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Review: Jess Walter's 'So Far Gone' sets a redemption story in fractured, modern America

Review: Jess Walter's 'So Far Gone' sets a redemption story in fractured, modern America

When the history of the United States in 2025 is written, perhaps one of the best things that will be said is: 'Well, it made for some great art.'
Consider 'So Far Gone,' the new novel by Jess Walter. Set in present day America, it opens with two kids wearing backpacks knocking on a cabin door. 'What are you fine young capitalists selling?' asks Rhys Kinnick, before realizing the kids are his grandchildren. They carry with them a note from Kinnick's daughter, describing dad as a 'recluse who cut off contact with our family and now lives in squalor in a cabin north of Spokane.'
More Information
So Far Gone By Jess Walter
(Harper; 272 pages; $30)
Jess Walter in conversation with Tom Barbash: 6 p.m. June 24. Free. Book Passage, 51 Tamal Vista Blvd., Corte Madera. 415-927-0960. bookpassage.com
Jess Walter discusses 'So Far Gone': 7 p.m. June 25. Free. Lafayette Library, 3491 Mount Diablo Blvd., Lafayette. 925-283-6513. lllcf.org
It's a great hook that draws you in and doesn't really let up for the next 256 pages. We learn why Kinnick pulled a Thoreau and went to the woods seven years ago (Hint: It has a lot to do with the intolerance exhibited by no small percentage of Americans and embodied by a certain occupant of the White House), as well as the whereabouts of Kinnick's daughter, Bethany, and why her messy marriage to a guy named Shane led to Kinnick's grandchildren being dropped off at his cabin.
In a neat narrative gimmick, the chapters are entitled 'What Happened to ___' and fill in the main strokes of each character's backstory, as well as what happens to them in the present timeline. Told with an omniscient third-person sense of humor, the book's themes are nonetheless serious. On the demise of journalism in the chapter 'What Happened to Lucy,' one of Kinnick's old flames and colleagues at the Spokesman-Review: She 'hated that reporters were expected to constantly post on social media… before knowing what their stories even meant.' Or Kinnick's thoughts as he holds a .22 Glock given to him just in case by a retired police officer who is helping him get his grandkids back from the local militia: 'The shiver that went through his arm! The power!… The weight of this gun was the exact weight of his anger and his fear and his sense of displacement… That's where its incredible balance lay.'
As Kinnick links up with various characters and drives across the Northwest in search of his daughter and grandchildren, the plot unfolds quickly. Most readers won't need more than a day or two to reach the final page, which satisfies the Thoreau quote Walter uses in the story's preface: 'Not till we are lost… 'till we have lost the world, do we begin to find ourselves.'
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Ann Harris, Who Edited a Stack of Best Sellers, Dies at 99
Ann Harris, Who Edited a Stack of Best Sellers, Dies at 99

New York Times

timea few seconds ago

  • New York Times

Ann Harris, Who Edited a Stack of Best Sellers, Dies at 99

In 1969, after a career writing comedic novels and screenplays, William Peter Blatty wrangled a $10,000 advance to write a decidedly unfunny book, 'The Exorcist.' He wrote a manuscript so scary, he would later tell a British newspaper, that his secretary 'was too spooked to work on it when she was alone in the house.' Before the novel could be published, though, the finer points of plot, character and demonic possession had to be shaped by an editor. The job went to the fastidious Ann Schakne Harris, who in the 1960s was among a group of women to gain recognition for their burnishing skills at Manhattan's publishing houses. For six weeks, Mr. Blatty and Ms. Harris bivouacked at a hotel in New York to sculpt the novel that became the defining entry in a hybrid genre that The New York Times called 'theological horror.' 'The Exorcist,' published in 1971 by Harper & Row (now HarperCollins), became one of the best-selling novels of the decade and sold 13 million copies in the United States. Mr. Blatty died in 2017. Ms. Harris died on June 1 at her home in Manhattan, her daughter Katherine Harris said. She was 99. 'The Exorcist' was her breakthrough after she was in and out of the book business for 20 years, assisting other editors, working part time while raising two children. She was happy in that role, she said, but acknowledged that it 'was a heady thing to have a great big best seller.' 'From the beginning, I knew absolutely that it was going to the top of the list,' Ms. Harris said in Al Silverman's 'The Time of Their Lives: The Golden Age of Great American Book Publishers, Their Editors, and Authors' (2008). 'And I knew that I could make it happen.' A raft of best sellers attended her six-decade career. Among them were 'The Thorn Birds' (1977) by the Australian writer Colleen McCullough; Stephen Hawking's 'A Brief History of Time: From the Big Bang to Black Holes' (1988); autobiographies of Betty Ford and Warren Buffett; a smuggled manuscript by the Soviet-era composer Dmitri Shostakovich; and two Pulitzer Prize winners — 'Why Survive? Being Old in America' (1975) by Dr. Robert N. Butler, and 'Toms River: A Story of Science and Salvation' (2013) by Dan Fagin. 'The Thorn Birds,' a generational family saga set in the Australian Outback, was a particular triumph for Ms. Harris. She had essentially discovered Ms. McCullough, who was then a professor and researcher at Yale University. Ms. Harris had acquired Ms. McCullough's first novel, the modestly successful 'Tim' (1974). For 'The Thorn Birds,' Ms. Harris immersed herself in the editing process, as she had with Mr. Blatty. Ms. McCullough would travel to Manhattan from New Haven, Conn., sometimes staying at the Harris family's apartment while they smoothed the novel's contours. In a dedication to Ms. Harris, her son Nicholas Harris said in an interview, Ms. McCullough wrote that the collaboration was 'hard' and 'painful' but invaluable. The Times gave 'The Thorn Birds' — sometimes called the American 'Gone With the Wind' — a mixed review, but it had sold more than 30 million copies worldwide by 2015, when Ms. McCullough died at age 77. The paperback rights sold at auction for $1.9 million, then a record. To edit Ms. McCullough's third novel, 'An Indecent Obsession' (1981), Ms. Harris traveled nearly 9,000 miles to Norfolk Island, an Australian territory in the Pacific, and spent six weeks with the author. 'She was a classic, old-style editor,' Frances McCullough, who worked with Ms. Harris as an editor at Harper & Row, said in an interview. 'She took time and pains with authors.' Today, Ms. McCullough said, 'books that need that kind of intense attention tend to be farmed out to freelance editors, who can work on them full time.' The author Stephen Fried, who wrote four books for Ms. Harris, said her editing style was 'active but not aggressive' as she guided writers to make changes in their own voice. He called her nurturing and invariably excited about new ideas, even if trendiness was not immediately suggested by her schoolmarmish appearance. 'She was like if your grandma read everything and knew everything,' Mr. Fried said in an interview. Ann Schakne was born in Manhattan on Sept. 22, 1925. Her father, Harry Schakne, worked at his in-laws' dressmaking business and earlier ran a Jewish newspaper in Detroit. Her mother, Alice (Siegel) Schakne, was a schoolteacher. Ann's interest in medicine as a teenager was impeded by a lack of affinity for chemistry, putting her on course for publishing. She graduated from Hunter College in New York in 1946 with a bachelor's degree in English and received her master's degree from Radcliffe College in 1948, having taken its inaugural publishing course to learn the basics of editing, sales, cover design and publicity. In 1952, she entered the publishing business as a 'reader,' evaluating manuscripts. By the mid-1960s, she had become an editor. In 1980, Ms. Harris left Harper & Row and later that decade joined Bantam, where she edited Dr. Hawking's hugely popular, layman-accessible 'A Brief History of Time.' It sold 10 million copies but her working relationship with Dr. Hawking, the renowned University of Cambridge physicist who died in 2018 after a decades-long struggle with amyotrophic lateral sclerosis, was described by some as complicated. For a subsequent book, 'The Universe in a Nutshell' (2001), an apparently frustrated Ms. Harris sent 'a disorganized collection' of Dr. Hawking's writings to Kitty Ferguson, his biographer, asking if it could be assembled into a coherent manuscript, as recounted by Declan Fahy in 'The New Celebrity Scientists' (2015). For one of the Hawking books that their mother edited, Katherine and Nicholas Harris said, a disagreement arose between Ms. Harris and the physicist. A computational error was discovered when the book was sent for peer review, Katherine Harris said, and her mother insisted that it not be distributed until a correction was made. 'Hawking was furious,' she said in an interview. 'As far as I know, he never forgave her.' However, Beth Rashbaum, who edited Dr. Hawking after Ms. Harris left Bantam, and Leonard Mlodinow, a collaborator of Dr. Hawking's, said they did not recall any tensions between the two of them. So captivated was Ms. Harris by Dr. Butler's Pulitzer-winning book about aging in the mid-1970s, she left publishing briefly to work at a longevity clinic he established in 1990 at Mount Sinai Medical Center. (When Ms. Harris was in her 40s, Katherine Harris said, she scrubbed every public reference to her age that she could find. 'Her only plan for retirement was not to retire,' she said.) Along with her daughter and son, Ms. Harris is survived by three grandchildren. Her husband Cyril M. Harris, an acoustical engineer who shaped the sound of many important concert halls, died in 2011. They married in 1949. Her second Pulitzer-winning book, Mr. Fagin's 'Toms River,' was one she acquired, but she retired before it was published by Bantam in 2013. Still, Ms. Harris helped to define the book, Mr. Fagin said in an interview. As he wrestled with whether to tell a local story about chemical leaks, smokestack belches and cancer in a New Jersey town or to more broadly examine the environment and chronic disease, she urged him to 'think big.' 'She believed in the power of books to tell big stories and make a big difference,' Mr. Fagin said.

Corporate America is not falling for the left's outrage over Sydney Sweeney's ‘good jeans' ad
Corporate America is not falling for the left's outrage over Sydney Sweeney's ‘good jeans' ad

New York Post

timea day ago

  • New York Post

Corporate America is not falling for the left's outrage over Sydney Sweeney's ‘good jeans' ad

The left is trying its best to stir up a furor over the recent Sydney Sweeney jeans (or is it genes) TV commercial to ignite a backlash similar to the Dylan Mulvaney-Bud Light debacle. Sorry progressives, it ain't happening. Yes, there's lots of chirping from lefty columnists, purple-haired TikTok influencers, late-night hosts who are still employed, and assorted wokesters after American Eagle had the audacity to feature the attractive blond, blue-eyed actress expressing her sartorial flair in a pair of tight-fitting blue jeans. Advertisement 'Genes are passed down from parents to offspring, often determining traits like hair color, personality, and even eye color . . . my jeans are blue,' the 'Euphoria' star says. The ad ends with a voice-over: 'Sydney Sweeney has great jeans.' Blond women? Blue-eyed? Good genes (I mean jeans)? Oh, the horror! That's if you are listening to the leftist commentariat that still hasn't piped down weeks after the spot first appeared. The lefties are freaking because they think the jeans company is looking to bring back the bad old days, pre-George Floyd of course, when white blond oppressors ruled over American culture. Advertisement It's all very Hitler-like to the progressive numbskull class, but not to just about every other segment of American society. Most Americans of all colors and genders either don't care, or they know good genes and jeans when they see it. I know this based on lots of reporting on the mind virus known wokeness — the progressive orthodoxy that embraces everything from cultural Marxism, DEI and, of course, the oppressor-oppressed theology. We are a diverse country, and that's good. The wokesters take it to a level that excludes rather than includes. Good-looking white people, particularly if their hair is that evil shade known as blond, are nowhere near the intersectional matrix they demand for hiring or image making in their version of America. Advertisement That's why Sydney Sweeney, known more for her cleavage than her politics, has become a touchstone in our culture wars, and here's why the attacks won't work: Wokeness was once big in the business world, but notice my use of the past tense. Corporate America listened to these kooks for many reasons, including their own progressive management leanings, with disastrous results. They learned the hard way that most Americans of all races hate being proselytized with political dogma, particularly of the left-wing variety that pushes the limits of identity and gender politics beyond cultural norms. I chronicled this spectacle with a healthy dose of schadenfreude in my book 'Go Woke Go Broke: The Inside Story of the Radicalization of Corporate America.' Just a few short years ago, DEI was the norm; so was radical environmentalism pushed by asset managers through something called ESG investing. It was difficult finding a straight man or woman — God forbid a blond — who survived the Madison Avenue woke censor machine. Budweiser thought its customers were ready for a commercial featuring a half-naked trans woman in a bubble bath. Disney decided it could sell more kids programming featuring same-sex kissing scenes. Money managers like BlackRock thought they could increase returns by advocating environmentalism and de facto racial quotas on their portfolio companies. Advertisement All of the above resulted in some of the biggest brand-destroying disasters in modern business history. Marketing is a lot like politics. It's a business of addition, not subtraction. You build customers just like you attract voters, through messaging that unites rather than divides — or customers flee. There are exceptions, of course. Niche brands like Ben & Jerry's ice cream attempt and succeed at targeting the tree-hugger demo. Try this stuff on a mass audience and you will get the beatdown of the century. The predictable customer revolt impacted the businesses of Budweiser, Disney and BlackRock in such a measurable way that shareholders revolted, too, forcing some of the most progressive CEOs in the world to course-correct. That's why the Sydney Sweeney uproar will go nowhere with the people who matter most: Most American consumers, and American Eagle shareholders. Unless you're stretching it like Silly Putty, there's nothing inherently political about a pretty blond (dare I say 'All American'-looking) woman in jeans and pointing out the health of her genes to sell stuff. Zero. Zilch. Otherwise, Pamela Anderson would have been a poster child for Aryan Nations instead of the 'Baywatch' babe most American men and many women adored, and still do. Shares of American Eagle are up since the Sydney Sweeney ad ran, despite the backlash. NYU Marketing Professor Eitan Muller points out the obvious, telling Fox Business's Teuta Dedvukaj that the commercial 'attracts attention, drives Google searches, and boosts the brand. Yes, she does have great genes — and it rings authentic. That's what you want from an ad.' My bet: You will be seeing a lot more of Sydney Sweeney. Most men will be rejoicing, many women will buy the company's jeans. Management will be rewarded with higher sales and a stock price that matches. The attacks will ultimately fail for the same reason Mulvaney's tenure as a spokeswoman for Bud Light was so short-lived. Recall: The nation's Number 1-selling beer dropped to Number 3 and never recovered. Sydney Sweeney has both good jeans and genes and there's nothing the wokesters can do to change that reality.

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