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The Last Book in the Universe by Rodman Philbrick

On all of the books I have read in my fourteen years of life, none have them have surprised me like this novel, The Last Book in the Universe by Rodman Philbrick. This science-fiction novel, in my opinion, HAS the potential to become a motion picture movie. Enthralling, amazing, spectacular, and I give thanks for this reading experience to my Language Arts teacher, Mrs. Shaykhudtinov who forced this book upon us. This novel begins with Spaz, a teenage epileptic, complaining how he can not use a needle probe. In his time, the needle probe is a needle you plug in your head and you can watch television, read novels, and surf the internet all at once. If Spaz were to plug on one, he would suffer a seizure. Unfortunately, that is why his name is Spaz, due to the seizure spasms he has. Spaz was sent to rip off this old gummy 9old man), Ryter, by the latchboss, Billy Bizmo and his followers, the Bully Bangers. The latch is like a state and Billy Bizmo and the Bully Bangers could be compared to the way Lord Voldermolt and the Death Eaters ruled in the book Harry Potter or in real life the mafia. Ryter is a lower-class person who lives in the Stacks, which is a little concrete box staked ten high in rows of a hundred only assorted boxes. It smell quiet rancid because of the lack of plumbing. The problem is if you don't give half of your belongings to the Bangers, you would get killed! During Spaz's trek to Ryter's house, he got lost and has to bribe a small sickly little boy, who can not speak, with a choxbar (chocolate bar) to show him Ryter was waiting for Spaz. Ryter had everything he owned out and ready for Spaz. After Ryter's mistake of not protecting his book, it becomes evident that Ryter is hiding the last book in the universe. Spaz does not believe him because books are in libraries and libraries were destroyed in the Big Shake. Big Shake was a natural disaster which killed 1 billion people and shorten the average life expectancy 20 years! According to Ryter, people have forgotten most things because the probes had softened their minds. Ryter tells Spaz about how he wants to write a story and how uses a “voicewriter”. A voicewriter is like talking into a microphone and words are appearing on the screen. After Spaz's meeting with Ryter, Spaz runs into a proov, a genetically improved human, at the market. In Spaz's eyes she is the most beautiful thing. This proov, Lanaya, fed him protein bars, carboshakes and choxbars. Later in his home in Crypts, Spaz watches his favorite 3D movie; he placed himself as the hero and Lanaya as the female lead. Spaz tells Billy about the proofs and Billy tells him to avoid contact with a Proov or risk getting killed. Later Spaz went back to Ryter's house and ran into Little Face, the little kid from the last visit. At Ryter's house, Ryter pester Spaz about his past. It turns out that Spaz's little adopted sister Bean, had developed blood sickness or leukemia, when she was 8. The remedy lady gave Bean a liquid medication which was very vulgar tasting. Bean had looked up to Spaz and only took her medication if Spaz gave it to her. Bean's condition had gotten better and one day Spaz got so excited he had s seizure, Charly his foster dad though he was a treat to Bean, Charly and Spaz began to fight and things escaladed out of control between Charly and kicked Spaz out of the house. Ryter told Spaz that the electric needles would have caused him to forget Bean. That angered Spaz and he left angry. Back home at the Crypts, he received a latch runner who brings the news of Bean's condition had worsen and waned to see Spaz for the last time. Latch Runners are illegal because the latch bosses like to control information. Spaz was thought that Billy Bizmo would be his protection through the latches. Billy rejected his request and tries to sneak out through following the edge. Spaz runs into Little Face and gets attacked by an angry mob. Spaz has a seizure and is saved by Ryter how demands he comes along. They traveled by the Pipe and later found out Little Face followed them. In the Break in the Pipe, they were kidnapped by the Monkey Boys. They meet Mongo the Magnificent who was so addicted to the probes, he was hooked on one for a year and he had ooze all over him and was very dirty. It was the only thing keeping alive. With Ryter's persuasion, they replaced Mongo with Great Gorm. They continued there travel through the rusty gunk filled Pipe. Ryter even compared it to an Odyssey. On the way to Bean's latch, they run into Lanaya, child of Eden when were all of the proovs lived. Ryter protects the Lanaya from hunger crazies and was almost eaten himself. As a sign of appreciation, Lanaya offers them a ride to Bean's lath. On the way there they ran into my favorite character. This appreciation was short-lived, when Lanaya and Spaz often fight over every little thing. Lotti Getts, the biker chick from *heck. She was so in charge, she had sharpened bladders on the nails. Her followers, the Vandals were there too. Lotti had threatened them to find the Latch Runner distributing the needle probes. They made a plan to go to Traderville to obtain probes. There, there was an incident with Vida Bleek and the Furies and Lotti Getts. There is a latch boss war and Lotti was the victor, Lotti let them leave the latch. Finally, they go Bean's house and were greeted by Charly and Kay, his former foster parents. It was Charly who sent the latch runner, for Bean. Bean saw Spaz and was cheered up. The next day, bean entered a coma and Ryter and Lanaya taker her to Eden in a glass case with Spaz. On there way back, they ran into Lotti Getts with a bagged head of Vida Bleek. In Eden, it was hard to see the Proovs because they were taught to blend into their surroundings. Spaz and Ryter met Jin and Bree, Lanaya's parents. After intense research, they find out that the proovs did not keep a record of normal diseases. The Primary Lab people had the idea to put modified genes to prevent the cancer from spreading and to kill them. It worked for Bean with in the next few days' she was back to normal. After leaving the lab, Bean and Jin played checkers and they kept playing until one reached stalemate. Bree adopts Little Face and Spaz, Bree and Ryter get deported but after they remove the needle probes. People in Ryter's and Spaz's latch put the blame on Ryter. This punishment was to tied to the ends of jetbikes and o be dragged until death. But before Ryter died, the last book in the universe was destroyed and the true came out that Billy Bizmo is Spaz's dad. Spaz ignores Billy Bizmo and does not want a relationship with Billy. People began to call him, Ryter and he used Ryter's voicewriter to finish Ryter's story. Bree sent him a Latch Runner of encouragement. To me, I think that this book is about self-sacrifice, loyalty and a sense of belonging. I give this book a 5 out 5 stars and recommended it to every person. This book will move you, feel the pain.

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THE LAST BOOK IN THE UNIVERSE

by Rodman Philbrick ‧ RELEASE DATE: Nov. 1, 2000

In this riveting futuristic novel, Spaz, a teenage boy with epilepsy, makes a dangerous journey in the company of an old man and a young boy. The old man, Ryter, one of the few people remaining who can read and write, has dedicated his life to recording stories. Ryter feels a kinship with Spaz, who unlike his contemporaries has a strong memory; because of his epilepsy, Spaz cannot use the mind probes that deliver entertainment straight to the brain and rot it in the process. Nearly everyone around him uses probes to escape their life of ruin and poverty, the result of an earthquake that devastated the world decades earlier. Only the “proovs,” genetically improved people, have grass, trees, and blue skies in their aptly named Eden, inaccessible to the “normals” in the Urb. When Spaz sets out to reach his dying younger sister, he and his companions must cross three treacherous zones ruled by powerful bosses. Moving from one peril to the next, they survive only with help from a proov woman. Enriched by Ryter’s allusions to nearly lost literature and full of intriguing, invented slang, the skillful writing paints two pictures of what the world could look like in the future—the burned-out Urb and the pristine Eden—then shows the limits and strengths of each. Philbrick, author of Freak the Mighty (1993) has again created a compelling set of characters that engage the reader with their courage and kindness in a painful world that offers hope, if no happy endings. (Fiction. 10-14)

Pub Date: Nov. 1, 2000

ISBN: 0-439-08758-9

Page Count: 224

Publisher: Blue Sky/Scholastic

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 1, 2000

CHILDREN'S ACTION & ADVENTURE FICTION | CHILDREN'S SCIENCE FICTION & FANTASY | CHILDREN'S HEALTH & DAILY LIVING

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by Rodman Philbrick

THE CANDY SHOP WAR

by Brandon Mull ‧ RELEASE DATE: Sept. 12, 2007

Four fifth-graders are recruited by a scheming magician in this hefty bonbon from the author of the Fablehaven tales. At first, Nate, Summer, Trevor and Pigeon think they have it good. Having asked them to help her recover a hidden treasure that (she says) belongs to her, Belinda White, friendly proprietor of a sweets shop that has just opened in their small town, provides some uncommon candies—like Moon Rocks, that give them the ability to jump like grasshoppers, and literally electrifying Shock Bits. When she begins asking them to commit certain burglaries, though, their exhilaration turns to unease, and rightly so; Mrs. White is actually after a draft from the Fountain of Youth that will make her the world’s most powerful magician. And, as it turns out, she isn’t the only magician who’s come to town—not even the only one whose magic is tied to sweets. Filling out the supporting cast with the requisite trio of bullies, plus magical minions of various (and sometimes gross) abilities, Mull trots his twist-laden plot forward to a well set-up climax. Leaving the door open an inch for sequels, he dishes up a crowd-pleaser as delicious—if not so weird—as Charlie and the Chocolate Factory . (Fantasy. 10-13)

Pub Date: Sept. 12, 2007

ISBN: 978-1-59038-783-2

Page Count: 416

Publisher: Shadow Mountain

Kirkus Reviews Issue: Aug. 15, 2007

CHILDREN'S SCIENCE FICTION & FANTASY

More by Brandon Mull

by Brandon Mull ; illustrated by Brandon Dorman

by Brandon Mull

DOWN BY THE STATION

‧ RELEASE DATE: Sept. 1, 1999

Hillenbrand takes license with the familiar song (the traditional words and music are reproduced at the end) to tell an enchanting story about baby animals picked up by the train and delivered to the children’s zoo. The full-color drawings are transportingly jolly, while the catchy refrain—“See the engine driver pull his little lever”—is certain to delight readers. Once the baby elephant, flamingo, panda, tiger, seal, and kangaroo are taken to the zoo by the train, the children—representing various ethnic backgrounds, and showing one small girl in a wheelchair—arrive. This is a happy book, filled with childhood exuberance. (Picture book. 3-6)

Pub Date: Sept. 1, 1999

ISBN: 0-15-201804-2

Page Count: 40

Publisher: Harcourt

Kirkus Reviews Issue: Sept. 1, 1999

CHILDREN'S ACTION & ADVENTURE FICTION

More by Jane Hillenbrand

by Jane Hillenbrand & Will Hillenbrand ; illustrated by Will Hillenbrand

by Will Hillenbrand ; illustrated by Will Hillenbrand

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Study Guide: The Last Book In The Universe by Rodman Philbrick (SuperSummary) Kindle Edition

Analyzing literature can be hard — we make it easy! This in-depth study guide offers summaries & analyses for all 33 chapters of The Last Book In The Universe by Rodman Philbrick. Get more out of your reading experience and build confidence with study guides proven to: raise students’ grades, save teachers time, and spark dynamic book discussions. SuperSummary Study Guides are written by experienced educators and literary scholars with advanced degrees in relevant fields. Here's what's inside:

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Annie Jacobsen: 'What if we had a nuclear war?’

The author and Pulitzer prize finalist, who has written the latest pick for the New Scientist Book Club, Nuclear War: A scenario, on the "shocking truths" about a nuclear attack

By Annie Jacobsen

12 April 2024

The Titan nuclear missile in the silo in Arizona, US

Michael Dunning/Getty Images

Not long after the last world war, the historian William L. Shirer had this to say about the next world war. It “will be launched by suicidal little madmen pressing an electronic button. Such a war will not last long and none will ever follow it. There will be no conquers and no conquests, but only the charred bones of the dead on an uninhabited planet.”

As an investigative journalist, I write about war, weapons, national security and government secrets. I’ve previously written six books about US military and intelligence programmes – at the CIA, The Pentagon, Defense Advanced Research Projects Agency– all designed to prevent, or deter, nuclear world war III . In the course of my work, countless people in the upper echelons of US government have told me, proudly, that they’ve dedicated their lives to making sure the US never has a nuclear war. But what if it did?

“Every capability in the [Department of Defense] is underpinned by the fact that strategic deterrence will hold,” US Strategic Command (STRATCOM), which is responsible for nuclear deterrence, insists publicly. Until the autumn of 2022, this promise was pinned on STRATCOM’s public Twitter feed. But to a private audience at Sandia National Laboratories later that same year, STRATCOM’s Thomas Bussiere admitted the existential danger inherent to deterrence. “Everything unravels itself if those things are not true.”

If deterrence fails – what exactly would that unravelling look like? To write Nuclear War: A scenario , I put this question to scores of former nuclear command and control authorities. To the military and civilian experts who’ve built the weapon systems, been privy to the response plans and been responsible for advising the US president on nuclear counterstrike decisions should they have to be made. What I learned terrified me. Here are just a few of the shocking truths about nuclear war.

The US maintains a nuclear launch policy called Launch on Warning. This means that if a military satellite indicates the nation is under nuclear attack and a second early-warning radar confirms that information, the president launches nuclear missiles in response. Former secretary of defense William Perry told me: “Once we are warned of a nuclear attack, we prepare to launch. This is policy. We do not wait.”

The US president has sole authority to launch nuclear weapons. He asks permission of no one. Not the secretary of defense, not the chairman of the joint chief of staff, not the US Congress. “The authority is inherent in his role as commander in chief,” the Congressional Research Service confirms. The president “does not need the concurrence of either his [or her] military advisors or the US Congress to order the launch of nuclear weapons”.

When the president learns he must respond to a nuclear attack, he has just 6 minutes to do so. Six minutes is an irrational amount of time to “decide whether to release Armageddon”, President Ronald Reagan lamented in his memoirs. “Six minutes to decide how to respond to a blip on a radar scope… How could anyone apply reason at a time like that?” And yet, the president must respond. This is because it takes roughly just 30 minutes for an intercontinental ballistic missile to get from a launch pad in Russia, North Korea or China to any city in the US, and vice versa. Nuclear-armed submarines can cut that launch-to-target time to 10 minutes, or less.

Today, there are nine nuclear powers, with a combined total of more than 12,500 nuclear weapons ready to be used. The US and Russia each have some 1700 nuclear weapons deployed – weapons that can be launched in seconds or minutes after their respective president gives the command. This is what Shirer meant when he said: “Such a war will not last long and none will ever follow it.”

Nuclear war is the only scenario other than an asteroid strike that could end civilisation in a matter of hours. The soot from burning cities and forests will blot out the sun and cause nuclear winter. Agriculture will fail. Some 5 billion people will die. In the words of former Soviet leader Nikita Khrushchev, “the survivors will envy the dead”.

I wrote Nuclear War: A scenario to demonstrate – in appalling, minute-by-minute detail – just how horrifying a nuclear war would be. “Humanity is one misunderstanding, one miscalculation away from nuclear annihilation,” UN secretary-general António Guterres warned the world in 2022. “This is madness. We must reverse course.”

Nuclear War: A Scenario   by Annie Jacobsen, published by Torva (£20.00), is available now. It is the latest pick for the New Scientist Book Club: sign up  here  to read along with our members

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Does It Seem Like the End Times Are Here? These Novels Know Better.

What can fiction tell us about the apocalypse? Ayana Mathis finds unexpected hope in novels of crisis by Ling Ma, Jenny Offill and Jesmyn Ward.

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By Ayana Mathis

Ayana Mathis’s most recent novel, “The Unsettled,” was published in September.

• April 11, 2024

On the day my mother died, I sat by her bedside and read the Psalms. The room was quiet — the need for machines had passed — save for the sound of my voice and my mother’s labored breathing. Outside her room, the hospital went about its business: Lunch trays were delivered, nurses conferred, a television played too loudly down the corridor. Out there, time passed in its usual, unremarkable way. In her room, my mother and I had stepped off time’s familiar track.

Everything inessential vanished in her final hours. I read the Psalms because they comforted her. I told her I loved her. She squeezed my hand, which, in that afternoon when she was no longer able to speak, was as profound an expression of love as any words had ever been. When she died hours later, I knew that on the other side of her hospital room door there awaited, at least for me, an altered world.

The subject of this essay is apocalypse, and so I have begun with an ending. If you have lost a deeply beloved, then you have experienced the obliterating finality of death, that catastrophe in the small universe of an individual life. The loss also brings a realization: The “worst thing” that could happen is no longer a future projection; it has exploded into the present.

Apocalypse is generally understood as a future event: widespread suffering, extinctions, various iterations of end-time destruction gunning for us from some tomorrow. Out there, in the vast, unknowable not-yet, apocalypse roars. It paralyzes us with fear, deadens us into numbness or provokes us to hysteria. We are powerless in its face.

But what if we could change our relationship with the end by shifting our perspective on it? The first step might be dwelling more profoundly in the here and now where our crises amass, rather than focusing on the boogeyman future. We already know something about how to do this: We are creatures of loss; we have confronted, or will confront, the “worst things” in the real time of our lives. There is a precedent, then, for how, in this moment, we might collectively approach the apocalyptic worst things. While our beloved still lives, there is possibility: We can give her our attention; we can hold her hand.

I won’t downplay the current horrors — tens of thousands dead in Gaza, conflict in Ukraine, the high-stakes presidential election on the horizon — or imply that all will turn out right. The novels in this essay don’t do that either. Instead, they suggest new ways of seeing: a shift to deeper present-time awareness, even wonder, as the times grow ever more dire. The theologian Catherine Keller calls this “apocalyptic mindfulness.” “A cloud of roiling possibility seems to reveal itself,” she writes in “Facing Apocalypse” (2021). “It guarantees no happy ending. It may, however, enhance the uncertain chance of better outcomes.”

Many of our end-time notions are inflected by the biblical Book of Revelation. Its phantasmagoric visions and lurid scenes of destruction have thoroughly infiltrated Western talk of the end: the Four Horsemen, the beast we call the Antichrist (though Revelation doesn’t use the term), fires, plagues and raging pestilence. It may come as a surprise, then, that apokalypsis, the Greek word for “revelation,” means not “ending” but “unveiling.” As Keller writes, “It means not closure but dis-closure — that is, opening. A chance to open our eyes?” But, to what?

In Ling Ma’s novel “ Severance ” (2018), newly pregnant Candace Chen wanders a near-deserted New York City in the midst of a pandemic caused by a disease called Shen Fever. The majority of the city’s residents have fled or become “fevered,” a zombielike state that leaves victims stuck on repeat: a family endlessly setting the table and saying grace; a saleswoman, her jaw half eaten by decay, folding and refolding polo shirts at an abandoned Juicy Couture store on Fifth Avenue. The fevered are the least threatening zombies imaginable: so busy with their mindless performance of mundane tasks that they don’t notice the living. Ma has a knack for nuanced satire.

Candace sticks around because she’s got nowhere else to go; she’s the orphaned child of Chinese immigrants who died years before. Inexplicably, and perhaps somewhat to her dismay, she remains virus-free. As the pandemic shuts down the city, she doggedly persists with her job in the Bibles department at Spectra, a book production company: “I clicked Send, knowing it was fruitless,” she says. When public transportation stops entirely, she moves into her office on the 32nd floor, overlooking an empty Times Square.

It doesn’t take long to understand that a vast grief underlies Candace’s workaholic paralysis. So intense is her mourning for her parents that for a while the pandemic hardly registers. She needs to hold on to something, even pointless work at Spectra. The office setting is no coincidence: In some sense, Candace, too, is fevered, and her job’s rote repetition is a kind of anesthetic.

The dull but familiar grind of late-capitalist working life acts as a numbing agent, or perhaps a blindfold. When work dries up because the rest of the world is no longer at its desk, Candace rambles around the city utterly alone, taking pictures of derelict buildings that she posts on a blog she calls “NY Ghost.” One afternoon she enters a flooded subway station. “You couldn’t even see the water beneath all the garbage,” Ma writes. “The deeper you tunneled down, the bigger the sound, echoed and magnified by the enclosed space, until this primordial slurp was all that existed.” Grieving Candace is adrift, her internal landscape aligned with the desolation of the external world.

Published two years before the Covid pandemic, “Severance” offers an eerily prescient description of a nation shocked and exhausted. For so many, 2020 was a kind of apocalyptic unveiling. The pandemic revealed the fault lines in our health care and our schools, as well as the fact that so many of us were living in perpetual economic precarity. Then there were the deaths, which as a country we have hardly begun to mourn. Painfully and all at once, we understood the fragility of the systems we relied on, and the instability of our own lives.

Yet alongside the devastation there was transient beauty: In many places, air and water quality improved during lockdown and wildlife resurged. Health-care and essential workers were acknowledged and more respected; we realized the extent of our dependence on one another. If only for a little while, we were thrown into Keller’s “apocalyptic mindfulness.” But the eye snapped shut. We “recovered,” and, like Candace, we find ourselves once again in a collective disquiet, punctuated by bouts of terror as we contemplate the future.

On the final afternoon of her wandering, Candace ventures into the same Juicy Couture store she’d photographed weeks before. Ominously, the fevered saleswoman has been bludgeoned to death. Candace’s unborn child seems frightened too: “The baby moved inside of me, fluttering frantically.” Candace leaves Manhattan through the Lincoln Tunnel in a yellow taxi she’s commandeered from a fevered driver. She joins a band of survivors led by a creepy zealot named Bob, a former I.T. guy who wears a brace for carpal tunnel syndrome, that most banal of white-collar work maladies. They journey to the Chicago suburbs to homestead in a deserted mall. (I told you Ma has a knack for satire.)

In this semi-cult, Candace’s grief intensifies. She begins to have visions of her mother, who warns her that she and her unborn baby aren’t safe with Bob. Candace’s mother is right. Bob has a penchant for shooting the fevered in the head if he encounters them when he and the others go “stalking” for food and supplies. We squirm at these killings, even if the victims are not quite alive, at least not in the usual sense. Bob’s violent demagoguery opens Candace’s eyes to her metaphorically fevered state, and as we look into the mirror the novel holds up to us, we begin to wonder about our relationship to our own beleaguered world.

At last, Candace’s fever breaks and, fully alive, she escapes Bob and the others in a Nissan stolen from the group’s mini-fleet. She drives into once grand Chicago, swerving to avoid abandoned cars clogging Milwaukee Avenue. Finally, she runs out of gas. “Up ahead there’s a massive littered river, planked by an elaborate, wrought-iron red bridge,” she recounts. “Beyond the bridge is more skyline, more city. I get out and start walking.”

The “end” for Candace and her baby is not, in fact, an ending, but rather, an awakening that follows revelation.

If “Severance” chronicles its protagonist’s end-time stirrings from the stupor of grief, Jenny Offill’s novel “ Weather ” (2020) is its manic cousin, a diaristic account of climate anxiety. Narrated in the first person, aggressively present tense and composed of short chapters that leap from association to observation, the book is like a panicked brain in overdrive.

“Weather”’s protagonist, Lizzie, works as a university librarian in New York City. Her former professor, Sylvia, a climate change expert, finagled the gig for her though Lizzie isn’t really qualified. “Years ago, I was her grad student,” Lizzie explains, “but then I gave up on it. She used to check in on me sometimes to see if I was still squandering my promise. The answer was always yes.”

Lizzie is all wry self-deprecation. As the book progresses, we understand that she is less an underachiever than an empath, so often overwhelmed that her focus scrambles. Or perhaps it’s that she is deeply attentive to things we try to ignore. Her experience of the world is the opposite of Candace’s near-impenetrable grief. Lizzie is porous. Too much gets in: grave news about the environment, the plights of relative strangers — like kindly Mr. Jimmy, a car-service owner being run out of business by Uber. Lizzie “helps” by taking Mr. Jimmy’s car to various appointments, though she can’t afford it and the traffic makes her late.

The novel doesn’t so much unfold as tumble out over the course of a turbulent year that encompasses Donald Trump’s election in 2016. After Trump’s win, tensions rise in Lizzie’s Brooklyn neighborhood. Even Mr. Jimmy is spewing casual vitriol about Middle Eastern people and car bombs. Lizzie’s husband, Ben, retreats to the couch, to read a “giant history of war.” And I haven’t even mentioned Henry, Lizzie’s depressive, recovering-addict brother, who meets a woman, marries and has a baby, all at whiplash speed. When the marriage implodes, Henry winds up on Lizzie and Ben’s couch, using again and barely able to parent his daughter.

For Lizzie, as for most of us, personal and collective catastrophes run parallel. Her vision of the future grows ever darker. She talks to Sylvia about buying land somewhere cooler, where Eli, her young son, and Iris, her newborn niece, might fare better in 30 years or so. “Do you really think you can protect them? In 2047?” Sylvia asks.

“I look at her,” Lizzie thinks. “Because until this moment, I did, I did somehow think this.” The realization of her helplessness is unbearable, but Lizzie knows she must bear it: This bleak state of affairs is her son’s inheritance.

Lizzie is gripped by grief and despair — she spends far too much time on doomsday prepper websites — both complicated responses to a planet in the midst of radical, damaging change. “In a world of mortal beings,” Keller writes in “Facing Apocalypse,” “it would seem that without some work of mourning, responsibility for that world cannot develop.” Lizzie’s sense of loss and futility is wrenching, but her response attaches her that much more deeply to this world. Her anxiety is acute because the time in which to act is limited and shot through with urgency.

Lizzie experiences her moment as unprecedented; her end-time sensibility suggests an analogy, albeit to a starkly different context. The Apostle Paul also understood himself to be living through an extraordinary rupture in time. Paul's zeal to spread the Gospel through the ancient world was fueled by his conviction that ordinary time, and life, had been profoundly derailed by Christ’s crucifixion, and was soon to end with his imminent Second Coming. Paul believed he was living in an in-between time that the Italian philosopher Giorgio Agamben has aptly called “ the time that remains ,” a phrase borrowed from Paul’s letter to the fledgling church at Corinth. “The time is short,” Paul wrote. “From now on those who have wives should live as if they do not; those who mourn, as if they did not; those who are happy, as if they were not.”

The old world and its rules had not yet passed away but the prospect of Christ’s return cast an altering light on the present, highlighting the impermanence of all things. Everything was revealed to be in flux and therefore subject to reversals and change.

In “Weather,” Lizzie’s frazzled report from the event horizon of impending disaster, the time that remains means that moments are more precious, less bound by previous rules of engagement and more open to radically new ones. Near the end of the novel, Henry reclaims his sobriety, and Lizzie finds renewed, if melancholic, love for this imperiled world. She wants to find a new way to engage, even as she is uncertain what that might be. “There’s the idea in the different traditions. Of the veil,” Lizzie says. “What if we were to tear through it?” The image recalls Keller’s apokalypsis — a revelatory “ dis-closure .”

Jesmyn Ward’s “ Salvage the Bones ” (2011) takes a very different approach to apocalypse. The novel is set over 12 days, before and just after Hurricane Katrina strikes the Gulf Coast. The 15-year-old narrator, Esch, her father and three brothers live in the Mississippi Delta, outside a coastal town Ward calls Bois Sauvage. Unlike other characters we have encountered, Ward’s need no awakening; and time is far too short for existential anxiety or long-term planning.

The novel opens as China, a pit bull belonging to Esch’s brother Skeetah, is giving birth. Moody, commanding China is the love of Skeetah’s young life and as vivid as any human character in the book. “What China is doing is fighting, like she was born to do,” Ward writes. “Fight our shoes, fight other dogs, fight these puppies that are reaching for the outside, blind and wet.” Skeetah hopes to sell China’s puppies for big money. Enough to send his older brother, Randall, to basketball camp, where, the family hopes, he’ll be noticed by college scouts. Enough, perhaps, to help Esch take care of her baby. Esch is pregnant, though not far enough along to show, and she is in love with the baby’s father, her brother Randall’s friend Manny, who keeps her a secret and won’t kiss her on the mouth.

The novel is full of mothers: mothers to be, absent mothers (Esch’s mother died in childbirth years before), animal mothers, even mythical mothers (Esch is fixated on the avenging Medea, whom she’s read about in school). And, of course, Mother Nature is flying across the gulf, heading straight for Bois Sauvage. Mothers in this novel are makers and destroyers. In some cases, they are also unprepared to occupy the role; they are in jeopardy or else the circumstances of their motherhood run afoul of certain proprieties.

Esch’s pregnancy isn’t easy. It may also be hard for readers to accept: Esch is in dire financial straits and young enough to scandalize some of us. Does the prospect of her motherhood elicit the same empathy as Lizzie’s or Candace’s? Whose children do we think of as the hope for the future when the end is nigh? Which mothers are most valued in the collective perception? Not, generally speaking, an impoverished Black girl barely into her teens.

Ward’s concerns are with those who will bear the brunt of the coming storms, both natural and metaphoric, on the page and in the world. Esch and her family face Katrina with nothing besides a few canned goods they’ve scared up, and some plywood nailed over the doors and windows. Esch herself is the sort of vulnerable person Scripture might refer to as “the least of these.” Each time I read the novel, my mind leaps to the biblical Mary, mother of Jesus, a poor, brown, teenage girl who gave birth in a barn because no safer provision was made for her. In that story, the life least protected turns out to be the most essential.

So it is in “Salvage the Bones”: Esch and her unborn child, along with fighting China and her puppies, are the beating heart of this universe. Here, Esch considers which animals flee before a coming storm: “Maybe the bigger animals do,” she reflects. “Maybe the small don’t run. Maybe the small pause on their branches, the pine-lined earth, nose up, catch that coming storm air that would smell like salt to them, like salt and clean burning fire, and they prepare like us.”

With “the small,” or those treated as such, as focal points, Ward’s novel is also an indictment. It’s true that Katrina was a natural disaster, but its effects were preventable, or might have been mitigated. Most of us remember the levees breaking. The disaster’s aftermath — thousands, mostly poor, stranded without food or water; critically ill patients dying in storm-ravaged hospitals ; desperate, unarmed civilians shot by police officers — was entirely the fault of humans.

We might extend Ward’s insight to end-time crises in general, in which other Esches are similarly left with the greater share of suffering. We may not be able to reverse the crises themselves, but we can intervene in the devastation they cause, and to whom.

We have been down a harrowing road; there isn’t much comfort here. But perhaps at this critical juncture in our human story, it is not comfort that will aid us most. Perhaps what will aid us most is to enter more fully into dis comfort. To awaken to our grief, like Candace. To try to tear through the veil, like Lizzie. In this way we might begin to believe that the future is not foreclosed upon, whatever it might look like.

I leave us with Esch’s declaration of hope at the end of Ward’s novel. Esch’s family has survived, but Skeetah is searching for China, who disappeared in the storm: “He will look into the future and see her emerge into the circle of his fire, beaten dirty by the hurricane so she doesn’t gleam anymore … dull but alive, alive, alive.”

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NPR defends its journalism after senior editor says it has lost the public's trust

David Folkenflik

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust. Saul Loeb/AFP via Getty Images hide caption

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust.

NPR's top news executive defended its journalism and its commitment to reflecting a diverse array of views on Tuesday after a senior NPR editor wrote a broad critique of how the network has covered some of the most important stories of the age.

"An open-minded spirit no longer exists within NPR, and now, predictably, we don't have an audience that reflects America," writes Uri Berliner.

A strategic emphasis on diversity and inclusion on the basis of race, ethnicity and sexual orientation, promoted by NPR's former CEO, John Lansing, has fed "the absence of viewpoint diversity," Berliner writes.

NPR's chief news executive, Edith Chapin, wrote in a memo to staff Tuesday afternoon that she and the news leadership team strongly reject Berliner's assessment.

"We're proud to stand behind the exceptional work that our desks and shows do to cover a wide range of challenging stories," she wrote. "We believe that inclusion — among our staff, with our sourcing, and in our overall coverage — is critical to telling the nuanced stories of this country and our world."

NPR names tech executive Katherine Maher to lead in turbulent era

She added, "None of our work is above scrutiny or critique. We must have vigorous discussions in the newsroom about how we serve the public as a whole."

A spokesperson for NPR said Chapin, who also serves as the network's chief content officer, would have no further comment.

Praised by NPR's critics

Berliner is a senior editor on NPR's Business Desk. (Disclosure: I, too, am part of the Business Desk, and Berliner has edited many of my past stories. He did not see any version of this article or participate in its preparation before it was posted publicly.)

Berliner's essay , titled "I've Been at NPR for 25 years. Here's How We Lost America's Trust," was published by The Free Press, a website that has welcomed journalists who have concluded that mainstream news outlets have become reflexively liberal.

Berliner writes that as a Subaru-driving, Sarah Lawrence College graduate who "was raised by a lesbian peace activist mother ," he fits the mold of a loyal NPR fan.

Yet Berliner says NPR's news coverage has fallen short on some of the most controversial stories of recent years, from the question of whether former President Donald Trump colluded with Russia in the 2016 election, to the origins of the virus that causes COVID-19, to the significance and provenance of emails leaked from a laptop owned by Hunter Biden weeks before the 2020 election. In addition, he blasted NPR's coverage of the Israel-Hamas conflict.

On each of these stories, Berliner asserts, NPR has suffered from groupthink due to too little diversity of viewpoints in the newsroom.

The essay ricocheted Tuesday around conservative media , with some labeling Berliner a whistleblower . Others picked it up on social media, including Elon Musk, who has lambasted NPR for leaving his social media site, X. (Musk emailed another NPR reporter a link to Berliner's article with a gibe that the reporter was a "quisling" — a World War II reference to someone who collaborates with the enemy.)

When asked for further comment late Tuesday, Berliner declined, saying the essay spoke for itself.

The arguments he raises — and counters — have percolated across U.S. newsrooms in recent years. The #MeToo sexual harassment scandals of 2016 and 2017 forced newsrooms to listen to and heed more junior colleagues. The social justice movement prompted by the killing of George Floyd in 2020 inspired a reckoning in many places. Newsroom leaders often appeared to stand on shaky ground.

Leaders at many newsrooms, including top editors at The New York Times and the Los Angeles Times , lost their jobs. Legendary Washington Post Executive Editor Martin Baron wrote in his memoir that he feared his bonds with the staff were "frayed beyond repair," especially over the degree of self-expression his journalists expected to exert on social media, before he decided to step down in early 2021.

Since then, Baron and others — including leaders of some of these newsrooms — have suggested that the pendulum has swung too far.

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Legendary editor marty baron describes his 'collision of power' with trump and bezos.

New York Times publisher A.G. Sulzberger warned last year against journalists embracing a stance of what he calls "one-side-ism": "where journalists are demonstrating that they're on the side of the righteous."

"I really think that that can create blind spots and echo chambers," he said.

Internal arguments at The Times over the strength of its reporting on accusations that Hamas engaged in sexual assaults as part of a strategy for its Oct. 7 attack on Israel erupted publicly . The paper conducted an investigation to determine the source of a leak over a planned episode of the paper's podcast The Daily on the subject, which months later has not been released. The newsroom guild accused the paper of "targeted interrogation" of journalists of Middle Eastern descent.

Heated pushback in NPR's newsroom

Given Berliner's account of private conversations, several NPR journalists question whether they can now trust him with unguarded assessments about stories in real time. Others express frustration that he had not sought out comment in advance of publication. Berliner acknowledged to me that for this story, he did not seek NPR's approval to publish the piece, nor did he give the network advance notice.

Some of Berliner's NPR colleagues are responding heatedly. Fernando Alfonso, a senior supervising editor for digital news, wrote that he wholeheartedly rejected Berliner's critique of the coverage of the Israel-Hamas conflict, for which NPR's journalists, like their peers, periodically put themselves at risk.

Alfonso also took issue with Berliner's concern over the focus on diversity at NPR.

"As a person of color who has often worked in newsrooms with little to no people who look like me, the efforts NPR has made to diversify its workforce and its sources are unique and appropriate given the news industry's long-standing lack of diversity," Alfonso says. "These efforts should be celebrated and not denigrated as Uri has done."

After this story was first published, Berliner contested Alfonso's characterization, saying his criticism of NPR is about the lack of diversity of viewpoints, not its diversity itself.

"I never criticized NPR's priority of achieving a more diverse workforce in terms of race, ethnicity and sexual orientation. I have not 'denigrated' NPR's newsroom diversity goals," Berliner said. "That's wrong."

Questions of diversity

Under former CEO John Lansing, NPR made increasing diversity, both of its staff and its audience, its "North Star" mission. Berliner says in the essay that NPR failed to consider broader diversity of viewpoint, noting, "In D.C., where NPR is headquartered and many of us live, I found 87 registered Democrats working in editorial positions and zero Republicans."

Berliner cited audience estimates that suggested a concurrent falloff in listening by Republicans. (The number of people listening to NPR broadcasts and terrestrial radio broadly has declined since the start of the pandemic.)

Former NPR vice president for news and ombudsman Jeffrey Dvorkin tweeted , "I know Uri. He's not wrong."

Others questioned Berliner's logic. "This probably gets causality somewhat backward," tweeted Semafor Washington editor Jordan Weissmann . "I'd guess that a lot of NPR listeners who voted for [Mitt] Romney have changed how they identify politically."

Similarly, Nieman Lab founder Joshua Benton suggested the rise of Trump alienated many NPR-appreciating Republicans from the GOP.

In recent years, NPR has greatly enhanced the percentage of people of color in its workforce and its executive ranks. Four out of 10 staffers are people of color; nearly half of NPR's leadership team identifies as Black, Asian or Latino.

"The philosophy is: Do you want to serve all of America and make sure it sounds like all of America, or not?" Lansing, who stepped down last month, says in response to Berliner's piece. "I'd welcome the argument against that."

"On radio, we were really lagging in our representation of an audience that makes us look like what America looks like today," Lansing says. The U.S. looks and sounds a lot different than it did in 1971, when NPR's first show was broadcast, Lansing says.

A network spokesperson says new NPR CEO Katherine Maher supports Chapin and her response to Berliner's critique.

The spokesperson says that Maher "believes that it's a healthy thing for a public service newsroom to engage in rigorous consideration of the needs of our audiences, including where we serve our mission well and where we can serve it better."

Disclosure: This story was reported and written by NPR Media Correspondent David Folkenflik and edited by Deputy Business Editor Emily Kopp and Managing Editor Gerry Holmes. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.

Marion Winik ** ** is the author of nine books, including The Big Book of the Dead (Counterpoint, 2019) and First Comes Love (Vintage, 1997). Her essays have been published in The New York Times , AGNI , The Sun , and elsewhere; her column at BaltimoreFishbowl.com has been running since 2011. A professor at the University of Baltimore, she reviews books for The Washington Post , Oprah Daily , and People and hosts the NPR podcast The Weekly Reader . She was a commentator on NPR’s All Things Considered for fifteen years. marionwinik.com (updated 4/2024)

The Last Book In The Universe

104 pages • 3 hours read

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Chapter 1 summary: “they call me spaz”.

The novel begins from the perspective of Spaz , a young teenaged boy living in a different reality where people use mindprobes (or needles jammed directly into their brains) instead of reading. There are different probes—"trendies, shooters, sexbos, whatever you want" (7)—for different experiences. Spaz has a medical condition that prevents him from using probes because the electrode needles will give him seizures.

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Universe's Evolution in 10 Minutes

Posted: April 13, 2024 | Last updated: April 13, 2024

Our Universe was born billions of years ago. And since that time, it's given birth to millions of galaxies, our Solar System, and who knows what else. Our Universe has been evolving for 13.8 billion years, but how exactly did we get here?00:00 Evolution of the Universe00:31 13.8 BILLION YEARS AGO03:48 12.5 BILLION YEARS AGO07:42 3.5 BILLION YEARS AGO09:24 MODERN-DAYTranscript and sources: <a href="https://whatifshow.com/universes-evolution-in-10-minutes/Get">https://whatifshow.com/universes-evolution-in-10-minutes/Get</a> the What if book: <a href="http://bit.ly/ytc-the-what-if-100-bookJoin">http://bit.ly/ytc-the-what-if-100-bookJoin</a> this channel to get access to perks: <a href="https://www.youtube.com/channel/UCphTF9wHwhCt-BzIq-s4V-g/joinInterested">https://www.youtube.com/channel/UCphTF9wHwhCt-BzIq-s4V-g/joinInterested</a> in sponsoring our episodes or collaborating? Email us: [email protected] other channels:How to Survive: <a href="https://bit.ly/how-to-survive-showAperture:">https://bit.ly/how-to-survive-showAperture:</a> <a href="https://bit.ly/aperture-showT-shirts">https://bit.ly/aperture-showT-shirts</a> and merch: <a href="https://bit.ly/shopwhatifNewsletter:">https://bit.ly/shopwhatifNewsletter:</a> <a href="http://bit.ly/whatif-newsletterWhat">http://bit.ly/whatif-newsletterWhat</a> If elsewhere: Discord: <a href="https://discord.gg/Bj5UnspbwEWhatsapp:">https://discord.gg/Bj5UnspbwEWhatsapp:</a> <a href="https://whatsapp.com/channel/0029Va8VC502ER6r1yk1yP2YInstagram:">https://whatsapp.com/channel/0029Va8VC502ER6r1yk1yP2YInstagram:</a> <a href="http://bit.ly/whatif-instagramTwitter:">http://bit.ly/whatif-instagramTwitter:</a> <a href="http://bit.ly/whatif-twitterFacebook:">http://bit.ly/whatif-twitterFacebook:</a> <a href="http://bit.ly/facebook-whatifProduced">http://bit.ly/facebook-whatifProduced</a> with love by Underknown in Toronto: <a href="https://underknown.com#whatif">https://underknown.com#whatif</a> #evolution #universe #universeevolution #history #space

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