hand-picked students. The twist? Each of those students has a motive, and each had every reason to want her gone. It’s a classic whodunit setup, a dead mentor, a locked-room (or rather, locked-mansion) mystery, but given a contemporary spin that feels anything but dated.

    This killer premise hooks you early by combining the glittering upper echelons of society with the creeping suspicion that monsters walk among us. The phrase “Who is the monster?” becomes the novel’s haunting refrain. Is the monster one of the ambitious teens vying for their big break? Is it Meredith herself, whose teaching methods verge on psychological warfare? Or is it something more metaphorical: the darkness lurking in each of them? By posing these questions up front, Niven crafts an irresistible hook. You find yourself playing detective from page one, looking for clues in every tense interaction and snowy corridor. The hook is set, and trust us, you won’t escape it easily!

    2. Dark Academia Vibes With A Gothic Twist

    If you’re a fan of dark academia aesthetics, think old manor houses, secretive seminars, and stormy nights, this book delivers in spades. The setting is an isolated estate on the New England coast, complete with “snowy woods and storm-tossed seas” as a backdrop. That remote mansion might as well be a character itself: its halls bristle with decades of secrets, and its walls seem to whisper dread. There’s even a dangerous cliffside nearby, upping the stakes (and the gothic drama) as the story progresses. It’s easy to imagine candlelight flickering against wood-paneled walls while a nor’easter howls outside; a perfect stage for things to go very, very wrong.

    Seasoned readers might catch homages to classic gothic thrillers. The atmosphere is drenched in unease, wrapping around you like a thick fog. Yet, Niven keeps it fresh for a younger generation. This isn’t a dusty old haunted house tale; it’s more like The Secret History meets Pretty Little Liars. The students wear contemporary school uniforms and trade barbed comments and furtive glances in the age of Instagram (though phones aren’t much help when you’re snowed in at a remote estate). The result is a vibe that’s both classic and cutting-edge; as if the Brontë sisters got a TikTok account and a taste for murder mysteries. It’s atmospheric, yes, but never boring. You can practically smell the old library books and feel the chill in the air as you read, completely immersed in Niven’s wintry scholastic nightmare.

    3. Characters With Secrets (And Scars) To Spare

    Any good thriller needs a compelling cast of suspects, and here we get eight teenage creatives who are anything but cookie-cutter. Each student arrives at the workshop with baggage and burning ambitions:

    Effy: the orphan determined to turn her tragic past into story gold. She’s piecing together a tale about the betrayal that led to her mother’s death, and that personal quest makes her equal parts vulnerable and fierce.

    Arlo: the outsider who wasn’t originally invited. He hopes to publish a novel and maybe win back Effy’s heart after ghosting her three years ago. (Yes, there’s history there, and it’s juicy!) His unexpected arrival immediately puts everyone on edge, especially Effy.

    Isaac: the legacy student under pressure to live up to his family name.

    Ness: the wallflower who observes more than she lets on.

    Ramon: the wild card from a different background, fighting for his place among these elites.

    And that’s just to name a few. Everyone, including Graffam herself, has a compelling reason to be there. They’re competing for a life-changing prize, only one will win this coveted mentorship opportunity, so jealousy and drive are dialed up to ten. It’s a recipe for drama even before anything sinister happens.

    What’s also intriguing is how Niven peels back each character’s layers through the intense workshop challenges. Dark secrets? Check. One by one, under Graffam’s demanding eye, the students reveal things they’d rather keep hidden. The novel alternates between Effy’s and Arlo’s perspectives, giving us intimate access to their thoughts. We feel Effy’s anxiety as old wounds resurface, and we ride along with Arlo’s determination to prove himself; not just to Graffam but to the girl whose heart he broke. The dual POV adds a relatable depth: one moment you’re in Effy’s head, wrestling with grief and attraction, the next you’re with Arlo, balancing guilt and ambition. It’s an effective one-two punch that keeps the narrative personal even as the external stakes (you know, little things like murder accusations) escalate.

    You will likely find pieces of yourself in these characters. Who hasn’t felt like the outsider at some point, or yearned to redeem a past mistake? The students’ vulnerabilities make them more than potential killers; they feel real and flawed, like people you might know…if your friend group was comprised of aspiring novelists and filmmakers with a possible murderer among them.

    4. A Mentor From Your Nightmares

    At the center of this storm stands Meredith Graffam, the famed writer-director-actress who runs the workshop. Imagine the intimidating aura of your most challenging teacher, then crank it up to eleven. Graffam is enigmatic, brilliant, and more than a little unorthodox. She’s the kind of mentor who might quote Shakespeare one minute and set a near-impossible creative task the next, all with a serene smile that says, “Trust me.” Under her tutelage, the teens are pushed past their breaking point. She has them confront their fears, spill their secrets, and push their art to extremes. It’s the sort of high-pressure, borderline cruel mentorship that breeds both geniuses and, well, monsters!

    You will love to hate Meredith Graffam. She’s a charismatic genius with a cruel streak, a character so larger-than-life that everyone’s drawn to her despite the fear she instills. At times, you catch glimpses of a more human side, hints of regret, or empathy, but just when you think you’ve got her figured out, she reminds you who’s in charge. This dynamic creates a delicious tension: Graffam is ostensibly there to help these kids achieve their dreams, but her methods and motives are suspect from day one. Is she a villain, a victim, or something in between? That ambiguity makes every interaction with her crackle. And it makes the question of “who turned on whom” all the more compelling when she ends up dead.

    One can’t help but think Niven had fun crafting this character. In a recent interview, she revealed that Graffam was partly inspired by a real professor who wronged her in college. That real-life bitterness adds an authentic bite to Graffam’s scenes. She’s the embodiment of every authority figure who ever abused their power, and seeing students push back (or plot back) is oddly satisfying. By the end, Meredith Graffam stands as one of the more memorable YA mentors in recent memory; not entirely a monster, but far from innocent!

    5. Thrills, Twists, And A Slow-Burn Suspense

    Though When We Were Monsters involves a murder, don’t expect a typical breakneck thriller with jump scares at every turn. Niven opts for a slow-burn suspense that simmers from start to finish. The tension in this story is like a low, eerie hum in the background; you might not notice it at first, but before long, it’s under your skin. From the moment the students step into that isolated mansion, an impending sense of doom blankets the narrative. Little conflicts and strange occurrences keep stacking up: a rivalry here, a betrayal there, an unexplained midnight scream down the hall. Each chapter leaves you with that unsettled feeling, wondering what fresh drama the next day will bring.

    The payoff for this steady build is a climax that feels both shocking and earned. No spoilers here, but let’s just say that by the time the big reveal comes, you’ll be clutching the book with clammy hands. Some savvy readers might guess the culprit before it’s revealed. The novel plays fair with its clues, but even if you do, the journey is the real thrill. Niven keeps the twists coming in the interpersonal dynamics as much as the murder mystery itself. Alliances form and fracture among the teens. First kisses happen at decidedly inconvenient moments. Secret alliances and lies complicate what could have been straightforward investigations. It’s messy and human in the best way!

    One standout aspect is how Niven maintains suspense without relying on gore or cheap tricks. The dread is psychological. Much of the fear comes from watching characters we care about make potentially catastrophic choices. The students are asked to do some truly alarming things in the name of “art” (there were moments we thought, “Nope, couldn’t be us…” We would’ve bolted from that mansion on day two). This creates a different kind of horror: not jump-out-of-your-seat scares, but the creeping realization of how far people will go for success or validation. By the end, you might find yourself questioning what you would be willing to do in their shoes. It’s a thriller that makes you think, even as it keeps you entertained.

    6. Emotional Depth And A Sizzling Undercurrent Of Romance

    Despite the spooky setting and deadly stakes, this novel beats with a lot of emotion at its heart. Jennifer Niven made her name writing about teen feelings, love, loss, mental health, and those themes haven’t gone away just because there’s a murder afoot. In fact, the emotional arcs give the story its soul. Effy’s journey through grief (she’s still haunted by her mother’s death and the unanswered questions around it) adds a surreal layer to the narrative. Her writing project for the workshop forces her to confront that tragedy head-on, which is both cathartic and painful to witness. Arlo, for his part, carries guilt not just about how he left things with Effy but something more secret, too. When these two share scenes, the pages practically spark with unresolved feelings and tension.

    Yes, there’s a romance subplot here, and it’s a good one. Niven weaves in a “sizzling romance between two stubborn, wounded people” (hello again, Effy and Arlo) that doesn’t overwhelm the thriller but complements it. Their chemistry offers a ray of light in an otherwise dark tale. It’s the kind of push-and-pull romance where a heated argument might suddenly turn into a surprise kiss, or a midnight collaboration on a story becomes an excuse to be close. Fans of Niven’s earlier love stories will be happy to know she hasn’t abandoned heartfelt moments; she’s just set them against a backdrop of danger this time. And because the novel is third-person and written with a bit of journalistic polish, the romance avoids sappy territory. Instead, it feels earnest and earned, a natural outcome of two people thrown together under extreme circumstances.

    By the final chapters, don’t be surprised if you’re not only eager to learn whodunit but also genuinely invested in whether these characters heal their hearts. In the midst of lies and accusations, there are scenes of genuine connection, friends confiding fears, a wistful midnight dance in the snow, perhaps, reminding us that even in a story about “monsters,” humanity shines through. This blend of thrills and feels is classic Niven. It’s what makes the book resonate on a deeper level. You come for the murder mystery, you stay because you actually care about these people making it out okay (or as okay as possible).

    7. Why When We Were Monsters Stands Out

    Jennifer Niven has taken a bold step outside the expected with When We Were Monsters, and it pays off. The book manages to be edgy and poetic at the same time, much like an adrenaline rush with a soul. It combines the suspense of a psychological thriller with the heart of a coming-of-age story. In other words, she’s serving up something new that still feels like Niven; fiercely emotional and compulsively readable.

    This novel also taps into the current YA zeitgeist. Dark academia is having a moment, and Niven’s take offers a fresh perspective by centering creative competition and the pressure to succeed. It asks timely questions: What do young people sacrifice for ambition? How do trauma and talent intersect? And who do we become when we’re pushed to the brink? The story doesn’t preach answers, but it gives you plenty to chew on between thriller beats.

    Stylistically, the narrative flows with a clear, conversational tone that will appeal to younger audiences without ever talking down to them. There’s an almost cinematic quality to the prose, no surprise given Niven’s screenwriting chops, that makes you feel like you’re watching the drama unfold in real time. The dialogue snaps, the descriptions transport you, and the pacing keeps you turning pages late into the night.

    Ultimately, When We Were Monsters is more than just a murder mystery at boarding school. It’s a tale of creativity and corruption, of young love and old grudges, of what it means to confront the monsters around us; and those within us. By the final chapter, one thing is clear: Jennifer Niven isn’t afraid to venture into darker territory, and she does so while keeping that empathetic touch that made readers fall in love with her work in the first place. The result is a book that feels at once eerily haunting and achingly human. Only the monstrous will survive; and in Niven’s capable hands, that makes for one heck of an engaging read!

    A taut, atmospheric thriller that balances chills with emotional depth; When We Were Monsters is Jennifer Niven like you’ve never seen her before!

    What are your thoughts on When We Were Monsters? Let us know all your thoughts in the comments below or over on TwitterInstagram, or Facebook!

    Want more book reviews? Check out our library!

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    Asia M.

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  • The Book Club: Oliver Twist’s villain is reimagined in ‘Fagin the Thief’

    “Fagin the Thief,” by Allison Epstein (Doubleday, 2025)

    Editor’s note: The opinions of the smart, well-read women in my Denver book club mean a lot, and often determine what the rest of us choose to pile onto our bedside tables. So we asked them, and all Denver Post readers, to share their mini-reviews with you. Have any to offer? Email bellis@denverpost.com. – Barbara Ellis


    “Fagin the Thief,” by Allison Epstein (Doubleday, 2025)

    Character reimagining has given us Elphaba from “Wicked” (“The Wizard of Oz”) and “James” (“Adventures of Huckleberry Finn”). Epstein presents the backstory of Jacob Fagin, Dickens’ much-loathed villain in “Oliver Twist.” Alternating between 1793 and 1838 in Victorian London, this story humanizes Fagin and shows him to be a somewhat sympathetic character, although still a manipulative mentor to young thieves.

    The original story was branded as antisemitic due to Dickens’ descriptions of the prejudicial norms of society in those times. This story of Fagin highlights the cruelty of discrimination, the plight of the poor and the importance of role models. Readers are left with the questions “Is it acceptable to feel sympathy for an evil man?” and “Is morality only for the rich?” It is not necessary to have read “Oliver Twist” to enjoy this book. It stands on its own as a historical novel with excellent descriptions of 19th-century London and brings the characters of “Oliver Twist to life.” — 4 stars (out of 4); Terry Romer, Denver

    “Bug Hollow,” by Michelle Huneven (Penguin, 2025)

    "Bug Hollow," by Michelle Huneven (Penguin, 2025)
    “Bug Hollow,” by Michelle Huneven (Penguin, 2025)

    Family dynamics propel this fast-paced novel. The Samuelson family in Altadena, Calif., endures an unwieldy casserole of experiences and emotions from the 1960s to the 2010s. Don’t let the humor lull you: The pivotal event is the accidental death of a son at 18, who is a continuing presence in the family. In a fairly brief novel, Huneven garnishes the story with surprises, detailing her characters with precision and a sure hand. My favorite is Phil, the dad, but the entire family is memorable, primarily due to their foibles. Huneven is an author I’ll read again. — 3 stars (out of 4); Neva Gronert, Parker

    “Perfection,” by Vincenzo Latronico, translated by Sophie Hughes (New York Review of Books, 2025)

    A young Italian couple, digital nomads, seek adventure and the beautiful life within the expat community in edgy, experimental Berlin in the early 21st century.  The author explores the impacts of a life spent largely on social media, isolated from one’s physical environment – the dissonance, for example, between a perfectly curated apartment and the messiness of lived reality, the transitory nature of friendship within this youthful, mobile tribe, and even how the intangible, cool vibe of one moment can prove fleeting and nonreplicable.  A gem, beautifully translated. — 3 1/2 stars (out of 4); Kathleen Lance, Denver

    “When the Cranes Fly South,” by Lisa Ridzen, translated by Alice Menzies  (Vintage Books, 2025)

    Six months ago, Bo was forced to move his ailing wife into a nursing home because he could no longer care for her. Now, his 57-year-old son claims that Bo’s beloved elkhound must go for the same reason. Bo’s response? “I fantasize about cutting him out of my will, making sure he doesn’t get a penny.” This situation might not sound like much of an “upper,” but Bo’s sensitive, humorous, and unflinching determination to keep his dog makes for a page-turner. When stripped of almost everything, what’s left? Plenty, Bo would tell us. There’s not a false note in this book. (This debut novel by a Ph.D. student researching masculinity norms won the Swedish Book of the Year Award.) — 4 stars (out of 4); Michelle Nelson, Littleton

    “King of Ashes,” by S.A. Cosby (Flatiron Books, 2025)

    Years ago, our hero left behind his broken, blue-collar family in Richmond, Va., to join the Black bourgeoisie in Atlanta and a heady career as a wildly successful financial adviser. A family emergency brings him back home, where he assures everyone that he will “fix everything.” He is soon pulled into an underworld of drugs, violence, escalating dangers and missing bodies. Can he face his family’s secrets?  Can he, indeed, fix everything? Cosby doesn’t shy away from gritty details or warts-and-all characters in this noirish novel. No easy fixes and no tidy endings here. — 3 stars (out of 4); Kathleen Lance, Denver

    The Know

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  • How civilizations lose their spark—and how we might keep ours

    The feeling will be familiar to many who have visited the great cities of history: I had come to Athens for the first time and made a pilgrimage to its democratic Assembly, Plato’s Academy, and Aristotle’s Lyceum. And it left me with a sense of profound sadness. Here were the scenes of some of the most extraordinary moments in human history, and all that was left was rubble, garbage, and dog waste. Instead of bustling creativity, there was silence, interrupted only by the odd intoxicated passerby.

    To be sure, I also experienced spectacular beauty in Athens, such as the grand monuments on the Acropolis. But even that was a museum to bygone glory. This used to be the place around which the world revolved, and now it’s a collection of patched-together columns, stone blocks and shards with plaques telling us that it used to be impressive.

    This must be what Percy Shelley, a great admirer of ancient Greece, reflected upon when he wrote about the crumbled monument to Ozymandias, king of kings: “‘Look on my works, ye Mighty, and despair!’ / Nothing beside remains. Round the decay / Of that colossal wreck, boundless and bare / The lone and level sands stretch far away.”

    This encounter with the transience of great civilizations set my mind racing. What made it possible for them to rise so spectacularly, and why did they decline so thoroughly? It forced me to consider whether travelers will one day visit our proud landmarks and plazas and think about how our civilization lost its way and became so sluggish and stationary. 

     

    This is a precarious time to write about history’s golden ages. Ours is an era of authoritarian and populist revival, with savage dictators trying to extinguish neighbouring democracies, when the fear of inevitable decline seems more prevalent than belief in progress. 

    The American legal scholar Harold Berman compared his history of the rise of Western law to a drowning man who sees his whole life flash before him, perhaps in an unconscious effort to find something within his own experiences to help him escape his impending doom. We are not yet drowning, but drawing on historical human experience can be a useful way to avoid ending up in a bad situation. It might even help us to keep our vessels seaworthy. 

    It is said that we should study history to avoid repeating its mistakes, and that is all very well. But our ancestors were not just capable of mistakes. Human history is a long list of depravations and horrors, but it is also the source of the knowledge, institutions, and technologies that in the last few centuries have set most of humanity free from such horrors for the first time. The historical record shows what mankind is capable of, in terms of exploration, imagination, and innovation. This in itself is an important reason to study it, to broaden our mental horizon of what is possible. 

    In my new book, Peak Human: What We Can Learn from the Rise and Fall of Golden Ages, I explore seven of the world’s great civilizations: ancient Athens, the Roman Republic and early Roman Empire, the Abbasid Caliphate, Song China, Renaissance Italy, the Dutch Republic, and the Anglosphere. Each of them exemplifies what I think of as a golden age: a period with a large number of innovations that revolutionize many fields and sectors in a short period of time. 

    A golden age is associated with a culture of optimism, which encourages people to explore new knowledge, experiment with new methods and technologies, and exchange the results with others. Its characteristics are cultural creativity, scientific discoveries, technological achievements, and economic growth that stand out compared to what came before and after and compared to other contemporary cultures. Its result is a high average standard of living, which is usually the envy of others and often also of its heirs. 

    Peak Human could have been a much longer book, exploring many other cultures, because golden ages are dependent not on geography, ethnicity, or religion but on what we make of these circumstances. These cultures just happened to excel in the era in which they, for some reason or another, began to interpret or emphasize a particular part of their beliefs and traditions to make them more open to surprises—unconventional ideas and methods imported by merchants and migrants, dreamed up by eccentrics, or stumbled upon by someone fortunate. 

    There are certain important preconditions for this progress. The basic raw materials are a wide variety of ideas and methods to learn from and to combine in new ways. It therefore takes a certain population density to create progress, and urban conglomerations are often particularly creative. Being open to the contributions of other civilizations is the quickest way of making use of more brains, which is why these golden ages often appeared at the crossroads of different cultures and in every instance benefited greatly from the inspiration brought about by international trade, travel, and migration. They were often maritime cultures, always on the lookout for new discoveries. Distance is the “number one enemy of civilization,” as the French historian Fernand Braudel understood so well. 

    To make use of these raw materials, it takes a relatively inclusive society. Citizens have to be free to experiment and innovate, without being subjected to the whims of feudal lords, centralized governments, or ravaging armies. This takes peace, rule of law, and secure property rights. Most importantly, there has to be an absence of orthodoxies imposed from the top about what to believe, think, and say; how to live; and what to do. If we limit the realm of the acceptable to what we already know and are comfortable with, we will be stuck with it, and we will deserve the stagnation we get. If we want more knowledge, wealth, and technological capacity, we have to cut misfits and troublemakers some slack. 

    Institutions that are built for discovery, innovation, and adaptation have profound effects on science, culture, economy, and warfare. It is not easy to sustain such institutions for a long time. The most depressing aspect of studying golden ages is that they don’t last. You don’t have to wait 2,300 years to go back to Athens. There are many stories about people visiting centers of progress just a few decades later and finding that it’s all over. It’s the same place, the same traditions, and the same people, but that irreplaceable spark has disappeared. 

    The California historian Jack Goldstone calls these episodes of temporary growth “efflorescences.” That is really another word for an anti-crisis: Just as a crisis is a sudden and unexpected downturn in indicators of human well-being, an efflorescence is a sharp, unexpected upturn. 

    Goldstone argues that most societies have experienced such efflorescences, and that these usually set new patterns of thought, political organization, and economic life for many generations. This is a corrective to the common notion that humankind has a long history of stagnation and then suddenly experiences progress. History is full of growth and progress; it is just that they were always periodic and efflorescent rather than self-sustaining and accelerating. In other words: They don’t last.

    Civilizations in every era have tried to break away from the shackles of oppression and scarcity, but increasingly they faced opposite forces, which sooner or later dragged them back to Earth. Elites who have benefited from innovation want to kick away the ladder behind them; groups threatened by change try to fossilize culture into an orthodoxy; and aggressive neighbours, attracted to the wealth of nearby achievers, try to kill the goose to steal its golden eggs. 

    Why would intellectual, economic, and political elites accept a system that keeps delivering surprises and innovations? Yes, it might provide their society with more resources, but at the risk of upending a status quo that made them powerful to begin with. Often such institutions came about as a result of revolutionary upheaval or emerged unintentionally because they happened to provide important solutions in difficult situations or at a time of fierce competition against rivals. 

    But sooner or later, most elites regain their composure and begin to reimpose orthodoxies and stamp out the potential for unpredictability. The great economic historian Joel Mokyr calls this Cardwell’s Law, after the technology historian D. S. L. Cardwell, who observed that most societies remain technologically creative for only a short period. 

    The perceived self-interest of incumbents who have much to lose from change goes a long way to explaining why episodes of creativity and growth are terminated. But such groups are always there, always eager to stop the future in its tracks. Why do their reactions prevail in some places and moments but not in others? Many factors are at play, but there is one psychological factor that reinforces all of them. 

    “What is civilization’s worst enemy?” asked the art historian Kenneth Clark. He answered: “First of all fear—fear of war, fear of invasion, fear of plague and famine, that make it simply not worthwhile constructing things, or planting trees or even planting next year’s crop. And fear of the supernatural, which means that you daren’t question anything or change anything.”

     

    We humans have two basic settings: We are traders, and we are tribalists. Early humans prospered (relatively) because they ventured out to explore, experiment, and exchange, to discover new places, partners, and knowledge. But sometimes they only survived their adventures because they were also acutely sensitive to risks and instantly reacted to a potential threat by fighting or fleeing back to the familiar, their cave and their tribe. We need both the adventurous and the risk-sensitive aspects of our personality. But since Homo sapiens emerged over hundreds of thousands of years in a world more dangerous than today’s, our “spider sense” is over-sensitive to threats: It often misfires and is easily manipulated by those who want to divide and conquer. 

    As I documented in my book Open: The Story of Human Progress, this anxious aspect has remained a central part of our nature, even after we left the savannah for a safer world. When we feel threatened as a community by, say, neighbouring armies, pandemics, or recessions, there is often a societal fight-or-flight instinct, causing us to hunt for scapegoats and flee behind physical and intellectual walls, even though complex threats might call for learning and creativity rather than simply avoidance or attack. 

    Again and again, we see civilizations prosper when they embrace trade and experiments but decline when they lose cultural self-confidence. When under threat, we often seek stability and predictability, shutting out that which is different and unpredictable. Unfortunately, this often makes the fear of disaster self-fulfilling, since those barriers limit access to other possibilities and restrict the adaptation and innovation that could have helped us deal with the threat. The problem with paralyzing fear is that it has a tendency to paralyze. 

    I wouldn’t go so far as to say that we have nothing to fear but fear itself. That sounds a bit like underestimating armed raiders and bubonic plague. But it is certainly true that an insular, suppressive angst deprives us of the tools we need to take on the problems we face. Outsiders can kill and destroy, but they can’t kill curiosity and creativity. Only we can do that to ourselves. 

    History often repeats because human nature does. All of the golden ages ended, except one—the one that we are in now. But “history,” said the American journalist Norman Cousins, “is a vast early warning system.” We still know how to swim, but that doesn’t happen automatically; it takes a conscious effort. For that reason, repeating history’s swimming lessons once in a while is helpful. 

    To situate my argument in the context of current culture wars, I object both to the relativist idea that all cultures are equal and to the idea that there is a hierarchy of two opposing and clashing cultures—civilization vs. barbarians (often associated with European Judeo-Christian culture vs. the rest). 

    Yes, some cultures are better than others. Denying that is, as pointed out by the physicist David Deutsch, “denying that the future state of one’s own culture can be better than the present.” It implies that chattel slavery and human rights are equally good (or bad). Some cultures are better than others because they provide institutions for positive-sum games instead of zero-sum; they create liberties and opportunities rather than oppression and destruction. 

    But no, we are not talking here about the inherent traits of two opposite and clashing civilizations. Among the seven golden ages featured here, we meet pagans, Muslims, Confucians, Catholics, Calvinists, Anglicans, and secular civilizations. Those who were seen as barbarians in one era became world leaders in science and technology in the next, and then roles reversed again. They excelled at a time in which their culture was open to the contributions of other civilizations, and so gained access to more brains. 

    This is why both the nationalist right and the woke left are hopelessly unhistorical in their crusades against cultural hotchpotch: Civilizations are not monoliths with inherent traits but complex, growing things defined by how they engage with, adopt, and adapt (appropriate, if you like) what they find elsewhere. It’s the connections and combinations that make them what they are. 

    The battle between freedom and coercion, and between reason and superstition, is not a clash of civilizations. It is a clash within every civilization, and at some level within each one of us. Every culture, country, and government is capable of decency and creativity as well as ignorance and jawdropping barbarianism. That is why “golden” should be understood as much in relationship to what you could otherwise have been as it should be understood as making a comparison with others. It is of course not just down to sheer will, but you and I have it within ourselves to help make our particular place on earth decent and creative rather than the opposite. 

    It is important to grapple with the question “golden ages for whom?” All of the civilizations I describe in this book practised slavery, all of them denied women basic rights, and all took great delight in exterminating neighbouring populations to the last man, woman, and child. 

    Whenever I am tempted to look back at these ages and dream about how amazing it would have been to be alive then—to debate philosophy in the Athenian Lyceum or Baghdad’s House of Wisdom, to discuss political strategy with Cicero or the Song emperor, or to be present at the creation of the Pantheon, The Last Supper, or the printing press—I remind myself that I wouldn’t have come near those places. I would have been a destitute peasant, struggling desperately to keep my family safe from hunger and raiders for another season. 

    If I were one of the lucky ones, that is. As the classicist Mary Beard has remarked, when people say they admire the Roman Empire, they always assume they would have been the emperor or a senator (a few hundred people) and never the enslaved masses in mines, plantations, and other people’s households (a few million). 

    Recorded history is the work of a tiny literate elite, and for most people, in most eras, life was nasty, brutish, and short. In fact, that went for the elites too. No matter how powerful they were, everything could be lost in an instant if they had the misfortune to displease a capricious ruler, and even he had little chance against, say, a bacterial infection or a barbarian invasion. Remember that every time history books record that a city was “sacked,” it means that thousands of civilians were raped, mutilated, and disembowelled. This also tells us something about what mankind is capable of. 

    But history is more than a crime scene. It is also the place where ideas were developed that helped humanity to identify the crimes and overcome them. If we discard all the achievements of those who came before us because they weren’t sufficiently enlightened and decent (they weren’t), we will eventually lose the capacity to discern what is enlightened and decent. Because that very language and moral sense emerged out of their struggles. 

    If you discover something inspiring and useful there, in the overgrown ruins of the past, that can be salvaged to help ensure that our civilization does not just become one in the long list of Goldstone’s temporary efflorescenses, let’s fight for it, shall we? As Goethe once told us, you cannot inherit a tradition from your parents; you have to earn it.

    Johan Norberg is the author of Peak Human: What We Can Learn from the Rise and Fall of Golden Ages, from which this article is adapted by permission of Atlantic Books.

    Johan Norberg

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  • The Book Club: Latest Bill Clinton-James Patterson’s collaboration is a page turner

    Editor’s note: The opinions of the smart, well-read women in my Denver book club mean a lot, and often determine what the rest of us choose to pile onto our bedside tables. So we asked them, and all Denver Post readers, to share their mini-reviews with you. Have any to offer? Email bellis@denverpost.com. – Barbara Ellis

    “The First Gentleman,” by Bill Clinton and James Patterson (Little, Brown and Company, 2025)

    THE FIRST GENTLEMAN, by Bill Clinton and James Patterson (Little, Brown)

    The third collaborative novel by this duo is definitely a page-turner. The president’s husband is on trial for murder, while she simultaneously orchestrates a grand congressional coalition behind closed doors to save major entitlement programs for future generations. While a young investigative team scrambles to uncover the truth, bodies continue to fall left and right. My only nit to pick: Patterson should have wielded a heavy editorial pencil on Clinton’s wonky, everything-including-the-kitchen-sink presidential address. Aspirational, perhaps, but jarring against the rest of the novel. — 2 1/2 stars (out of 4); Kathleen Lance, Denver

    “Hamnet,” by Maggie O’Farrell (Tinder Press, 2020)

    Although titled for Shakespeare’s son, this novel’s protagonist is Agnes, Shakespeare’s wife and Hamnet’s mother. An unconventional woman for the end of the 16th century, Agnes is bright and quick and competent: she fairly dances off the pages. O’Farrell’s words skip lightly on some pages, then pace with anxiety, then finally trudge along despairingly. Her writing can be luminous or tenebrous as the mood requires. One section is the most apt depiction of sorrow that I’ve ever read. The final scene is, I believe, as close to perfect as possible. (The novel has been made into a film, coming out in November, starring Paul Mescal.) — 4 stars (out of 4); Neva Gronert, Parker

    “Careless People: A Cautious Tale of Power, Greed and Lost Idealism,” by Sarah Wynn-Williams (Flatiron Books)

    Careless PeopleAuthor: Sarah Wynn-Williams Pages: 382 Publisher: Flatiron
    Careless People

    Author: Sarah Wynn-Williams

    Pages: 382

    Publisher: Flatiron

    The author presciently realizes the potential for Facebook as a political force and doggedly pursues a job there, eventually landing as the Facebook director of global public policy. That seat at the table provides her unique access to observe the strategic decisions by and the personal proclivities of Facebook’s C-suite of players. Quickly jaded, she nonetheless soldiers on, thinking she can effect change from within. This is also the story of Facebook’s coming of age politically. Small wonder that the social media giant sought to block its publication. — 3 stars (out of 4); Kathleen Lance, Denver

    “Britt-Marie Was Here,” by Fredrik Backman (Atria, 2017)

    Praise be, there are fiction writers who can capture the bodies and souls of completely normal individuals, their uniqueness, charms, highs and lows. Backman is one of the rarities. Britt-Marie, struggling to make a living after splitting from her self-centered, cheating husband, heads out to a tiny, isolated town where she somehow lands a job managing a dying recreation center peopled by underprivileged kids. She cultivates her unique gifts for developing a diverse group of townspeople into a cohesive, mutually supportive crew. Somehow, Britt-Marie gains her sense of self and becomes a curious, energetic, self-directed adult, ready to cultivate her own way in the wide world. — 4 stars (out of 4); Bonnie McCune, Denver (bonniemccune.com)

    “All Our Shimmering Skies,” by Trent Dalton (Harper, 2021)

    This novel, set in Australia at the outset of World War II, is gut-wrenching. Molly Hook, “the gravedigger’s daughter,” is on a quest to reverse the curse on her family that turns their hearts to stone. Molly’s mother leaves her, assuring her that she will have signs from the sky. That promise begins with a gold-panning bowl with an etched map and continues when Molly and her friend Greta are joined in their walkabout by a Japanese pilot and then a baby. This fable includes abuse and hatred, darkness, magic, love. It is a roller-coaster ride. — 3 stars (out of 4); Jo Calhoun, Denver

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  • The Book Club: Elizabeth Strout’s latest (an Oprah pick) and a Sherlock Holmes classic

    Editor’s note: The opinions of the smart, well-read women in my Denver book club mean a lot, and often determine what the rest of us choose to pile onto our bedside tables. So we asked them, and all Denver Post readers, to share their mini-reviews with you. Have any to offer? Email bellis@denverpost.com. – Barbara Ellis

    “The Upswing: How America Came Together a Century Ago and How We Can Do It Again,” by Robert D. Putnam with Shaylyn Romney Garrett (Simon & Schuster, 2021)

    “The Upswing: How America Came Together a Century Ago and How We Can Do It Again,” by Robert D. Putnam with Shaylyn Romney Garrett (Simon & Schuster, 2021)

    There are many parallels between America’s Gilded Age of the 1890s and today’s unequal prosperity, political polarization and the emphasis on individual rights over the common good.  Between these two eras came the upswing from the Gilded Age’s focus on the “I” to the “we,” starting with the social programs of the Great Depression era, through the unity of will in World War II, to the equal rights movements of the 1960s. I had hoped to find a basic blueprint for a positive path forward here, but there are enough dissimilarities between the Gilded Age and now to make a simple blueprint elusive. Nonetheless, it is reassuring to be reminded that our country has survived bad times — and bad actors — before. — 3 stars (out of 4); Kathleen Lance, Denver

    “A Study in Scarlet,” by Sir Arthur Conan Doyle (Penguin Classics, 2001 reprint)

    Doyle’s first Sherlock Holmes book (originally published in 1867) introduces the detective and his sidekick/helpmate Watson. It has been banned on occasion for its negative views of Mormons, who are the bad guys in the plot. Because the book contains in many ways two parallel plots — the first the development of the detective partnership, the second the study of the death of a young woman and murders of the villains — the reader needs to keep her balance as she learns about the various characters. In a twist of the highest order, the hero turns out to be the villain, if a revenge killing can be excused. From this point onward, Doyle’s popularity continued until he became the model of a private detective that still influences writers today. — 2 stars (out of 4); Bonnie McCune, Denver (bonniemccune.com)

    “Audition,” by Katie Kitamura (Riverhead Books, 2025)

    Audition by Katie Kitamura (Riverhead)
    Audition by Katie Kitamura (Riverhead)

    Opening this book is like stepping into a hall of mirrors. Told from the perspective of a middle-aged female actor, “Audition” explores the difference between performance and real life. But, what, in this book, is the reality and what is the play? Who are the real people in her life and who are the characters in the play? Is there a difference between the private self and the public self? The protagonist claims to find her fleeting bliss in the collapse of these two into a single, unified self on stage. But this novel left me with more questions than answers. — 2 stars (out of 4); Kathleen Lance, Denver

    “Tell Me Everything,” by Elizabeth Strout (Random House, 2024)

    No one writes characters like Elizabeth Strout (a Pulitzer winner in 2009 for “Olive Kitteridge”), and readers are always happy to revisit Kitteridge, now 91 years old. This stunning book is about listening and love, integrity, boundaries, suffering, abuse, compassion. Bob Burgess is an incredible protagonist, living a quiet, unrecorded life of sadness and love. The New York Times wrote: “The tie that binds all of Strout’s characters is their shared yearning, not for a reprieve from their suffering but for just one person to really see it.” Not all agree, but I found it a breathtakingly good read. (An Oprah Book Club selection in 2024.) — 4 stars (out of 4); Jo Calhoun, Denver

    “So Far Gone,” by Jess Walter (HarperCollins, 2025)

    Embittered ex-journalist Rhys Kinnick retreats alone from his fractured family and his fractured country to family property in Washington state shortly after the 2016 election. After seven years in a primitive cabin, Rhys’ young grandchildren — unrecognized by him — are brought to him by a stranger for safekeeping. This starts an odd quest for Rhys’ missing daughter. I was perplexed by the mixture of menace and violence with light-hearted family scenes and a running joke about the zygomatic arch. Walter’s scenario includes Christian militias, Native struggles, a drug-centered music festival, the death of a beloved ex-wife, a murder, and a foul-mouthed but compassionate ex-girlfriend. It all ends, improbably, fairly well. But I expected better from such an accomplished writer. — 2 stars (out of 4); Neva Gronert, Parker

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  • Common risks to retirement, investing and financial freedom – MoneySense

    Common risks to retirement, investing and financial freedom – MoneySense

    While enthusiasm may be necessary for great accomplishments elsewhere, on Wall Street it almost invariably leads to disaster.

    —Benjamin Graham

    Inflation delays retirement for half of older Canadians

    Results of a survey of Canadians older than 55 conducted in June 2022.

    I have delayed (or plan to delay) my retirement because…
    I don’t have enough savings/investments 62%
    Rising inflation/cost of living this year 54%
    I have too much debt 40%
    My children still require financial support 26%
    I love my job too much to quit 23%
    The COVID-19 pandemic 21%
    I am taking care of my partner/spouse 13%
    I am taking care of my partner or other family member 10%

    The goal of this chapter is education, which, in my mind, is key to eliminating fear of the future. So, let’s look at some of these risks and what can be done to plan for each one.

    Get free MoneySense financial tips, news & advice in your inbox.

    Lifestyle inflation

    When people think of the word “inflation,” they naturally recognize it as an economic term. Inflation affects all aspects of our economy, and we’ll talk about this shortly. However, lifestyle inflation is just as important to discuss.

    Think about this. You have been working for a particular company for several years, and you just got hired by another business that pays you a lot more; in fact, your take-home pay has increased 30 percent overnight.

    The first thing you do is think of how you are going to spend that extra money: a new car, a larger home or apartment, a vacation, new clothes—the list is endless.

    Lifestyle inflation is a simple equation that most people follow: The more you earn, the more you spend. It is termed “lifestyle inflation” because one’s standard of living goes up in relation to the income earned.

    The problem is that people tend to spend like there is no tomorrow instead of saving for tomorrow. And in doing so, they shortchange their financial future.

    For example, if you were to spend $500 of extra pay from your new job, you could cost yourself literally years of extra work. Consider that investing $500/month over ten years at an annualized 5% rate of return would net an extra $75,000.

    Francis Gingras Roy, CIM

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  • Top 25 timeless personal finance books – MoneySense

    Top 25 timeless personal finance books – MoneySense

    6. Beating the Street by Peter Lynch (Simon and Schuster, 1993)

    Beating the Street is one of the first investing books I ever read, and it’s stayed with me because it makes stock investing accessible to beginners. There are many highly analytical and slightly scary books on investing, but Peter Lynch managed to make stocks exciting and approachable using simple, real-world examples drawn from his own experience as a high-performing fund manager. It’s an oldie but a goodie.”
    Aditya Nain, MoneySense contributor, author, speaker and educator about Canadian investments, personal finance and crypto

    Master the basics of personal finance—at any age

    Cover of the book Seventeen to Millionaire
    7. Seventeen to Millionaire by Douglas Price (self-published, 2022)

    “This book feels like your [parents] sat you down and taught you everything you need to know about money, before you ever encountered any of it. It gives you the opportunity to take on the world, with easily digestible knowledge in your back pocket.”
    Reni Odetoyinbo, financial educator and content creator (Reni the Resource)

    8. I Will Teach You to Be Rich by Ramit Sethi (revised edition, Workman Publishing Company, 2019)

    “A great book for anyone who wants to understand how the financial system works. I love that this book is incredibly practical. It breaks personal finance down in such an easy-to-understand way and helps you create systems around your finances that make things less stressful.”
    —Reni Odetoyinbo

    Cover of the book How Not to Move Back In With Your Parents
    9. How Not To Move Back in With Your Parents by Rob Carrick (Doubleday Canada, 2012)

    “This book teaches the basics of money management to young adults. It helps teach good financial habits for young people and their parents!”
    Shannon Lee Simmons, an award-winning Certified Financial Planner, speaker, bestselling author, Chartered Investment Manager, founder of the New School of Finance, the money columnist on CBC Radio’s Metro Morning and a financial expert on the concluded The Marilyn Denis Show

    Cover of the book The Wealthy Barber
    10. The Wealthy Barber: The Common Sense Guide to Successful Financial Planning by David Chilton (Stoddart, 1989)

    “This was the first personal finance book I ever read, after learning personal finance at my father’s knee. Thanks to his coaching, I have filed my own income tax returns every year since I was 16. And it still stands up. The literary conceit of the titular barber allows author David Chilton to walk through scary-sounding money concepts in a relatable way. There’s a reason it’s sold millions of copies.”
    Sandra E. Martin, two-time MoneySense editor (OG editor-in-chief Ian McGugan hired her in 1999, and she returned in 2019 as editor-in-chief), and currently The Globe and Mail’s standards editor.

    Cover of the book The Only Investment Guide You'll Ever Need
    11.The Only Investment Guide You’ll Ever Need by Andrew Tobias (revised edition, Harper Business, 2022)

    “Let me give a shout-out to the book that changed my life: The Only Investment Guide You’ll Ever Need by Andrew Tobias. Until I plucked this book at random out of a box of discards while working a night shift in 1979, I was a university student who thought money was boring and inexplicable. Tobias changed all that. He was smart, funny and human. He made money fascinating. He also delivered a truckload of practical wisdom. I remain a fan of this personal-finance classic—now updated many times, not just for its sage advice but also for its big personality.”
    —Ian McGugan, founding editor of MoneySense, and columnist for The Globe and Mail.

    12. Stop Over-Thinking Your Money!: The Five Simple Rules of Financial Success by Preet Banerjee (Penguin Canada, 2014)

    “If you’re looking for no-nonsense, clearly explained money tips, pick up this easy-to-read volume by Canadian writer and podcaster Preet Banerjee. He boils personal finance down to five rules: disaster-proof your life, spend less than you earn, aggressively pay down high-interest debt, read the fine print, and delay consumption. Do these five things and you’ll be in better financial shape than you are today.”
    Jaclyn Law, MoneySense’s managing editor

    Find the courage to chase your dreams

    Cover of Barbara Sher's book I Could Do Anything If I Only Knew What It Was
    13. I Could Do Anything If Only I Knew What It Was by Barbara Sher (Dell, 1995)

    “I did all the ‘right’ things in my career. I went to business school and got a great corporate job. If I had just stayed on that path, money would have taken care of itself. Except I didn’t love the job. I was stuck. I needed something to crack my paradigm about what ‘right’ meant for me. This book did that. One transformational exercise was answering this question: ‘If you could do anything and knew you would be successful, what would it be?’ This was a light-bulb moment for me. My answer was to work in TV news, and I realized that it was just fear that was holding me back. As terrified as I was, I quit my job and pursued what I really wanted. I made less money than I would have in the business world, but the big switch was worth every penny.” 
    —Bruce Sellery, CEO of Credit Canada, host of Moolala on SiriusXM, the Money Columnist for CBC Radio

    Stephanie Griffiths

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  • Book Review: What’s it like to be a rental stranger? Kat Tang’s debut novel imagines an answer

    Book Review: What’s it like to be a rental stranger? Kat Tang’s debut novel imagines an answer

    As our lives become more automated, increasingly niche jobs materialize to fill in the gaps. Ours is a society in which people hire celebrities to make birthday videos, or pay “job leaving agents” in hopes of a more frictionless quitting experience. What would it be like to be that stranger for hire, to inhabit whatever role someone paid you by the hour to be?

    Kat Tang’s debut novel, “Five-Star Stranger,” follows one man over a months-long spiral as he realizes he’s getting attached to his clients — a violation of his first rule for himself as a rental stranger — forcing him to confront his past and examine why he got into the business in the first place.

    Tang never reveals the Stranger’s real name — one of the many ways he becomes a blank slate onto which others can project what they want. He’s a self-described attractive man, whose Japanese American heritage means he can code-switch easily between white and Asian depending on his clients’ needs. His apartment is full of wigs and outfits for different personalities and occasions, and he can use makeup to age himself up or down.

    If this isn’t giving you identity crisis vibes yet, he also takes accents, mannerisms and stories from clients that he can later whip out for another gig. His evening client just wants to hear stories for an hour — so he regurgitates the stories his afternoon client told him nonstop, even adopting the original teller’s voice.

    The juxtaposition shows how an insidious isolation has crept into our hyperconnected psyche, and how loneliness might have been solved genuinely and for free had they just met the right kind of person — or anyone at all.

    But why risk rejection when you can hire someone instead? The Stranger notes that, “like everything else in this intensely connected yet deeply lonely life, there was an app for that.”

    The narration often dips into philosophical before yanking back to the safety of light-hearted and funny; a whiplash between deep interrogations of society and the Stranger’s humorous deflection to avoid getting too lost in it.

    Tang makes it easy to become engrossed in the characters. Even the brief encounters are made interesting by the psychoanalytical lens the Stranger sees them through. It’s a smart book, and it has to be to tackle such a topic in a thoughtful and thought-provoking way without digging itself into an existential hole.

    “Five-Star Stranger” starts bright, hopeful and funny. By the end it’s a tangled gloomy mess that’s strangely still hopeful, the protagonist emptied out but not empty.

    With its cool premise, great descriptions and amazing attention to emotion and relationships, “Five-Star Stranger” is a strong debut, and Tang an author to keep an eye on.

    ___

    AP book reviews: https://apnews.com/hub/book-reviews

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  • Inside a 20-year effort to clean up the Oakland Police Department

    Inside a 20-year effort to clean up the Oakland Police Department

    The Riders Come Out at Night, by Ali Winston and Darwin BondGraham, Atria Books, 480 pages, $30

    Oakland, California, is “the edge case in American policing,” journalists Ali Winston and Darwin BondGraham declare in The Riders Come Out at Night. “More has been done to try to reform the Oakland Police Department than any other police force in the United States.”

    It’s a bold claim, given the crowded field competing for the title. In Baltimore during 2016, a vice squad was essentially operating a criminal enterprise, using the police department as a front. The corruption and violence exposed in the Rampart scandal, which unfolded in the late 1990s and early 2000s, landed the Los Angeles Police Department under federal oversight for 12 years. Chicago is Chicago. But in their deeply reported and comprehensive book, Winston and BondGraham make a persuasive case that Oakland’s entrenched police corruption best demonstrates “the still-unfulfilled promise of reforming law enforcement.”

    The eponymous Riders were a clique of four Oakland police officers known for terrorizing minority neighborhoods. The book opens in 2000, with an idealistic rookie, Keith Batt, being paired with a Rider for field training and quickly learning the grimy truth about urban policing. “Fuck all that shit you learned in the police academy,” one Rider tells Batt. “Fuck probable cause. We’re going to just go out and grab these motherfuckers.”

    After witnessing and participating in kidnappings, beatings, cover-ups, and frame-ups, Batt blew the whistle, setting off a legal saga that is still ongoing. The Riders Come Out at Night follows the ensuing two decades of attempts to clean up the Oakland Police Department (OPD).

    The local district attorney filed criminal charges against the Riders, one of whom immediately fled the country and remains a fugitive. The prosecution of the remaining three Riders ended in two mistrials. The Riders’ attorneys argued, with a fair amount of evidence, that the officers had been doing what police brass and other city officials demanded.

    That was also the feeling of rank-and-file OPD officers and their union leaders, who rallied behind the Riders. As they portrayed it, this was a case of “noble cause corruption.” If you wanted these men to do the dirty work of sweeping drug dealers off the corners in the dead of night, you couldn’t cry every time they roughed someone up or fudged a report.

    Although the Riders escaped criminal consequences, Oakland would not get off the hook that easily. John Burris and Jim Chanin, two Bay Area civil rights lawyers, had been routinely squeezing multimillion-dollar settlements out of Oakland on behalf of their clients. (In one case, Burris represented a member of the ’80s R&B group Tony! Toni! Toné! who had been choked by one of the Riders.) Burris and Chanin were fed up with the lack of change.

    After the criminal prosecution of the Riders collapsed, the two lawyers began putting together a giant civil suit against Oakland. They eventually collected 119 plaintiffs who alleged that they had been beaten or framed by the Riders. Burris and Chanin were holding the legal and fiscal equivalent of a nuclear bomb over the city’s head. Oakland had no choice but to attempt a settlement—through reform rather than cash payouts.

    In 2003, Oakland entered into an unusual settlement agreement. It agreed to 52 specific reforms, which would be overseen by an independent monitor who reported to a federal judge. Settlements like this are called consent decrees, and usually only the U.S. Justice Department has the juice to force a city into one. They may be the most powerful tool the federal government has to force change on rotten police departments.

    The settlement agreement was supposed to expire after five years, but it was repeatedly extended as reform efforts sputtered and failed. Unnecessary shootings continued. An early warning system to flag officers with high numbers of use-of-force incidents and complaints was ignored. In fact, the most violent cops received glowing reviews for their “proactive” work. Internal affairs investigators chose not to investigate obvious discrepancies in officers’ reports. In the rare instance where an officer was disciplined or fired, the punishment was usually overturned through union arbitration. The police union also clawed back power from Oakland’s civilian police oversight board.

    In 2015, a teenaged girl accused dozens of OPD officers of sexually exploiting her. OPD fired four cops and disciplined 12 others over the allegations. One officer committed suicide, and the police chief was forced to resign.

    ***

    The ins and outs of the settlement agreement and the granular details of Oakland politics may be a bit much for general readers. But for anyone interested in the Bay Area or in policing, this book offers a deeply sourced and well-researched narrative. Both authors have years of experience reporting on policing in the Bay Area.

    In fact, Winston and BondGraham’s reporting became part of the story of reform in Oakland. California had been one of the most secretive states when it came to police personnel files, but the state legislature passed a bill that made those files public records beginning in 2019. Yet many police departments across the state, including Oakland’s, stonewalled and slow-rolled records requests from reporters and civil liberties groups. Winston and BondGraham were plaintiffs in a lawsuit that forced the OPD to comply with the law.

    It is only because of that suit that the authors were able to uncover never-before-revealed information about the long history of complaints and excessive force allegations against the Riders. Supervisors had either ignored or abetted the abuses.

    Several chapters take detours into Oakland’s history, describing how the OPD was an enthusiastic participant in repressing Chinese immigrants, union agitators, communists, and the Black Panther Party for Self-Defense. The last group, formed in Oakland in the 1960s, was a response to black residents’ longstanding complaints about police beatings and harassment—complaints that one police chief had dismissed in 1949 as “a Communist plot to discredit and harass the OPD.”

    These chapters are not totally necessary, but they can be interesting. For example, we learn that during Prohibition, “Oakland cops were skimming so much of the lucrative alcohol trade’s profits that local bootleggers formed a Bootlegger’s Protective Association to collectively resist the extortion.”

    This history also shows how deep the roots of police corruption go and why it has been so hard to uproot. In 1949, an independent commission investigated complaints that Oakland police were brutalizing the city’s black population, which had swelled considerably during the previous decade. “I found it hard to describe adequately the sense of monstrous beastliness, authority clothed in nighttime garb, that our investigation disclosed,” one of the researchers wrote.

    This problem is not unique to Oakland. Several police departments are currently being investigated for tolerating officer gangs and other groups of criminal cops. The nearby city of Vallejo recently was rocked by reports that a clique of police officers bent the tips of their badges to represent fatal shootings. Earlier this year, the Los Angeles County inspector general ordered more than three dozen sheriff’s deputies to appear for interviews and show any tattoos connected to two deputy gangs, the Banditos and the Executioners.

    The book ends on a positive note, arguing that real reforms have been accomplished in Oakland. Shootings and other use-of-force incidents have dramatically declined, as have brutality complaints and findings of unjustified force. Last year the federal judge overseeing the settlement agreement, William Orrick, found that Oakland had achieved “substantial compliance” with its terms. He agreed to a one-year probationary period, after which he could possibly terminate the longrunning settlement.

    “It’s possible to reform the police,” Winston and BondGraham argue. “That’s one lesson Oakland can offer the nation.” But in April, after The Riders Came Out at Night was published, Orrick declared his decision “premature.” He extended the probationary period for five more months after several new cases of internal corruption emerged.

    Winston and BondGraham also concluded that “Oakland’s ultimate lesson then is about vigilance.” This was perhaps more prescient than they realized.

    C.J. Ciaramella

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  • Why Every Business Leader Should Write a Book | Entrepreneur

    Why Every Business Leader Should Write a Book | Entrepreneur

    Opinions expressed by Entrepreneur contributors are their own.

    From memoirs like Phil Knight’s Shoe Dog to leadership guides like Sheryl Sandberg’s Lean In, books have long been a powerful medium for executives to share their stories and wisdom. But in today’s noisy digital age, does authorship still matter for modern business leaders?

    The answer is a resounding yes. Here’s why every leader should make writing and publishing a book a priority.

    Related: 7 Books Every CEO Should Read

    Establish your thought leadership

    Publishing a business book has become a rite of passage for today’s foremost executives across every industry. It’s one of the most effective ways to demonstrate intellectual authority and cement your status as a thought leader.

    Writing a book lets you articulate your unique perspectives, business philosophies and life lessons. A book is a tangible artifact of your ideas that delivers lasting value to readers long after publication. Whether it’s leading a startup or a Fortune 500 firm, authoring a book provides an unparalleled way to define your leadership brand.

    Share your story

    Books allow leaders to share their origin stories and behind-the-scenes glimpses into pivotal moments. Vulnerable and personal stories connect with readers on a human level. Mixing anecdotes with practical lessons also makes teaching moments more resonant. A book provides the space to tell your journey – from early career struggles to the risks that fueled your success. Every leader has impactful life experiences worth capturing in print, which a book makes possible.

    Related: Harness the Power of Storytelling to Transform Your Business for the Better

    Spread your vision

    Business books give leaders a unique format to cast a vision and rally people behind it. Certain ideas require more nuance than a tweet, blog post or speech can provide. A book allows you to comprehensively articulate your philosophy and prescriptions around leadership, culture, innovation or any topic. Whether predicting future trends or detailing growth strategies, a book gives leaders the bandwidth to inspire action around their ideas. Put simply, books make messages stick.

    Attract top talent

    Your book can be a powerful recruitment tool to engage and hire world-class talent. It provides insight into your leadership style and company values. For candidates considering roles at your firm, reading your book is like getting a crash course straight from the CEO.

    They can discern whether your culture and philosophy resonate before stepping into the office. A book signals that you are invested in developing people. Top performers will find the care and forethought behind your book attractive.

    Related: How to Attract and Retain Top Talent

    Build your brand

    Authoring a book is a brand-building exercise that boosts your professional visibility and name recognition. A book gives you a product to promote across all your marketing channels. The content also fuels speaking engagements, podcast interviews and social media. Every touchpoint where someone engages your book spreads brand awareness. Over time, your book can make you synonymous with key ideas. Whether trying to attract investors, partners or media, a book strengthens your brand considerably.

    Leave a legacy

    Once a business leader departs, their tangible impact can fade quickly. A book, however, creates a lasting legacy that continues influencing people for generations. It serves as a formal record of your fundamental principles and achievements.

    Whether instructing others or reminiscing, your book remains a reference. Great entrepreneurs like Rockefeller and Disney still impact people through their biographies today. A book provides future leaders with enduring life lessons.

    Related: How to Leave Your Legacy, Help Others and Raise Your Authority

    The benefits for your business

    Beyond individual gains, a book also directly benefits your business in several ways:

    1. Credibility and PR. A book is a powerful credibility booster that generates buzz and media coverage for your company. Journalists rely on readers to inform their reporting. A book gives you a pre-researched resource to share with reporters. It’s also great fodder for landing speaking gigs and PR opportunities. Any publicity the book drives ultimately shines a positive light on your business.
    2. Lead generation. Your book can fuel a robust lead generation strategy. Using sections of the book or lessons within it as gated content offers in exchange for contact info is proven to attract qualified prospects. Books make ideal gifts to existing clients and high-value targets. They establish you as an authority worth paying attention to. Promoting your book is also a pillar for capturing speaking leads or advisory roles.
    3. Recruiting perk. A book can be a nice added perk to entice candidates during recruiting. Providing copies to finalists or new hires is a meaningful gesture. Your book enables them to hit the ground running by quickly getting up to speed on your leadership style and business principles. C-suite candidates, particularly, see your book as a strong indicator of your dedication to mentorship and developing future leaders.
    4. Culture ambassador. For organizations with thousands of employees across disparate locations, a book allows you to reinforce vision and values consistently. Your book encapsulates the culture you want to be embodied at scale. When distributed widely internally, it is an invaluable reference that keeps everyone rowing in one direction. New hires receive a clear artifact of the company’s ideals and history from day one.

    The book process

    Writing a book may seem daunting, but modern publishing options have made the process more accessible than ever:

    • Work with an experienced ghostwriter – They handle the writing based on your vision and interviews.
    • Use pre-orders to fund production – Cover upfront costs by pre-selling copies.
    • Start with a goal of 250 pages
    • Schedule 4 months to complete the manuscript
    • Hire a professional designer – Have a budget of around $1,000 for an eye-catching cover.
    • Self-publish and retain rights – Platforms like Amazon make this simple.
    • Launch with PR and events – Land media hits and plan release parties.

    The benefits demonstrate why authorship should be on every leader’s radar. But ultimately, a book allows you to impact people seeking wisdom on thriving in business and life. And there is no greater legacy.

    Vikrant Shaurya

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  • 4 Reasons Why You Should Join a Collaborative Book Publications | Entrepreneur

    4 Reasons Why You Should Join a Collaborative Book Publications | Entrepreneur

    Opinions expressed by Entrepreneur contributors are their own.

    Have you heard of the power of a group when it comes to building your business? Well, now the power of a group is being used in publishing to launch niche, collaborative books.

    Multi-author books are one of the biggest publishing trends this year. Also called collaborative books or anthologies, multi-author titles typically work by gathering together a group of like-minded, aspiring authors. The publisher is usually a small, niche publishing house, which charges authors up front to participate in the projects in exchange for providing their services.

    There are obvious benefits to the aspiring author. Instead of writing an entire book, each co-author contributes just one chapter, usually 1,500-5,000 words long. The publisher then steps in to organize the editing, formatting, publishing, and collaborative book launch.

    These types of books are almost always bestsellers on Amazon because they have 10-30 authors promoting them at the same time. And that is a big draw to potential contributors; You can become a bestselling author without spending the time or money it takes to write and publish your own solo book.

    Multi-author books can be a great service for the right aspiring author. But it’s essential to be realistic about the advantages and disadvantages of joining one.

    Four benefits to being a co-author of a collaborative book

    1. You will get experience as an author. How do you start writing your own book, let alone publish and market it? It’s a complicated and overwhelming process, which is why less than 1% of aspiring authors succeed in finishing their manuscripts.

    Many co-authors join these types of projects as a stepping stone to their own solo books. They learn about the writing process, what goes into publishing and especially how to launch and market a bestselling book. By the time you publish your own book, you will be much more prepared.

    Related: 5 Business-Expanding Benefits of Collaborative Book Publications

    2. You will grow your network. What is your network worth to you? To your business? One of the biggest benefits of joining a group book project is the opportunity to meet, network and collaborate with like-minded peers. Your co-authors will likely be in your niche and have similar backgrounds and professional goals.

    If community and collaboration are important to you, then a multi-author book makes a lot more sense than going at it alone.

    3. You will expand your reach. It is getting harder and hard to reach anyone, let alone your ideal audience on social media. It is just too saturated. And to top it off, the algorithms are constantly changing. It’s frustrating and can be a serious problem for your business. The key to any algorithm is engagement. And that is the principle behind any group book launch.

    If you happen to see a multi-author book launch on your social media, take a second to look a little closer. You will likely see an exciting announcement where all the co-authors are tagged in the publication, that it has been shared several times and has plenty of co-author comments, emojis and GIFs below it.

    All of these factors tell the algorithm that this is a good post, so it will get shown to exponentially more people across all of the co-author’s networks. It costs a lot of money for solo books to compete with that kind of book promotion within their own niche.

    Related: Top 7 Questions About Publishing a Book That Every Entrepreneur Needs to Know

    4. You will open a lot of doors. Becoming an author will open you up to speaking engagements, press and media coverage, brand sponsorships and collaborations, and more. Ive also seen authors use their books for job hunting, handing them out as business cards and adding them to their resumes.

    But remember, you still have to be the one to walk through them. You will need to actively practice author marketing and branding if you want to make the most of your multi-author book contribution.

    What being a co-author of a collaborative book WON’T do for you

    1. You will not get rich from the book royalties. This is still a shock to many people. They think of a bestselling book, and thousands of dollars in passive income immediately pop into their heads. But it’s not like that at all. Let me explain why.

    First, when your book is published on Amazon, you must remember that Amazon keeps a cut of the profits. For an eBook, they take 30-70% and charge a delivery fee per copy based on the total size of the file. For a print book (paperback or hardcover), Amazon keeps 40% of the royalties after the printing cost.

    While these percentages might not be so bad for a solo book, when it comes to a multi-author book, you split the work between 10-30 authors, so you split the royalties as well. That’s why many multi-author book publishers don’t even include royalties for co-authors.

    Example: If you co-author a $2.99 eBook with 14 other contributors, that amounts to a $2.10 royalty per sale to be split between 15 authors. Each author would get .14 cents per sale. Considering the average non-fiction book sells about 250 copies in its lifetime, that would be only $35 in royalties per author.

    There you have it. These are the most important factors to consider when joining a multi-author book project.

    The decision to join one is right if it makes sense for you, your personal and professional goals, and if you deeply align with the project.

    Related: How to Make Money From Your Book Without Selling a Single Cop

    Sara Tyler

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  • Review: ‘Vintage Contemporaries’ affectionate ode to ’90s NY

    Review: ‘Vintage Contemporaries’ affectionate ode to ’90s NY

    Emily Thiel, fresh to New York City by way of college and Wausau, Wisconsin, often has her nose stuck in a book. It’s 1991, so it’s usually a Vintage Contemporary — a Random House imprint started in 1984 that showcased new authors with striking graphic covers featuring dot matrix accents and blocks of color.

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