
John Green's 'Everything is Tuberculosis' is out now: Get to know all his books
Many of John Green's novels offer a snapshot of young adult reading culture in the 2010s – star-crossed teenage lovers and 'manic pixie dream girl' characters, Tumblr quotes and metaphors stamped on stickers and T-shirts.
The success of 'The Fault in Our Stars' and 'Paper Towns' sparked a kind of subgenre in the young adult market The New York Times dubbed 'GreenLit,' or 'realistic stories told by a funny, self-aware teenage narrator.' Green is also well known for his YouTube channels with his brother Hank Green, 'Vlogbrothers' and the educational 'Crash Course.'
Now, his latest novel 'Everything is Tuberculosis' dives into how tuberculosis has shaped our world. Here's a look back on all of his titles.
All John Green books in order
Green has written eight books, including his bestsellers 'Looking for Alaska' and 'The Fault in Our Stars.' Many of his books are young adult romances, but he's written two nonfiction books – his essay collection 'The Anthropocene Reviewed' and his latest public-health-focused 'Everything is Tuberculosis.'
'Looking for Alaska' (2005) 'An Abundance of Katherines' (2006) 'Paper Towns' (2008) 'Will Grayson, Will Grayson' with David Levithan (2010) 'The Fault in Our Stars' (2012) 'Turtles All the Way Down' (2017) 'The Anthropocene Reviewed' (2021) 'Everything is Tuberculosis' (2025)
In 2008, Green contributed to a holiday novella romance collection 'Let it Snow' alongside authors Maureen Johnson and Lauren Myracle. He also lended his pen for 'What You Wish For,' a collection from children's and young adult writers to benefit Darfuri refugees.
John Green's movie and TV show adaptations
Four of Green's novels have been adapted into movies or limited series, plus one of his novella collections:
'The Fault in Our Stars' (2014): The first Green onscreen adaptation, 'The Fault in Our Stars' saw a 'near-flawless' opening weekend and dominated the box office when it came out in 2014. Shailene Woodley and Ansel Elgort starred as the book's Hazel and Augustus, two teenage cancer patients who fall in love.
'Paper Towns' (2015): A year after the success of 'TFIOS,' Green's 'Paper Towns' was adapted into a movie starring Cara Delevingne as Margo and Nat Wolff as Quentin. Wolff also appeared in 'TFIOS' as cancer patient Isaac.
'Looking for Alaska' (2019): This Hulu limited series starred Kristine Froseth as the enigmatic Alaska Young and Charlie Plummer as Miles 'Pudge' Halter.
'Let it Snow' (2019): Green's holiday romance novella was adapted into a 2019 film starring Kiernan Shipka, Jacob Batalon and Liv Hewson.
'Turtles All the Way Down' (2024): Green's latest screen adaptation came out as a movie starring Isabela Merced and Cree as the novel's ride-or-die best friends Aza and Daisy, the former of whom is dealing with crippling OCD.
New John Green book is out: 'Everything is Tuberculosis'
'Everything is Tuberculosis' is a deep dive into Green's obsession with the world's deadliest infection, following his friendship with a young patient in Sierra Leone sick with drug-resistant tuberculosis. The novel explores the health care inequities that make the curable disease as prevalent and deadly as it is today, offering a glimpse at how our choices could shape the future of TB. Green also touches on how his OCD and his brother Hank's battle with cancer influenced his interest in this area of public health.
'Green's fans will be pleased by this window into his latest obsession,' a Publishers Weekly review reads.
More 2010s reading nostalgia: Fans reflect on 'Hunger Games' legacy
Clare Mulroy is USA TODAY's Books Reporter, where she covers buzzy releases, chats with authors and dives into the culture of reading. Find her on Instagram, subscribe to our weekly Books newsletter or tell her what you're reading at cmulroy@usatoday.com.
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Atlantic
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Turns Out Meat Is Still the Ultimate Luxury
A few years ago, during the coronavirus pandemic, Daniel Humm had an epiphany. Human reliance on animal products was cooking the planet, and, as a chef, reducing his reliance on them could be part of a solution. When his New York City restaurant, Eleven Madison Park—which had once been named the world's best restaurant —reopened, it would be free of animal products, making it the first three-Michelin-star dining room to bear that distinction. Humm seemed reinvigorated by the change, and very, very eager to talk about it. 'From a creative place,' he told his friend Gabriela Hearst in Interview magazine at the time, 'the world does not need another dry-aged ribeye or butter-poached lobster.' He went on The Tonight Show and Morning Joe; he released an illustrated journal featuring observations such as 'our cooking should not conform to society,' as well as his own hand-drawn portraits of lentils, broccoli, and a popsicle, rendered in a rustic, neo-Expressionist-by-way-of-nursery-school style. He talked about going plant-based as both an ethical and an artistic imperative. 'It became very clear to me that our idea of what luxury is had to change,' Humm said at the time. 'We couldn't go back to doing what we did before.' He would make a small but decisive correction to a food system that was 'simply not sustainable.' Four years later, vegan luxury dining is apparently the thing that wasn't sustainable. Yesterday, Humm announced that, after creating 'a new culinary language,' building 'something meaningful,' and igniting 'a debate that transcended food,' he will go back to speaking his previous culinary language. Eleven Madison Park will continue to offer a plant-based menu, but will also serve 'select animal products for certain dishes.' These select animal products, he said, will include 'fish' and 'meat.' And 'honey-lavender-glazed duck.' And oysters, and lobster. Also, chicken, maybe. In an interview with The New York Times, Humm said he was moved to return animals to the menu for reasons of inclusion. 'I very much believed in the all-in approach, but I didn't realize that we would exclude people,' he said. 'I have some anxiety that people are going to say, 'Oh, he's a hypocrite,' but I know that the best way to continue to champion plant-based cooking is to let everyone participate around the table.' Elsewhere in the piece, he was somewhat more direct: Diners had become less interested in what Humm was offering. Sales of wine—which tends to come with a heavy markup and is thus a highly important part of many restaurants' business—were down, because people seemed to be less inclined to uncork a $1,500 bottle of Côte-Rôtie when a big bloody steak wasn't also involved. Bookings for EMP's private events were also flagging, Humm said: 'It's hard to get 30 people for a corporate dinner to come to a plant-based restaurant.' Well, yeah. The thing is, people really, really like meat. All the time, but especially when they're paying up to $365 a head for dinner before tax, tip, and beverages. Between 2014 and 2024, annual per capita meat consumption rose—even as various publications heralded the end of beef, even as the consequences of climate change became even more unignorable, even before the secretary of health started telling people to eat tallow. Sales of plant-based meat have been declining since 2021, according to the Good Food Institute, a nonprofit devoted to alternative proteins. In June, the CEO of Impossible Foods, which sells high-tech meat substitutes, told The Wall Street Journal that his company was considering taking an approach similar to Humm's, developing a half-beef burger. Though plenty of animal-free restaurants seem to be doing perfectly well, in fine dining they may be the exception rather than the rule. Of the United States' 263 Michelin-starred restaurants, just four are exclusively vegetarian or vegan. Americans just cannot seem to quit meat, no matter how good the alternative tastes. But then again, part of Humm's problem might have been that his alternative didn't taste very good. When Pete Wells, then the New York Times ' restaurant critic, went to EMP in 2021, he found food that he described as 'acrid' and 'distorted,' including an extraordinarily fussy-sounding beet dish that 'tastes like Lemon Pledge and smells like a burning joint.' The people who are willing to shell out hundreds of dollars for food tend to pay attention to reviews, and they tend to want to feel like they're getting what they've paid for. What happens in fine-dining restaurants does, eventually, trickle down to the rest of the food industry, but the problem with appointing yourself as an agent for the revolution is that then you really need people to buy what you are selling. And you can only be one of the world's most influential restaurants if you are making enough money to stay open. The idea of a place such as Eleven Madison Park being on the vanguard of social change was funny even before it was revealed to be temporary. A nice meal is fundamentally a luxury good—one where no expense is spared, customers are always comfortable, the linens get washed every day, and the appeal is a sense of perfection. It is the opposite of sacrifice, which is what responding to climate change will require from all of us. 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There, on a sprawling property that rolled down to Long Island Sound, they lived, ate and worked together, far from the pressure exerted by producers, critics, actors and everyone else who, for better or worse, shape the public presentation of a play. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up White, the child of an artistic, semi-patrician Connecticut family who founded the center when he was in his 20s, called himself its 'innkeeper.' He spent most of the year in New York, raising funds and running the admissions process, and migrated north in the summer to run the O'Neill's day-to-day operations. Advertisement 'There have been plays here over the years that I think are pretty awful,' he told The New York Times in 1982. 'But I stand behind the selection of the playwright every single time. We really are looking for the playwright who shows promise, more than the play that can be a hit.' Advertisement Though White was an accomplished director in his own right, he relied on Lloyd Richards, the longtime head of the Yale School of Drama, to act as the center's artistic director. Together they developed an unerring eye for new talent. Famously, they accepted an unsolicited script from Wilson, who was still unknown at the time; the work, 'Ma Rainey's Black Bottom,' was nominated for the Tony Award for best play in 1985 and established Wilson as one of the great American playwrights of the 20th century. Other noted plays and musicals (which got their own, similar conference in 1978) that originated at the O'Neill included Guare's 'The House of Blue Leaves' (1966), Wendy Wasserstein's 'Uncommon Women and Others' (1975) and Robert Lopez, Jeff Marx and Jeff Whitty's 'Avenue Q' (2003). White cultivated a reliable network of actors to perform staged readings of each play. They, too, were drawn from the ranks of the young and promising, and many were destined for fame: Michael Douglas, Charles S. Dutton, Meryl Streep and Al Pacino, among others, did time at the O'Neill early in their careers. 'He took his privilege and used it to share the goodies for a wide community,' Jeffrey Sweet, the author of 'The O'Neill: The Transformation of Modern American Theater' (2014), said in an interview. 'And he did it with just enormous heart and enthusiasm.' George Cooke White was born on Aug. 16, 1935, in New London, not far from Waterford, where he grew up. He came from a long line of noted landscape painters, including Henry C. White, his grandfather; Nelson C. White, his father; and Nelson H. White, his brother. Advertisement His mother, Aida (Rovetti) White, came from a working-class family and was a seamstress before she met his father. She later served on the O'Neill's board. George studied drama at Yale University. After graduating in 1957, he spent two years in the Army, stationed in Germany, where he met Elvis Presley, who was already a singing sensation but wanted to do more acting. He asked White for advice, and they spent an afternoon running through a monologue. After his discharge, White studied at the Shakespeare Institute in Stratford-upon-Avon, England, and then returned to Yale to get a Master of Fine Arts in drama. He graduated in 1961 and moved to New York, where he worked for television producer and talk-show host David Susskind. White married Betsy Darling in 1958. Along with their children, she survives him, as do his brother and 10 grandchildren. One afternoon, White, an avid sailor, was tacking past the Hammond Mansion, an empty seaside home that was slated to be used for firefighting practice by the town of Waterford. He was already thinking of starting his own theater in honor of O'Neill, and he asked the town if he could lease the estate. Happy to help a local boy, the town gave it to him for $1 a year. The Eugene O'Neill Theater Center opened there not long after. White initially wanted to stage full productions at the site, drawing on the connections he had built under Susskind's tutelage. But even with his prodigious people skills, the task proved daunting, and in the interim he held his first summer conference for young playwrights. The conference was a hit, and he soon abandoned his original plans, focusing instead on cultivating new talent. He also began hosting similar conferences on theater criticism and musicals -- Lin-Manuel Miranda workshopped 'In the Heights' at the O'Neill before taking it to New York. Advertisement White retired in 2000 but remained involved with the O'Neill, and with theater generally. He was particularly active with other organizations that took the O'Neill as their model. Robert Redford, for instance, used it as a template for his Sundance Institute, focused on young filmmakers, and White agreed to serve on the Sundance board. He also served in the U.S. Coast Guard Auxiliary as a flotilla commander; in 2014, the Coast Guard gave him its distinguished public service award. Like many theater programs around the country, the O'Neill has struggled in recent years. This year, the federal government clawed back some of its funding, and the O'Neill has had to slash its budget and employment rolls in response. But Sweet said that White's legacy had put the O'Neill in a better place than other endangered programs. 'It's going to be belt-tightening for a while,' he said. 'But I think there's such a huge community of people who view the O'Neill as one of their homes, and a lot of them are famous and rich. A lot of them owe a lot to it.' This article originally appeared in