“As a soldier and as a citizen,” writes Sand, “I had fought for Israel to become a state for all Israeli citizens (and not the state of all Jewish people in the world, who, as is known, don’t live there).” The latter conception, he says, deprecates the needs and wishes of the Palestinian population, with predictable reactions. Courting controversy, Sand observes that the horrific attacks of Oct. 7, 2023, were part of a chain of conflicts dating back to the first displacement of the Palestinians following the establishment of the state of Israel, “in some ways an indirect repercussion of the Nakba, which occurred seventy-five years ago.” The long-sought ideal for the Israeli left has been a binational—or one-state—solution wherein Palestinian and Israeli communities live with equal rights and obligations in a Swiss-like federation, but Sand is “highly skeptical of the possibility of seeing it put into practice in the near future.” As for a two-state solution, he writes, “there is currently no significant political appetite for this project within Israel itself,” even if the U.S. and others might back such a solution. One can hardly disagree with Sand when he concludes, “At present, there are no political options in sight to prevent another impending disaster.”
Hassani observes that quantum physics has always attracted those with an interest in New Age spirituality, especially since the “rush of gurus” to the West in the 1960s. The injection of Eastern thought into Western philosophy, and the fascination with occultism in the West, had much to do with this rush, as well as the inherent “weirdness of quantum physics.” Many of the founders of quantum physics, like Schrödinger, Bohr, and Heisenberg, encouraged this association by publicly linking their work to various versions of mysticism. But this is a “false marriage,” as the author spiritedly avers, one entirely based upon a rank miscomprehension of physics, a disingenuous sophistry, or both. Much of the alleged similarity between pop spirituality and quantum physics is the result of an astonishingly shallow analogy of the kind one finds in popular books like Deepak Chopra’s Quantum Healing. “They put a mystical statement next to a similar-sounding statement about science—or a quotation by a mystic scientist—and argue that the similarity of those statements implies the parallel between the contents.” The author explains that the stakes of these mischaracterizations are not purely theoretical: An unsuspecting public has been taken in by useless dietary supplements and ineffective alternative medical treatments as a consequence of this ignorance. Hassani impressively charts the principal mistakes made by the spiritual teachers looking for legitimacy via a connection to modern science, an undertaking that requires him to discuss quantum physics in some detail and with great clarity. He’s a touch out of his depth when he attempts to link his thesis more broadly to the history of Western philosophy—it is indefensible to assert that Augustine’s effort to link Christianity with Platonism is the same as what “New Age gurus are doing with Eastern theology and quantum physics.” Still, this is a rigorously researched and well-argued book that should be read by anyone interested in the commandeering of science by pseudoscience.
“Forcefully Taken,” the fiery opener, describes the harrowing experience of violation and “the weight of oppression, its jealousy and lust.” The speaker endures physical and emotional pain, likening the body to a “diamond under pressure.” “Guineamen” reflects on the brutal history of the trans-Atlantic slave trade. The poet juxtaposes joyful memories of freedom, when “Freewill crowned each step of life— / life was bright as the day once,” with the horrors of enslavement, when “Harvested like maize, / resisting bodies lay lifeless in heaps.” Body language, silence, and the power of words factor heavily into Millwood’s work. In “Kindness for Weakness?” the speaker makes an outward show of agreeability but resents the need to be nice, warning “Do not mistake my kindness for weakness, / nor my silence for acceptance / Within me, lurks the power to pull down your walls of lies / and I will repay the past with modern vengeance.” In a critique of performative allyship, in “Do Not” Millwood writes, “Do not pretend to understand, / when you are part of the problem / by being silent, by downplaying, / by casually dipping your feet in torrid waters.” “Hidden in Plain Sight” is a poetic manifesto that speaks to Black people’s contributions that are often deliberately obscured and praises their resilience: “I am the roots that run through your veins. / I am the ancestors you venerate. / I am the blueprint of your DNA. / I am the face you seek to hide.”
Millwood excels at conveying deep emotional experiences through vivid and evocative imagery. She describes “Great welts cascaded upon my temple, / Tattooing trees strong and ample, / With branches great and wide. Far-reaching” (in “To Never Forget”) and in “Rage” compares Black pain to a festering wound, “Oozing with yellow pus. / Injuries torn open / leaving rotting infection / down to the marrow / of the bone.” Her similes are equally strong, from clothes “discarded like empty wrappers” to how “your entrance is like a cool zephyr.” Millwood’s voice is direct and unapologetic, and she forces readers to confront their own perceptions and misconceptions around Blackness. While the book contains ample rage, it also shows encouragement and pride, as in “Black Gold,” when the poet asserts, “We are Jewels in human form, great beings to behold. / Calm as a summer’s day or as violent as a winter’s storm. / Walking the earth with majesty. / All who see them, bow in awestruck captivity.” Millwood also celebrates Black identities, proclaiming, “My Black is the type of black that brings forth life. / My Black breeds abundance in lack. / My Black is the type of black that calls men to stand as kings. / My Black rocks Earth and makes Heavens shake.” On the downside, the content can get quite gruesome and may be hard for some readers to stomach, like this recounting of a crime in “Little White Lies”: “One night, 2 Men, 1 Child, / Over days, beaten and tortured. / Smashing to a pulp / The child of a proud mother.”
Darius Anah, 17, lives with his mother and younger sister, Mahlah, in a city where every major milestone—known as a Life Event—is dictated by The Book of Zalmon. The teens’ father was a Leaver, someone who took off for the Town Beyond, past the forest surrounding Zalmon, which is a source of great shame—and also temptation—for Darius. The government justifies its control of the citizens by claims that it promotes “equal opportunity and liberty.” Instead of a Natural Death, which is presented as deeply traumatic, people spend their last days before their assigned death dates at a facility called Quiet End. Physical affection is restricted to “conception duties.” Despite this intrusion, there are rumors of an Underground world. One day at work, Darius peeks at his boss’ account at Central Processing, hoping to see whether his crush might be his Life Match. When he looks up Mahlah’s life partner, he’s horrified to learn she’s been assigned an imminent death date. Darius spirals out of control as he attempts to save her life and, in the process, discovers a shocking web of dark secrets. The narrative beautifully combines dystopian elements with a moving story of love, grief, and defiance. The engaging, evocative writing builds suspense and develops characters in ways that will keep readers invested. Main characters are cued white.
Twelve-year-old Dotty Morgan is a seasoned supernatural sleuth in Elderton, North Carolina. In this third installment of her eponymous series, local boy Jimmy Grubbler pleads for her to protect his gremlin friends from a human aggressor. Dotty instead joins her girlfriend Hannah Matson and best friend, Parker Pose, in Greensboro for the former’s wrestling tournament and the latter’s fashion competition. While there, the friends realize that Jimmy may not be the only one with a gremlin problem: Weird accidents keep happening at Greensboro Fashion Week, and it’s up to Dotty to stop them from ruining her friend’s big moment. (“Reality exists independent of belief. If something is going on, I’ll find out.”) With Hannah’s irresponsible mother and her shady boyfriend in the mix, alongside suspects like famous designer Chadwell Pose’s assistant and contest coordinator Bunny Fingerhut, Dotty has her work cut out for her. Could gremlins really be the cause of the incidents at the fashion show? And could some sinister human be pulling the strings behind the scenes? This follow-up to The Case of the Zombie Ninjas (2024) presents a slightly more grown-up Dotty struggling with puberty, Hannah’s mother’s drug addiction, and homophobia alongside her usual paranormal opponents. These issues are neatly woven into the narrative, emerging organically without overwhelming the action. Martin makes a special effort to point out each character’s race, not just those of Dotty (who is Black) or her friends, which illustrates the author’s commitment to inclusion and representation. While the classic whodunit plot only occupies the middle third of the novel, and thus may leave hardcore mystery lovers wanting more, other readers will appreciate this deeper dive in Dotty’s daily life.
The author grew up listening to his storytelling grandfather, who was a great source of wisdom. “There was always a sense of purpose with his stories,” recalls Banh, “that they must be kept preserved, leaves pressed between pages, to hold together the promise of the cycle of life.” Little did he know at the time that his own story would soon turn into an epic journey worthy of a folktale. His family made and sold clothes in Saigon, but life grew precarious after the city fell to the North Vietnamese, who promptly renamed the capital Hồ Chí Minh City. After four years of deteriorating conditions, his eight-member family managed to flee the country—their only transport option was a small, rotting, overcrowded boat. Their harrowing journey would take them to refugee camps in Indonesia and eventually on to Canada, where a group of residents in Uxbridge, Ontario, banded together to sponsor their resettlement. The second half of the book follows Banh’s life after moving to Canada, including the long shadow cast by his experiences on the boat. Banh’s memoir serves as both a piercing account of his family’s arduous yearslong plight and an ode to the kindly Canadians who helped them start a new life in a new land. The author’s effusive attitude and understated prose keep the story from ever getting too heavy. At one point, during an ayahuasca trip meant to cure him of a urinary problem, he views a vision of the Buddha: “I looked up at Buddha and Buddha spoke to me inside my head. They were not words in any language I knew, and not like a download might work on a computer, not how some people say ideas arrive through energy. But Buddha spoke: ‘You can get off the boat now, Boy. It is time.’” There may be no neat ending to exile, but Banh has managed to shape his experiences into a wise and affecting tale.
In an absorbing, meticulously researched study, Guenther hones in on Alexander’s 332 BC siege of what was once a Phoenician island—now attached to the coast of Lebanon. In hot pursuit of the Persian emperor, Darius, Alexander made the strategic move to disband the Macedonian-Greek navy, as it was no match for the powerful Persian navy, and instead concentrate on striking by land the string of Phoenician coastal towns that made, supplied, and repaired the great Persian ships. After enduring a long march into Asia Minor, then clashing with and scattering Persian troops in the battles of Granicus and Issus, Alexander moved down the Phoenician coast to subdue the home ports, from Arados to Sidon—and all except Tyre accommodated him. The Tyrians resisted and killed Alexander’s envoys, ensuring a violent outcome. The author undertakes in detail the elaborate engineering feats that Alexander and his army used to besiege the recalcitrant Tyre, starting with the “mole,” a kind of massive pier to reach the city’s walls. Despite the ingenious resistance of the Tyrians, Alexander now had a reinforced navy arrive to block the harbor, as well as the use of his catapults and rams, and perhaps “ladders” (the author rather humorously debates the various historians on the scholarly interpretation of certain ancient Greek words), to breach the walls at last. Drawing from ancient sources as well as from modern historians, Guenther dwells extensively on the makeup of Alexander’s army and marvelous engineering for a surprisingly readable adventure.
The Civil War has recently ended (the story is set largely in 1866), and Nathaniel Carter commands a group of former soldiers who work as hired trackers; their primary means of employment is hunting down wayward “Confederate leftovers.” Jobs are becoming increasingly difficult to find, so when a rich industrialist named E. Hoffman Price, who lives in Ironwood, Pennsylvania (the town where Carter grew up), offers the team a lucrative fee to complete a mission, Carter readily accepts. The undertaking is as dangerous as it is mysterious—the crew is to travel deep into Appalachia, locate a remote gold mine owned by Price, and find out what happened to the all the people who worked there who have apparently disappeared. The trip to the mine quickly turns deadly, and by the time Carter and company reach an abandoned outpost near their destination, they realize something evil is permeating the place. When gruesome, giant humanoids attack them, Carter discovers that he can’t outrun his past. Traumatic events from Carter’s childhood involving his mother—memories that he hasn’t shared with anyone and has done his best to forget—begin to bubble to the surface in the most horrific ways. Schrader’s supernatural suspense novel boasts skillfully developed characters, relentless pacing, and jaw-dropping plot twists. The writing is filled with profound existential insights (“No matter how far we propel ourselves forward with trains, steamships, or rockets, and no matter our distractions—work, drink, play—we will never conquer the elemental forces of nature nor escape the nameless horrors within ourselves”), which may remind horror afficionados of the early works of horror master Robert R. McCammon.
Revenge may be a dish best served cold, but in this tense novel, the temper of 25-year-old Rudy Hodgens is red-hot as he seeks payback from his stepparents for evicting him from the house where he lived for two decades. When Rudy was in kindergarten, his mom died in a car crash; she had been married at the time to Iraq War veteran Mitchell, who was not Rudy’s biological father. A year after the accident, Mitchell married Debra, who became an instant mother to Rudy. Now Debra sobs as her deadbeat stepson packs up and leaves by court order, but Mitchell stews—Rudy has had multiple chances to turn his life around. Before Rudy leaves, he steals a Glock from Mitchell’s collection of guns, ammo, and fancy knives. Rudy tries to sell the Glock to a local thug he knew as a child, but seeing the gun reminds the potential buyer of all the weapons in Rudy’s family’s basement. Rudy also commits “domestic terrorism” by sneaking into the house at night to scare the easily frightened Debra while Mitchell works his overnight shift as a security guard. To make Debra feel safer, Mitchell helps her buy a pistol and (because he loves her) a gun bag in a “pink camouflage pattern.” But is Debra the “wimpy little woman” she appears to be? Complicated, marginalized characters converge in this edgy narrative that zips quickly along. The author excels at writing about people with both minor and major flaws, stashing secrets in each character’s backstory. Lies unfold, revenge is plotted, and suspense builds quickly to a satisfying ending. Well-observed details enrich the story, such as descriptions of the coffeeshop fireplace “that looks warm and cozy, but doesn’t actually emit any heat” and “the sleety snowfall that’s studding the front stoop.”
As the owner of Miracle Books, Nora Pennington occasionally offers shop-at-home services to her customers. In Lucille Wynter’s case, she takes it a step further, bringing books to the reclusive woman and sitting with her in her sparsely furnished “boot room,” where they share tea and Lorna Doones. When Lucille fails to appear one day, a worried Nora calls her, only to hear a faint “Help me. Please!” from Lucille’s landline. Following the instructions her boyfriend, Sheriff Grant McCabe, once gave her for kicking a door in, Nora breaks in, only to find Lucille dead and Wynter House filled floor to ceiling with rotting food, trash, and books, books, books. Lucille has left Nora a letter thanking her for her visits and entrusting her with a special book written by Lucille’s father, Hugo Wynter. The volume contains a woodblock engraving of a set of bookshelves and a poem about a little lost library. Each verse contains cryptic clues that Nora hopes will help her figure out how Lucille could have lost a library and perhaps even help Nora find it. Lucille’s children, Harper, Beck, and Clem, commission Nora’s friend Bea, an antique dealer, to help clear out their mother’s house, and Nora uses the time while Bea is decluttering to follow the clues in the poem. In the meantime, McCabe tells her that Lucille wasn’t killed in a fall but was strangled. Nora's search for the lost library and her quest to find Lucille’s killer intersect, but chance plays as great a role as sleuthing in their solution. The grim ending reveals a sad history that strips all the joy from Nora’s efforts.
In an afterword, Clarke tells readers how this story began as a BBC Radio 4 broadcast. Or, rather, she explains how her father’s neurodivergence, her beliefs about the consciousness of trees, and the music of Kate Bush begat a tale in which a young woman sees her future during a walk in a snowy forest. The author also explains how she was certain that Jonathan Strange and Mr Norrell (2004) contained a footnote describing the city where her protagonist lives, but that it’s gone now—probably removed by a fairy “for reasons of his or her own.” It’s laudable that Clarke wants her readers to experience the narrative without preamble, but this backstory reveals her charms as a writer in a way that the story itself does not. Our heroine, Merowdis Scot, feels most at home in the woods and most herself in the company of animals. Even her sister, Ysolde—who comes closer than anyone to understanding her—is no substitute for Merowdis’ pig, her dogs, her many cats, or the spiders that weave their webs undisturbed in her room. Merowdis is taking a winter walk in the company of a trio of her four-legged companions when she encounters a fox and a blackbird and tells the wood of her desire for a child—a “midwinter child…A child to bring light into the darkness.” Given that Merowdis can’t imagine marrying and, given her ease with animals and unease around people, her wish will require a miracle that’s very different from the miracle found in the Christmas story. Once Merowdis sees her fate, this tale takes on some of the uncanny truth of folklore. Getting to this point, though, means connecting with an “unconventional” heroine who is both familiar and unexceptional in both children’s lit and books for grownups.
For Rekdal, all poems, regardless of form or any other apparently defining feature, require individuals to pay “conscious attention to how [they] think about and use language.” Readers must therefore dispense with interpretations they may bring to a poem and instead become literary “detective[s].” To work toward that end, she dedicates each chapter to in-depth discussions of poetic elements—diction, rhyme, meter, etc.—and to what she calls “forensic” analyses of those elements that she accomplishes by examining works by such diverse poets as François Villon and Robert Hayden. What sets Rekdal’s method apart from simple close reading is that it focuses on how meaning—in the form of poetic “evidence”—accrues for individual readers. This gives insight into the way that poets combine elements for a particular effect. The author further suggests that forensic ladder-style readings give readers the space to question themselves and their own observations (for example, why they may be drawn to certain images or words). In this context, even “red herring” misreadings are useful for the way they help individuals learn to navigate the polysemic complexities of poetry and become more skilled reader-detectives. To help individuals better understand—and wrestle with more meaningfully—the poetic elements she brings to the fore, Rekdal offers exercises and a selected list of poems to consider at the end of each chapter and a comprehensive glossary of poetic terms. This meticulously crafted guidebook will appeal not only to teachers seeking to educate beginning students of poetry but also anyone seeking to understand the intimate and complex connection between poets and their readers.
The star of the season is the Cliffs Hotel, a marvelous restored Victorian mansion overlooking the ocean. Building contractor Shannon Hammer and her crew are working on plans for a Christmas Fun Zone on the grounds highlighted by a carousel and of course Santa. Shannon is close to Bill and Lillian Garrison, who own the Cliffs, and their children, who all work there except for the eldest, Logan, who is in the Navy. Logan’s stunning but awful wife, Randi, is a close friend to Shannon’s archenemy, conniving backstabber Whitney Reid Gallagher, who ruined Sharon’s long friendship with Arabella Garrison. Soon after Logan surprises the family by leaving the Navy and taking a job as community director for Homefront, a community supporting veterans, cracks quickly appear in long-standing family relationships, and it’s clear that Logan and Randi’s marriage is on the rocks. Shannon is enjoying a fancy pre-Christmas dinner at the Cliffs with her fiance, popular author MacKintyre Sullivan, and their circle of friends when the lights go out. When Shannon goes to check the circuit breakers with Mac and their friend Police Chief Eric Jensen, she finds Randi with her throat slashed. The fact that one of Shannon’s pink tools was used to do the deed makes her determined to find the killer. Luckily, both Shannon and Mac already have some experience as sleuths, and there’s no shortage of people who hated Randi.
Nyla Braun, unkindly dubbed “Encyclopedia Braun” by her classmates, is taking the spring birding tournament between Anderson Elementary’s City Birders and Penn Elementary’s Burb Birders very seriously. She’s determined to count the most birds and learn all the bird songs and calls, allowing her to leave Anderson “on a high.” Becoming obsessed with her interests isn’t new—but this time, she also wants to improve her social status by leading the City Birders to victory. Nyla’s dreams start to come true when the wealthy Portia invites her to study for the trivia portion of the competition. Nyla already has a best friend, but Tasha isn’t into birds, and Nyla can’t put birding—or her chance at popularity—on hold. Thankfully, Nyla gets abundant support from Aunt Cherise, Granddad, and her parents, who help her with both birding and feelings (even if Nyla sometimes struggles with her mom’s relentless positivity). In her debut, Richter skillfully addresses mild tensions between the City Birders (who are mostly Black, like Nyla) and the Burb Birders (who are mostly white) and shows how common interests can unite people. With clear, descriptive writing, a tight storyline, and plenty of bird-related information (including excerpts from Nyla’s birding journals and checklists), readers may feel inspired to explore birding, too.
Becca, who’s nearly 13, had different hopes for her summer, ones that didn’t involve leaving Connecticut to bond with her mom at Get Away Ranch, a Montana resort that promises yoga and cooking classes, a spa and swimming pool, and more. Due to a mix-up, they end up instead at rustic Far Away Ranch, with its spotty internet and more down-to-earth facilities. Meanwhile, Jon, who’s almost 14, is working at the ranch with his dad. He’s heard stories from his great-grandmother about the founding of a famous nearby ghost town, Piney Woods, and the treasure left somewhere in the area by an outlaw in the mid-1800s. Jon, who possesses a clue to the treasure’s whereabouts, invites Becca to help him search for it. They follow interconnected clues and, after some missteps, learn to trust each other. All the while, Becca is trying to figure out who she is and what kind of friend she can be, both in Montana and back home. Vivid, poetic descriptions bring the setting and characters into focus, and the mystery maintains a strong pace. An overbearing YouTube personality, who’s also pursuing the treasure and chases after the kids, feels more like a caricature of a bad guy, however. Main characters are cued white.
Everett can’t resist the lure of fame and bright lights, but his current “live show” in his tropical venue doesn’t give him the acclaim he wants. When he’s onstage at the Sandy Straw, he’s largely ignored by the customers, who are busy eating and chatting. Then he learns about the Rockefeller Center Christmas tree, inspiring a new goal: He sees his “destiny” as becoming “the most famous Christmas tree in the world.” Although he’s a three-foot plastic palm, Everett drapes himself in tiny lights and heads to the airport. He lacks money, identification, and a ticket, but his friend Bird flies into action. Cavalierly subverting security, Bird steals a passport and paperwork, distracts the agent, and ushers Everett through. The stolen credit card subsidizes snacks, photos, and souvenirs, but then all New York flights are delayed by bad weather. Everett is dejected—until a little girl with dark skin recognizes him as the Christmas tree he feels he is, planting “a tiny seed” in his heart. Springing to action with hard work and irresistible enthusiasm, Everett saves Christmas for the stranded passengers, performing for them, uniting them, and spreading “joy everywhere.” Wexler brings the narrative to a familiar but chipper conclusion, while Berthiaume’s cheery, deep-toned, detailed cartoon illustrations rely on varied layouts, depicting expressive people who are diverse in terms of skin tones; Everett’s an especially winsome protagonist.
Mintz begins at a dark moment, when, soon after Lennon was killed, he is charged with inventorying the musician’s countless possessions: roomfuls of guitars, the attaché cases with which he was smitten, boxes of cassettes and their works in progress, granny glasses “in a rainbow of tinted colors.” He came into this responsibility circuitously. As a Los Angeles disc jockey, he listened to a promo of Ono’s 1971 solo album Fly and invited her to be an on-air guest. She agreed. Interestingly, Mintz writes, although he was well aware of her marriage to Lennon, “I was never a Beatles superfan.” Instead, he adds, he was more of an Elvis freak, which didn’t necessarily serve him well when, after Ono began to call him at all hours, Lennon did, too. “It was a never-ending loop,” he writes, an eccentric conversation that often found him wondering why it was he on the other end. There’s no brutal dish of the Albert Goldman trash-the-star variety, though Mintz doesn’t shy from the dark side: Lennon, he writes, could be a monster when he was drinking, and he harbored odd views: “Even though John had smoked, ingested, or snorted just about every illegal recreational drug he could get his hands on, he was weirdly suspicious of the ones that were properly prescribed and proven efficacious.” As for Ono, she’s alternately remote and generous, instinctively mistrustful—and for good reason—of anyone who wanted a piece of her husband, as so many did. All in all, he writes, “they were a magical couple,” and it’s clear that all these years later, he misses them.
Throughout her illustrious career, from her 1950s star-making Broadway debut as an understudy in Pajama Game to leading roles in acclaimed films like Some Came Running and The Apartment, Shirley MacLaine has diligently chronicled her life’s journey. Her bestselling memoirs, beginning with Don’t Fall Off the Mountain (1970) and including Out on a Limb (1983), have documented her professional ascent and approach to living a fully independent, well-traveled life as a modern woman. Now in her 90s, MacLaine revisits her experiences through a collection of personal photographs and extended captions, serving as a visual narrative thread. In mostly laudatory terms, her memoir showcases MacLaine’s connections with luminaries from various spheres of her personal, political, spiritual, and show business life. Such reflections include her long, unconventional marriage to businessman Steve Parker, her Rat Pack associations (Frank Sinatra, Dean Martin, and Sammy Davis Jr.), and her encounters with U.S. presidents and controversial political figures like Nikita Khrushchev and Fidel Castro. Of the latter, she notes, “Castro and I had two days together. He was open, funny, and curious, especially about the Kennedys, and did not come on to me as Barbara Walters suggested he would.” On the flip side, MacLaine occasionally dishes a few subtle asides: Jerry Lewis was “overpowering and controlling, and I didn’t think he was funny,” director Herbert Ross “was an arrogant guy, very full of himself,” and of her Terms of Endearment co-star she simply comments, “I did not enjoy Debra Winger.” MacLaine’s images and captions cumulatively reflect an enviable, well-lived existence, offering glimpses into her world travels, family, friends, and various love affairs. An engaging but lightly written exploration, the scant narrative may appeal primarily to her devoted fans.
Rather than spin this memoir out in a single chronological thread, the co-authors (who are not related) open with the good stuff—the recruitment of “Charlie B.” into NASA in 1979 as the fourth Black astronaut and his four space flights between 1986 and 1994. They follow with information about his childhood, his early career as a Marine pilot and test pilot, and his later stint as the head of NASA from 2009 to 2017. He brings an unusually personal tone to his experiences in training and in orbit, so that whether describing routine meal prep, the pleasure of viewing lightning and atmospheric auroras from overhead, or the fraught process of deploying the Hubble Space Telescope and other satellites, he will draw readers into each highlight moment. So, too, will the plethora of official color photos and, along the closing timeline, family snapshots. Though he generally isn't one for recording complex emotions (even watching the Challenger explode only days after his own first mission touched down gets a relatively low-key reaction), his deep satisfaction at a host of difficult jobs done well comes through clearly. In at least some of the group scenes, the astronaut is joined by other people of color. As he says, “What a ride!”
In a five-year period, David Naylor turned the Rayburn Electric Cooperative from a $300 million company to a $1 billion cooperative in the Dallas–Fort Worth metroplex. In this nonfiction debut, Scott tells the story of Naylor’s success, providing a detailed account of how he transformed Rayburn into a successful “family feel” organization that’s not exclusively focused on cost-effectiveness. (“In fact, sometimes, we even purposefully avoid the cheapest option because that is the best way to ensure we stay on task and maintain the proper focus.”) Building on Naylor’s story, Scott broadens the narrative to apply some Rayburn experiences to what economists refer to as the wider VUCA (volatile, uncertain, complex, and ambiguous) world. She notes that one of the key ways Naylor and his team navigate that world is by hiring smart, self-motivated people to build a culture of cooperation, steadily strengthening the “trust bank” at Rayburn by avoiding such trust-eroding practices as micromanaging, which can create “a negative and demoralizing work atmosphere.” In these and other ways, Scott describes how Rayburn has avoided becoming “a stale utility stuck in the past.” While all this material is conveyed with energy and clearly sincere enthusiasm, the book can often feel more like a Rayburn-specific recruiting brochure than a broader study of how a company can stay competitive in a rapidly changing world. Scott and Naylor too frequently resort to obvious observations: “When employees from different generations work together, they can draw from their unique life experiences and professional backgrounds to solve problems”; “growth is a double-edged sword.” Still, Naylor’s passionate advocacy for a less regimented, more adaptive workplace is ultimately inspiring; readers at all levels of management will appreciate a look at a corporate environment done right.
The Buzziest Books of October | 2024 Get ready for a spine-tingling literary adventure this October with our eerie selection of must-read titles! From chilling thrillers to enchanting romances, prepare to be bewitched by the captivating tales that await. Curious about the books that are sending shivers down readers’ spines...
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