15 books like Rebecca Yarros’ ‘Fourth Wing’ to read after you finish ‘Onyx Storm’

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15 books like Rebecca Yarros’ ‘Fourth Wing’ to read after you finish ‘Onyx Storm’

Samantha Grindell

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2025-01-24T22:14:37Z

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There are plenty of books you can read when you finish “Onyx Storm.”

Bloomsbury/Bramble

“Onyx Storm,” the third installment in Rebecca Yarros’s “Empyrean” series, was released on Tuesday.Fans will have to wait a while for the fourth installment of the series.Other fantasy books, such as “Crescent City” and “Divine Rivals,” can help with the wait.

Octuplet mom Natalie Suleman and her kids have a movie coming: See them now

Natalie (formerly Nadya) Suleman, who gave birth to the first surviving set of octuplets in history, is once again stepping into the spotlight to share her story.A mother of 14 and grandmother to one, the 49-year-old Suleman made headlines when her children were young, but she has taken a more private approach in recent years. In a recent interview, she told People, “My family and I are taking our life back.”Suleman and the octuplets (Noah, Maliyah, Isaiah, Nariyah, Jonah, Makai, Josiah and Jeremiah) are the subjects of a Lifetime movie and docuseries: “I Was Octomom” and “Confessions of Octomom.” Both will premiere in March.Natalie Suleman with all 14 of her children.Courtesy Lifetime/Photographer Nicolette Lambright / @photobynicoletteSuleman said that the decision to return to public view did not belong to her, but to her children. She said, “I’ve been saying, I want to keep them safe and protect my kids, and well, they’re older now. They’re turning 16 and making the decision to really do this.”“The movie follows my journey, starting with my decision to have one more IVF procedure to try to complete my family of six,” Suleman told People. In that attempt to complete her family with “one more” she ended up giving birth to eight kids. Unsurprisingly, Suleman said that raising octuplets was “complete pandemonium.”Kristen Gutoskie stars in the original Lifetime movie, “I Was Octomom.”Co0urtesy LifetimeThrough it all, Suleman has done all the talking. But now it’s her kids’ turn to speak up.Suleman’s daughter Nariyah, 15, told People that she’s “very excited” for viewers to understand her mother’s point of view. She said, “I feel like it was very unfair how she was terrorized and hated for just being a mother. And she had to sacrifice so much just for her children.”Natalie Suleman says she wants to give her octuplets, and herself, a chance to tell their own story.Courtesy LifetimeFor her part, Suleman said she hopes women who may be struggling will find inspiration in her story.“I am not Octomom,” she said. “I’m a mom.”

After two romantasy hits, Rebecca Yarros needed a break. She spent it writing another book

Rebecca Yarros enters the greenroom at 30 Rock with a wide smile and a promise that her purple-tipped hair had been curled before she braved the New York cold. Her two-toned hair isn’t the only thing she shares with Violet Sorrengail, the main character of her hit “Empyrean” series, which saw its third book, “Onyx Storm,” publish Jan. 21. In the first installation, “Fourth Wing,” our heroine is thrust into the cutthroat world of Basgiath, a fantasy war college, forced to give up her ambitions of recording history and instead, learn to ride a dragon. So far the romantasy series (“romance” plus “fantasy,” for the uninitiated) has seen Violet handle a brutal year at school, a burgeoning rebellion and plenty of relationship drama.But from the first chapter, it’s clear that Violet will have a markedly different experience at Basgiath compared to the other members of the Riders Quadrant. Violet experiences a chronic illness, specifically a condition that resembles Ehlers-Danlos syndrome, which affects the strength of one’s joints and connective tissue, though it’s not named as such in the book.Yarros, who has Ehlers-Danlos syndrome herself, says writing Violet’s story was “cathartic” for her. Detailing how Violet was able to survive in the world of dragons and war, relying on her wits and ability to find alternate paths to success, allowed Yarros to draw parallels to how she lives day-to-day.“It was cathartic to say, ‘Hey, you can have a saddle. You can still be a rider. You just have to do it a little differently,’” she tells TODAY.com. “I can do everything that other writers can. I just have to do it differently. My legs have to be up for POTS flares. I have to support underneath my knees so that my joints don’t, you know, go all wonky on me. “It’s just knowing what accommodations I needed. And it was through writing ‘Fourth Wing’ that I found those,” she adds.Some readers say Violet has offered representation for those who experience chronic illness. And it’s difficult to overstate just how many readers of Yarros’ series there are. “Onyx Storm” is the third book in Rebecca Yarros’ “Empyrean” book series.”Fourth Wing,” which came out in April 2023, propelled Yarros to the New York Times bestseller list. As of this writing, “Fourth Wing” is No. 1 on the combined print and e-book fiction list, and it’s been on the list for 78 weeks. (Its sequel, “Iron Flame,” comes in at No. 3, with 52 weeks on the list.) On social media, specifically its bookish corners, “Onyx Storm” has been the talk of the town, with creators posting detailed recaps of the first two books, fervent theories and most importantly, their excitement to return to the world of Navarre. Yarros is on top of the book world. But before our interview, I’m met with immediate friendliness, an offer to sign my copy of her book and even passing self-deprecating jokes. (“Defeated by a microphone,” she jokes as she works to attach a mic to her shirt for the interview.) Before we start, she stares into the camera, ever the professional. But she seems to release some nerves when I tell her she can just look at me instead.”Thank you,” she says with an exhale.Rebecca Yarros is the author of “Fourth Wing,” “Iron Flame” and “Onyx Storm.”Courtesy Katie Marie SeniorsMaking magic (literally)Yarros’ “Empyrean” series is set to consist of five books total, although only three are published so far.”How they start, how they end, how Book 5 starts, how the series ends — that’s all plotted out and done,” she tells TODAY.com.When it comes time to actually write the books, Yarros says she sometimes alters course from her outline. For example, Violet facing the Gauntlet, a vertical obstacle course that riders must complete before they have a chance to bond with a dragon, was not initially part of her plan.“I was like, ‘You know, they really need to prove themselves.’ They really need to do something that’s like, ‘This is how I can ride a dragon,’” she says. “I just drew the Gauntlet, and suddenly it was — I was writing it.” The world of the “Empyrean” series is expansive, and only growing with each subsequent book. While “Fourth Wing” was primarily set at Basgiath War College, its twisty ending saw Violet’s understanding of her continent flipped on its head. She’s since encountered new lands, populations and mythical creatures.How they start, how they end, how Book 5 starts, how the series ends — that’s all plotted out and done.”
rebecca YarrosFor Yarros, every character’s “a person.”“I could clearly sit down with the entire squad right here and tell you where everyone is, where they’re sitting, what they’re wearing, what they’re doing — they’re people to me,” she says.But for the sake of organization, she keeps everyone in check via a detailed guide to the world. “I keep an extensive bible that tells you who the character is, who their dragon is, what their signet is, what has happened to them, what their body looks like, where their scars are, everything like that,” Yarros says. “I keep it all meticulously, jot it down so that my editors don’t, you know, come after me with spatulas.”The complicated love interests of the ‘Empyrean’With dragons, signets (essentially, special powers) and war, the “Empyrean” series is filled with fantasy elements. But the books are also known for their high-stakes romance and steamy scenes.Violet’s main love interest is Xaden, a rebellion leader with a tendency to keep secrets. Their story has taken a classic enemies-to-lovers arc. Fans swoon over Xaden’s intense love, but his at-times questionable decisions make him the series’ de facto “bad boy.” With plenty of story ahead, there’s a lot of room for things to change.(Warning: Major spoilers from “Fourth Wing” and “Iron Flame” ahead.) The end of “Iron Flame” marked a major turning point for Violet and Xaden. In a last ditch effort to save Violet, Xaden turned venin, meaning he gave up part of his soul for power. Up until this point, the venin had been cast as the series’ big bad, the ultimate evil as they suck humans dry of their power. With “Onyx Storm,” Yarros faced the challenge of her popular “bad boy” actually going evil. “I think as people, sometimes we see other people, and we think they are the epitome of evil, but no one takes a look to see how they get there and what drives someone to their motivations,” she says. “And I think the love of power often corrupts people. And in ‘Fourth Wing,’ it’s taking a power that turns you venin. So really it’s, yes, he’s turning there, but he did it for such a righteous purpose, and sometimes that still turns us into monsters.”Yarros says what “really fascinates” her is “knowing where our limitations are as people.””You’ve been given this gift, but can you wield it for good?” she says. “And if not, can you maintain your sanity and your morality?””Iron Flame” also introduced the potential redemption of Dain Aetos, a more controversial character. When readers first meet Dain, he’s Violet’s childhood best friend and a potential love interest. But over the course of the first book, Dain and Violet grow distant, and he eventually betrays her, choosing his life of rule-following over Violet.I already knew when I was writing ‘Fourth Wing’ and what was happening to Dain, where Dain would go in ‘Iron Flame.’”rebecca Yarros“I love Dain,” Yarros says. “And I think all 21-year-old kids are flawed. And I think especially when you take 20-year-old kids and you put them in a war college designed to beat the humanity out of them, and she’s seeing him after his first year. So, he makes mistakes.”Some of those mistakes? Insisting Violet sneak out of the Riders Quadrant for her own safety, using his power to read her memories without her knowledge and reporting what he saw.“As someone with chronic illness, we all have someone who tells us to sit down, and, ‘You can’t do that, and, ‘Be careful.’ And that person is not evil. That person is just overprotective, and (Dain) is,” Yarros says. “His biggest mistake is that when his best friend stops speaking to him, he violates her boundaries,” she adds. “But so does Xaden, and no one seems to give Xaden quite the wrap they give Dain.”In “Iron Flame,” Dain surprises Violet (and some readers) when he rescues her from an interrogation, going against the leadership he had demonstrated ultimate loyalty to. But Yarros always planned for that twist.“I already knew when I was writing ‘Fourth Wing’ and what was happening to Dain, where Dain would go in ‘Iron Flame,’ and where that scene in the interrogation chamber was going,” she says. “When you read the interrogation scene, it reads both ways. So, it reads as though he’s going to kill her, but it also reads as though he’s saying, ‘If you just trusted me last year, none of this would have happened.’”Writing ‘Onyx Storm’ and what’s nextBefore the “Empyrean” series, Yarros had mainly written romances, such as 2019’s “The Last Letter” and “Full Measures” in 2014.When she started writing “Fourth Wing,” she says she was at a point in her life where she felt unwilling to accept accommodations or limitations. She wanted to cram in 12 to 15 hours worth of writing a day, despite her body saying she shouldn’t. Writing Violet’s adaptation encouraged her to follow suit.”It was me kind of talking to myself about what I needed to do to slow down, to protect my own body,” she says. “And I think I’m finally starting to listen to it two-and-a-half years later.” While “Fourth Wing” and “Iron Flame” published just seven months apart, “Onyx Storm” didn’t hit shelves until about 14 months after the second book. Yarros needed a break — part of which she spent writing another book.Yarros says she felt she needed to prove to herself she could write another book, so she went back to her roots and drafted a contemporary romance called “Variation,” which published in October 2024. It was me kind of talking to myself about what I needed to do to slow down, to protect my own body. And I think I’m finally starting to listen to it two-and-a-half years later.”
rebecca Yarros“That really set my feet back down. It reminded me, ‘Hey, you can write a book. You can do this.’ And then I went into ‘Onyx,'” she says.As for what she can share about the series’ fourth book? Not much.With every book, Yarros says she makes a playlist to guide her through the novel. On Jan. 21, she released the playlist she made for writing and editing “Onyx Storm.”Yarros says she’s already made the fourth book’s playlist. However, she doesn’t want to share any of the songs on the playlist.”I think it would scare everyone,” she says.Yarros did reveal, however, that her usual muse Taylor Swift makes some necessary appearances on the playlist.”Oh, obviously Taylor Swift,” she says. “That was the first song that went on there is a Taylor Swift song.” “I can tell you, it’s off of ‘TTPD’ (‘The Tortured Poets Department’),” she adds.

Mark Wahlberg explains why he ‘apologized’ to his ‘Flight Risk’ cast after filming

Mark Wahlberg needed a lot of solo time on his latest movie set.

The 53-year-old star portrays a hit man pretending to be a pilot whose targets are U.S. Marshal Madelyn (Michelle Dockery) and fugitive Winston (Topher Grace) in the new thriller “Flight Risk.”

Wahlberg revealed he took a new approach to getting into character.

“I was locked into the part the whole time. So if we weren’t shooting, I was like either off in the corner by myself or I just would kind of go back to my little dressing room and just sit there,” he told People in an interview published on Friday.

Mark Wahlberg in “Flight Risk.” Lionsgate

This image released by Lionsgate shows Michelle Dockery in a scene from “Flight Risk.” AP

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The last time Wahlberg took on the on the villain role was in 1996’s “Fear,” opposite Reese Witherspoon.

“I was like the guy who was like constantly picking at them, poking them and prodding them, you know, from the back of the plane the whole entire time,” the star continued. “I apologized at the end because I wasn’t very engaging off camera or outside of shooting, but I was just in [that] head space. We only had 22 days of shooting.”

“So it wasn’t four months, five months of this. We shot it very quickly,” added Wahlberg.

The Oscar winner also reflected on where he drew his bad-guy inspiration from.

“I’ve been saying over and over how much I love movies like ‘The Shining’ with [Jack Nicholson] and ‘In The Line of Fire’ with [John Malkovich] and ‘Cape Fear’ with [Robert] De Niro. Those are the kind of characters that I always loved and gravitated towards, and I hadn’t done it in such a long time.”

Wahlberg noted, “I don’t know, I just kept all these ideas popping into my head about how I would play that particular role.”

This image released by Lionsgate shows Michelle Dockery, left, and Mark Wahlberg in a scene from “Flight Risk.” AP

“Flight Risk” is directed by Mel Gibson with the actors previously working together in “Father Stu” (2022), and 2017’s “Daddy’s Home 2.” 

But this project will mark the first time Wahlberg is starring in a movie with Gibson, 69, on the other side of the camera.

In June, Wahlberg spoke to People about his decision to act in a movie directed by the “Boneyard” vet.

This image released by Lionsgate shows Topher Grace in a scene from “Flight Risk.” AP

“He knew exactly what he wanted and how to get it, but he was also open to collaborating,” Wahlberg explained.

Gibson’s last directorial film, 2016’s “Hacksaw Ridge,” received two Academy Awards and several nominations.

“Again, to be shooting 15, 20 pages a day, something that I had never done before. I’ve shot down ‘n dirty, but, like 30 days was the fastest I’d ever done a film,” Wahlberg continued. “This was in 20 or 22 days.”

Mark Wahlberg is seen on the set of “Play Dirty” in Times Square on November 20, 2024 in New York City. GC Images

“Having seen ‘Apocalypto’ a million times and ‘Braveheart’ and every other film that he’s directed, he’s such a talented filmmaker,” he gushed. “It was one of those things where, between the part and to getting to work with the filmmaker, for me it’s always top of the list: the script, the director and the part are the three main components when making a choice.”

Lora Cheadle Releases New Book

In her groundbreaking new book, It’s Not Burnout, It’s Betrayal: 5 Tools to FUEL UP & Thrive, acclaimed author, TEDx speaker, and leadership coach Lora Cheadle reveals the shocking truth: feelings of betrayal can mirror the symptoms of burnout, leading to disillusionment, resentment, and disengagement. Until these root causes are identified and addressed, dissatisfaction and exhaustion will persist. Through her FUEL UP Burnout Recovery Protocol, Cheadle offers a proven framework for readers to:Rekindle enthusiasm and passion.Build resilience and prevent future feelings of betrayal.Navigate workplace challenges like toxic cultures and poor leadership.Set boundaries and advocate for their needs and ideas. About the AuthorLora Cheadle, JD, Cht, is the founder and CEO of Life Choreography Coaching & Advocacy, a wellness expert, and a passionate advocate for emotional recovery and resilience. After leaving a high-stress legal career that left her burned out, Lora dedicated her life to empowering others to overcome burnout and betrayal. Through her books, TEDx talks, and coaching, she equips individuals with the tools to reclaim their vitality and joy, helping them navigate challenges like infidelity, professional setbacks, and emotional disconnection. Loras unique blend of legal expertise, wellness practices, and personal experience makes her a sought-after voice in the fields of burnout recovery and holistic self-expression. Take the First Step Towards Thriving Today!! It’s Not Burnout, It’s Betrayal is available now on Amazon.https://www.amazon.com/Its-Not-Burnout-Betrayal-Thrive-ebook/dp/B0DQHNT9VT/ For more resources and information, please visit the authors website at http://www.workplace-burnout.com. Connect with Lora Cheadle online:Facebook: https://www.facebook.com/LifeChoreographer Instagram: https://www.instagram.com/loracheadle/ LinkedIn: https://www.linkedin.com/in/lora-cheadle-lifechoreographer/ YouTube: https://www.youtube.com/loracheadlelifechoreographer ###

‘The Road Ahead’ at 30: What Bill Gates’ classic book about the future says about the world today

The 1995 original hardback and 1996 paperback editions of The Road Ahead, by Bill Gates, Peter Rinearson, and Nathan Myhrvold. (GeekWire Photo / Todd Bishop)

Editor’s Note: Microsoft @ 50 is a year-long GeekWire project exploring the tech giant’s past, present, and future, recognizing its 50th anniversary in 2025. Learn more and register here for our special Microsoft @ 50 event, March 20, 2025, in Seattle.

Bill Gates knew he would be judged.

His first book, The Road Ahead, published during the rapid rise of the internet in the mid-1990s, was packed with so many predictions that some were destined to be wildly off the mark.

“This is meant to be a serious book, although ten years from now it may not appear that way,” the Microsoft co-founder wrote in the foreword. “What I’ve said that turned out to be right will be considered obvious, and what was wrong will be humorous.”

Thirty years later, some of the predictions do elicit a laugh, or at least a head-scratch. Come on, people of 2025, you’re not glued to a livestream of your floral arrangement being prepared, or using the internet to see which vending machine has your favorite soda in stock?

But those are the exceptions. 

For this fourth installment in our Microsoft @ 50 series, GeekWire revisited Gates’ classic book, with the benefit of three decades of hindsight.

We found in its pages a vision for technology that was essentially on the mark — foreseeing pervasive access to information, the rise of smart devices, and the central role of the internet in business, education, and the home. We also discovered striking parallels and insights relevant to the AI revolution the world is experiencing today.

Most of the misses are about more about human behavior than about technology. After all, scenarios such as those above are possible today, even if there’s no real demand for them.

Gates’ vision for the future “has proven to be remarkably accurate, painted broadly,” said Peter Rinearson, a Pulitzer Prize-winning journalist, writer, entrepreneur, and former Microsoft VP, who co-authored The Road Ahead with Gates and former Microsoft CTO Nathan Myhrvold.

At its core, the book is about a computing pioneer foreseeing another revolution.

Gates “had foreseen early on that computing power would become cheap and ubiquitous,” Rinearson said in a recent interview. “By the early 90s, this was already becoming true. Computing was becoming effectively free. Bill could see that communications was on the way to becoming free or nearly free, too … and this was going to have profound impacts on the world.”

“Of course,” he said, “this has happened.”

But any retrospective assessment of the book needs to distinguish between the 1995 hardback and the 1996 paperback versions — because they were very different. As Rinearson recalled, “The word ‘internet’ only showed up a couple of times in the hardback edition.”

Instead, the focus was on the “information highway.” When the book was first written, Gates and Microsoft were betting on Microsoft’s MSN to serve as the onramp and backbone of that highway. By the time the first edition went to press, it was clear the broader internet would prevail. Microsoft was already reorienting itself for this reality when the book came out. 

This mirrors a common criticism of Microsoft products. The company has often struggled to hit the mark the first time, relying on follow-up releases to fix Version 1.0 bugs and oversights. Windows, Office, Internet Explorer and others would follow the same pattern. 

But it also illustrates a major parallel between then and now in the tech world. The internet was gaining traction so quickly at the time — much as AI has in the past two years — that Gates and Rinearson felt compelled to completely revamp the book for the paperback release. 

They revisited every sentence, rewrote entire chapters, and added 20,000 words in all — an extraordinary overhaul for a paperback edition just one year after a hardback’s release.

Foreseeing the tech of today

The global reach of The Road Ahead. (Photo courtesy of Peter Rinearson)

Even with the rewrite, the overall vision remained much the same. And many of the predictions ended up so close to reality that it’s easy to name their modern equivalents.

“Kids in school will be able to produce their own albums or movies and use the net to make them available to friends and family.” (YouTube, TikTok, etc.)

“Your misplaced or stolen camera will send you a message telling you exactly where it is, even if it’s in a different city.” (Location-aware devices and tracking apps.)

“If you’re watching a video of Top Gun and think that Tom Cruise’s aviator sunglasses look really cool, you’ll be able to pause the movie and … buy them on the spot.” (Shoppable product placements. Bonus: Cruise and Top Gun are still around.)

A video camera will “let the PC recognize who is using it so that the PC can better antici­pate the person’s needs or carry out policies.” (Biometric authentication.)

It goes on and on, for more than 300 pages, including changes in the workplace that sound like they’re ripped from a modern-day report on trends in U.S. commercial real estate. 

“The number of offices a company needs might be reduced,” reads one passage predicting the rise of remote work along with the internet and digital technologies. “A single office or cubicle could serve several people whose inside hours were stag­gered or irregular.”

Other predictions were so far ahead of their time that they are only now just unfolding. The biggest example: a vision for software agents that tailor their actions to a user’s needs.

“An agent will know how to help you partly because the computer will remember your past activities,” Gates predicted, although he called this “softer software” rather than artificial intelligence. “It will note patterns of use that will help it work more effectively with you.”

This is the hot trend in AI in 2025. Microsoft, Salesforce and many others are deploying agents for businesses, and aiming to make AI a true personal assistant by allowing it to remember. Mustafa Suleyman, Microsoft’s CEO of AI, calls long-term memory a key next step for AI, and Microsoft’s Windows Recall feature aims to give the PC a photographic memory. 

The book did use the term “artificial intelligence” in other areas, including one passage where Gates was uncharacteristically conservative about the timeline for the technology. 

“Although I believe that eventually there will be programs that will recreate some elements of human intelligence, I don’t think it’s likely to happen in my lifetime,” he wrote. 

“For decades computer scientists studying artificial intelligence have been trying to develop a computer with human understanding and common sense,” he wrote, adding later, “So far every prediction about major advances in artificial intelligence has proved to be overly optimistic.”

Fast forward 30 years, and Gates calls AI “the biggest technological advance in my lifetime.”

A diagram in The Road Ahead foreseeing the wallet PC. (Click to enlarge.)

And then there was the most bittersweet prediction of all: the “wallet PC.”

A dozen years before the debut of the iPhone, the Microsoft co-founder foresaw something that sounded very similar to the devices we carry around in our pockets today — a portable, pocket-sized computer, roughly the size of a wallet, that would combine many features and functions, such as keys, credit cards, GPS directions, a camera, and more.

“It will display messages and schedules and also let you read or send electronic mail and faxes, monitor weather and stock reports, and play both simple and sophisticated games,” the book predicted. “At a meeting, you might take notes, check your appointments, browse information if you’re bored, or choose from among thousands of easy-to-call-up photos of your kids.”

But the very name of this concept, the wallet PC, foreshadowed one of Microsoft’s biggest stumbling blocks as it later developed and brought this technology to market. Rather than inventing a new category of device, Microsoft initially tried, in effect, to miniaturize the PC. 

By the time the company came around to a different approach, Apple’s iOS and Google’s Android were on their way to dominating the smartphone market.

“Was the vision of the wallet PC correct? Yes,” Rinearson said. “We call it a phone, not a computer. It doesn’t run the Windows operating system. It’s not a PC in that sense. But his vision of where we were going was spot on.”

A lens on the past

But there was something else that struck Rinearson when he revisited the book recently in preparation to talk with GeekWire for this piece: Readers of the book in the 1990s may have marveled at the future it painted, but in 2025, it’s a reminder of how far we’ve come. 

Here’s a good example, from Chapter 4, on Information Appliances and Applications: “Instead of having to remember the channel of a TV program, you’ll have the ability to use a graphical menu that will let you select what you want by pointing to an easy-to-understand image.”

Yes, there was a time when we had to remember the channel — not browse a row of icons or speak to a remote. In that way, this book of the future has become a window into the past.

Peter Rinearson.

“It’s like this bridge,” Rinearson said. “We went through this divide, this watershed moment in human history. … This book came out right when this was happening, and so you can use it to look either forward or backwards.” 

The book pointed to many of the pitfalls of the impending information and communications revolution, including the impacts on security, privacy, jobs, social isolation, and the digital divide where individuals and communities without access to technology would be left behind.

But looking back, Rinearson said he was struck by the downsides they missed.

“We talked about how great it was going to be when anyone could reach an audience. … You have the potential to reach anyone in the world if you have a compelling enough message,” he said. “I don’t think we thought enough about how that might be corrosive or negative.”

Rinearson quoted a line from the final chapter of the book, “Critical Issues,” which explored upsides and challenges of the emerging digital world: “The network will draw us together, if that’s what we choose, or let us scatter ourselves into a million mediated communities.”

Reflecting on that line, Rinearson said recently, “You can see in that simple sentence that Bill understood the potential for polarization and fragmentation, but I don’t think either of us foresaw how many people would choose to scatter into their own realities.”

Ironically, in recent years, Gates himself has felt the sting of disinformation, saying he has to maintain a sense of humor when he hears conspiracy theories about vaccines and microchips. 

After reading the book and hearing Gates at a New York event, Frank Rich of The New York Times wrote in a December 1995 column that the negative implications of Gates’ vision of the future — in areas including privacy, job loss, and social division — should serve as a wake-up call for the world.

“Bill Gates doesn’t offer solutions for these troubling issues,” Rich wrote. “He merely raises them, professes optimism, and invites the rest of us to cope as he returns to making money. Who will lead the debate? … Most mass-media reportage on computers is turned over to specialists, whose assignment is to chart the changing fortunes of technology corporations and products rather than look at their long-term impact.”

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The columnist concluded the piece, “Even David Letterman boasted to Mr. Gates this week of how little he knows about computers. If he and the millions of Americans like him were to actually read ‘The Road Ahead,’ they would discover that digital ignorance offers no protection from a future that will arrive whether we want it to or not.”

Of course, The Road Ahead was widely read, quickly becoming the best-selling nonfiction book in the United States, and ultimately appearing in numerous international editions. 

The companion CD-ROM also received widespread attention, although in a failure of backward compatibility, GeekWire’s attempts to get it to play on a Windows 11 PC were unsuccessful. 

Fortunately, as with most things these days, there’s a YouTube video for that, too.

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Many reviews of the book in the mainstream press were laudatory, praising Gates for his ability to make the subject accessible to a broad audience. Rinearson recalled that Gates thought of his mother, Mary Gates, as representing the audience for the book. She was an accomplished community organizer and non-profit leader who wasn’t deeply immersed in technology.

In that way, the book was a success, even if it was criticized in the trade press and some corners of the industry for stating things that tech insiders considered obvious at the time. 

“Bill and Nathan together certainly had the capacity to write a book that would be so dense and sophisticated that these tech journalists would’ve been lost in it, and would’ve really had to work their way through it, but that wasn’t the book Bill wanted to write,” Rinearson said.

Myhrvold’s contributions as a co-author shouldn’t be overlooked, he added, describing the former Microsoft CTO’s memos and contributions as “highly influential” in the process.

A revolution of intelligence

What would The Road Ahead look like if written in 2025? As a ghostwriter, Rinearson said he would defer to Gates on this question. But much as computing and communications were revolutionized in the past, he said, it’s clear that the same is now happening to intelligence.

“We’re now in a position to bring massive intelligence to bear on problems at relatively cheap prices,” Rinearson said. “This has never happened before. Quantum computing and AI will go hand in hand, and this will be incredibly disruptive in positive and negative ways.”

At the beginning of “The Road Ahead, Gates tried to set expectations for readers, explaining that he drew on his own history and that of the technology industry to inform the book, but cautioning that “anyone expecting an autobiography or an account of what it’s like to have been as lucky as I have been will be disappointed.”

He added, “When I’ve retired, I might get around to writing that book.”

That prediction was accurate, too.

Now approaching his 70th birthday, Gates will release a new memoir, Source Code: My Beginnings, in early February, focusing on his childhood and Microsoft’s early years, as the first in a planned trilogy of books about his life.

Coming next month: Bill Gates on Microsoft, AI, and the Road Ahead from here.

Previously in GeekWire’s Microsoft @ 50 series

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Star Trek​’s First TV Movie Is a Disaster

This article contains spoilers for Star Trek: Section 31.

When last we saw our Star Trek: Discovery antihero—Her Most Imperial Majesty, Mother of the Fatherland, Overlord of Vulcan, Dominus of Qo’noS, Regina Andor, Philippa Georgiou Augustus Iaponius Centarius—back in 2020, she had just come through a particularly rough stretch. Georgiou (if you’re nasty, and she certainly is) had … well, for starters, she’d been dragged from the fascist “mirror” universe where she was queen into the “prime” one, and then catapulted 930 years into the future to stop an evil A.I. from wiping out all sentient life in the galaxy. Got that done, thankfully, though not without some sassy shenanigans—but all the travel turned out to be a bit taxing, on both Georgiou’s mind and molecules, which were straining like a multiversal rubber band to return backward and across, causing weird flashbacks and a nasty case of the decorporealizing shivers.

Luckily, a mysterious sentient hard drive known as “the Sphere” that had been hanging out on her ship, the mushroom-fueled USS Discovery, was able to help locate a solution: a stout little man dressed in tweed and a bowler hat named Carl who was also, ahem, the “Guardian of Forever.” He eventually sent her back to an undisclosed, more atomically soothing time, through a portal that was also somehow himself. But not before subjecting her to a three-month-long trial to see if she’d maybe become a nicer person (by Season 3, so, fair enough) than the vicious tyrant she was back in her native Terran Empire.

Reader, I’m pleased to report she had—but like I said, our girl had really been through it.

If you didn’t watch Star Trek: Discovery, and the paragraphs above were about as legible to you as a Klingon weapons console, don’t worry—almost none of it matters! Barely any at all! That’s what we quickly learn at the beginning of Star Trek: Section 31, Paramount+’s new TV movie spinoff, where it seems that the Guardian and/or the writers who live in his vortex, rather than depositing Georgiou (a grim-faced Michelle Yeoh) in some underexplored part of the larger Trekuniverse to star in an intriguing feature-length film, have instead severed her from her rich and lengthy character arc and dumped her in possibly the worst entry of the Star Trek franchise to date.

Those are fighting words, I know, given the … uneven … lineage of Trek films (Section 31, directed by Olatunde Osunsanmi, is officially the 14th on the roster), but allow me to make my case. Let’s begin with what was supposed to happen here. Section 31 is the black-ops security and intelligence arm of the United Federation of Planets, and it is very controversial both in-universe and out here, among fans. That’s because the Federation brands itself as this morally evolved, ethically driven force for interstellar peace and scientific progress, with good-willed officers reasonably deliberating in soft-toned conference rooms and capitalism cast aside because everyone can just get their breakfast and new socks from the replicator. But, unsurprisingly, the preservation of all those high-minded ideals occasionally requires that someone get their hands dirty out of sight of the bridge—and that someone is Section 31.

Since its introduction in Deep Space Nine, the group has cropped up here and there in Trek to put a thumb on the scales of galactic politics; it became the central antagonist of Season 2 of Discovery (which is where Georgiou first encountered it and became something of a freelance agent). Each time Section 31 appears, it inspires lines like “I don’t always believe in their tactics, but I do believe in their vision.” Some Trekkies would agree with that take, while many others firmly hold that the existence of such a duplicitous organization betrays Gene Roddenberry’s hopeful vision for humanity, and that it shouldn’t be there at all. You might think that tension would make a worthy subject for exploring in, say, a punchy spy thriller full of exciting action sequences, wild space anomalies, and sobering moral quandaries, and I would agree. It’s a shame, then, that nobody has made one.

No, the Section 31 that we’ve received in this timeline is, to put it mildly, a debris field of a film. The story and much of the aesthetic are essentially cribbed from Guardians of the Galaxy, with a little of Ocean’s Eleven sprinkled on top. Aside from some The Next Generation–era tricorder sounds, the result has little connection to the larger Trek universe at all. But here’s what we’ve got: Back from the future, Georgiou has become the sexpot owner of a naughty nightclub on the edge of Federation space. We are shown this on a map that’s part of a goofy, video game–style “encrypted message” from Control, Section 31’s A.I. dispatcher (somehow the same one that Georgiou already defeated, mind you) that’s weirdly addressed to the audience, as if we’re part of the crew that’s about to be assembled to, you guessed it, go after a superweapon with the power to wipe out a whole quadrant.

The usual players are all here: the brooding leader, the dumb muscle, a nervous tech whiz, etc. They just need Georgiou—who has shed all previous character development and become a sneering, nail-clacking, French-speaking (?) vamp—to join up, which she does for no apparent reason, though it does make a fine addition to the “You son of a bitch, I’m in” canon. From there, we hop around various color-filtered locations outside Toronto, interrogating black-market arms dealers, discovering a mole, and finally meeting the real villain—a ghost from Georgiou’s Terran past!—who plans to use the weapon to, yep, destroy a bunch of planets and throw the Federation into chaos while the Empire invades.

You will not be shocked to hear that Georgiou and company manage to thwart this plot in the most boring ending imaginable. But there’s another plot that seems to have been thwarted in the making of this movie that I really wish we’d been able to see. Section 31 is ostensibly a comedy, and the Marvel reference should be enough to let you know that its sense of humor lies far outside the galactic barrier of anything remotely Star Trek—“your corporate culture is straight-up shit” just does not belong. Whatever. The odd thing is, before the Your mission, if you choose to accept it expository download, the movie actually begins with a scene that suggests it’s going to deliver a little more heft.

A teenage Georgiou has just returned home from the Terran version of the Hunger Games, and the final test of her viciousness—and fitness for the throne—is to poison her whole family (no attachments!). She does this readily, and as a bonus to the crown, she’s given the only other remaining candidate, a boy called San, as her personal slave. Naturally, she and San have become close over the course of their trials, but that does not stop her from burning his face with a red-hot sword. San, in a major twist, grows up to become the bad guy with the bomb thing that she eventually has to kill, just to close the loop.

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Watching Section 31, I got the strong sense that, at some point, maybe back when it was originally envisioned as a series, the idea was to give us something serious—a gritty, unsettling investigation of both Georgiou and Section 31 itself. But somewhere along the line (and the project did have a long, COVID-interrupted development process), that story was painted over with this absurd comedy, such that we learn nothing at all about the organization, secondary characters have to constantly remind us that Georgiou is a “terrifying soulless murderer” because she mainly seems bored, and the cheap Mad Max fire jets that are the film’s main special effect are scarier than anything presented as an apocalyptic threat.

Studio meddling? Budget cuts? Nightmare editor? Terran subterfuge? Whatever happened, I have to believe this isn’t what was intended. One, because they had Michelle Yeoh, even after her post­–Everything Everywhere All at Once glow-up, and they did her dirty on everything from eye shadow and costumes to fight choreo and dialogue. (I mean, aside from being an incredible actress, this woman can deliver a scathing barb, and they’ve got her out here whining, “I’m not feeling motivated to be valuable to anyone but myself”!) And two, because so far, the reboot and expansion of Star Trek under Alex Kurtzman has largely been fantastic, from the fresh perspectives of Discovery and the tearjerking fan service of Picard, to the nostalgic delight of Strange New Worlds and the whip-smart wisecracking of Lower Decks. While it’s now unavoidably and unfortunately canon, let’s hope Section 31 was just a stumble on the way to better and bolder things. If this is what the Federation’s underbelly really looks like, I’d rather it stayed in the dark.

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How should we read the Book of Revelation?

While scholars continue to do extensive research and reflection on the Book of Revelation, there are some who approach it with a different intent: to try to validate sociopolitical and economic ideologies. This is the topic of Stephen D. Moore’s Revelation: Book of Torment, Book of Bliss. An Introduction and Study Guide (T&T Clark). Moore provides a succinct, dense, and comprehensive study of how scholars engage with Revelation, as well as how it’s become the subject of ideological proof-texting. “How we read Revelation depends on what we understand Revelation to be,” he writes.

Moore first engages with the history of scholarly interpretations and reflections on Revelation while offering his own interpretative views as well. The reality is that actual scholarship on Revelation is minimal in comparison with the vast number of popular interpretations that claim the prophecies and warnings address an imminent future. Moore himself is drawn to the book, he says, because of its poetry, surreal imagery, and extravagant language.

In terms of historical context, the book is a plea to the churches to distance themselves from Rome because the empire has been marked for destruction. In this sense, Revelation can furnish individuals and groups with ways of thinking about the future. Latin American liberation theologians, for instance, find in the book a potent inspiration for social justice—similar to the way enslaved African in the American south drew on apocalyptic imagery to compose songs of resistance. Revelation can provide context for critiques of empire (whether ancient or modern), for speaking against state-sponsored oppression, and for comforting the oppressed.

In his second chapter, Moore provides an overview of apocalyptic interpretations of Revelation, from the medieval period to today. Often, people have appropriated Revelation and tried to force it to speak to their own contexts, insisting that the book was written to disclose events that, at the time of its writing, were still centuries in the future.AdvertisementFiction writers have drawn heavily on Revelation to create an aura of the apocalyptic, assigning roles to China, Russia, or the United States, based on their own readings. For instance, in one novel Moore discusses, the author puts an apocalyptic interpretation on the military activities of the Chinese army and identifies the European Union as the new Roman Empire to be led by the antichrist. Cold war paranoia, as Moore recounts, got an apocalyptic twist with assurances that believers would be saved from nuclear holocaust in “God’s bunker.” And writers have selected various U.S. presidents as possible candidates for the beast of Revelation. Filmmakers, too, have drawn on Revelation for visuals and imagery. For example, the title of the 1972 movie A Thief in the Night alludes to passages from Revelation and other books from Christian scripture. Video games, too, borrow from Revelation’s violent scenes.

Moore then looks at intertextual expositions of Revelation, inviting readers to see the book through the lens of the Hebrew Bible. Revelation contains more allusion to Jewish scripture than any other New Testament text, with images borrowed from Isaiah, Ezekiel, Daniel, and the Psalms and allusions to Exodus’ plagues to describe cosmic disasters. Revelation’s language also imitates patterns from Jewish scripture, with grammar and syntax more characteristically Aramaic than Greek. Moore identifies the author’s literary artistry as an internalization of “an intricate but unwritten set of rules for generating apocalyptic discourse.”

Numbers are important in Revelation, and Moore offers a meticulous exposition of numerical symbolism, especially the number seven, which is biblically significant beyond the book of Revelation. This numerical motif, popular among ancient near-eastern cultures, takes on layers of theological meaning in Judaism, especially in the writings of the diasporic Jewish philosopher, Philo of Alexandria.

Other significant numbers in Revelation include four and 12. The 24 elders of Revelation stand for the 12 patriarchs of Israel plus the 12 apostles of the lamb. The number of believers who belong to God is 144,000 (12 times 12 times 1000). The purpose of these numbers, for the author of Revelation, is to indicate that every event in history is part of the divine plan: Nothing happens by chance.  Advertisement

U.S. Department of Education Ends Biden’s Book Ban Hoax

The U.S. Department of Education’s Office for Civil Rights (OCR) today announced that it has dismissed 11 complaints related to so-called “book bans.” The complaints alleged that local school districts’ removal of age-inappropriate, sexually explicit, or obscene materials from their school libraries created a hostile environment for students – a meritless claim premised upon a dubious legal theory. Effective Jan. 24, 2025, OCR has rescinded all department guidance issued under the theory that a school district’s removal of age-inappropriate books from its libraries may violate civil rights laws. OCR is also dismissing six additional pending allegations of book banning and will no longer employ a “book ban coordinator” to investigate local school districts and parents working to protect students from obscene content.“By dismissing these complaints and eliminating the position and authorities of a so-called ‘book ban coordinator,’ the department is beginning the process of restoring the fundamental rights of parents to direct their children’s education,” said Acting Assistant Secretary for Civil Rights Craig Trainor. “The department adheres to the deeply rooted American principle that local control over public education best allows parents and teachers alike to assess the educational needs of their children and communities. Parents and school boards have broad discretion to fulfill that important responsibility. These decisions will no longer be second-guessed by the Office for Civil Rights at the U.S. Department of Education.” On Jan. 20, 2025, incoming OCR leadership initiated a review of alleged “book banning” cases pending at the department. Attorneys quickly confirmed that books are not being “banned,” but that school districts, in consultation with parents and community stakeholders, have established commonsense processes by which to evaluate and remove age-inappropriate materials. Because this is a question of parental and community judgment, not civil rights, OCR has no role in these matters. BackgroundIn June 2023, then-President Biden announced that he would appoint a “book ban coordinator” within OCR. The coordinator’s responsibilities included developing guidance and training to deter schools from limiting student access to sexually graphic or racially divisive books by claiming that these efforts may contribute to a hostile environment that may violate students’ civil rights. Because the prior Administration amplified this false narrative, OCR received 17 complaints alleging that school districts engaged in book banning. Additionally, incoming Trump Administration OCR attorneys discovered that the first complaint to advance the book ban hoax was filed with OCR on Feb. 23, 2022, against Forsyth County School District in Georgia. The complainant alleged that the district violated Title IX and Title VI by removing eight books from the school library because they contained sexually explicit content. OCR’s regional Atlanta office sought to dismiss the complaint in full, concluding that the complainant’s allegations failed to state a violation of Title IX or Title VI. Biden-Harris Administration-appointed OCR leadership in Washington, D.C., however, overruled the nonpartisan, career-employee determination that the complaint had no merit and extracted a resolution agreement from the district under threat of further federal intervention. This included requiring the district to post a statement in all of its middle and high schools that embraced Diversity, Equity, and Inclusion and encouraged students to make Title IX and Title VI complaints. The department will terminate the agreement and any obligations under it.

Book Review: Amor Towles’s Excellent ‘Table For Two’

In his 2023 book The Art Thief, author Michael Finkel crucially observed (my book review here) that “art is the result of facing almost no survival pressure of all.” So true, and it raises an exciting question about the present and future of art: as an increasingly globalized division of labor comprised of man, machines, and machines that think make life’s necessities and luxuries more and more of a sure thing, isn’t the brilliance of art set to explode in a myriad of amazing ways?

Time will tell. For now, it’s interesting to contemplate the past. In particular, what was happening economically in 19th century Russia that so much amazing literature and music was created? Think Dostoevsky, Gogol, Tchaikovsky, and Tolstoy among many others. If art is the result of facing almost no survival pressure at all, it’s apparent that in the 19th century Russia must have had prosperity-oriented policies (or better yet a lack of policy) that enabled immense artistic progress.

All the spectacular 19th century Russian culture came to mind while reading Amor Towles’s newest book, Table for Two. This time Towles has written a series of short stories along with a novella. The first of the short stories is titled “The Line,” and it’s about a peasant named Pushkin and his wife Irina. In the last days of the Tsar, they live in a small village “one hundred miles from Moscow.”

Farmers Pushkin and Irina belong to a mir, or a cooperative that “leased the land, allocated the acres, and shared expenses at the mill.” Members of the mir occasionally gather, and one night a man from Moscow comes to “explain the injustice of a country in which 10 percent of the people owned 90 percent of the land.” I felt from this that Towles provided the answer to the above question about why Russian culture flowered so substantially in the 19th century.

Economies aren’t blobs, rather they’re collections of individuals. Which is a reminder that wealth inequality is a sign of progress. It signals the freedom of individuals to pursue the commercial path that reveals their unique genius, and being matched with capital so that they can realize their potential.
Absent capital there’s no Jeff Bezos, and then absent Jeff Bezos’s capital there’s quite a bit less wealth to match with strivers who aim to improve on what Bezos achieved. Crucially, if there’s no wealth creation, it’s a near certainty that not much art is being created precisely because artists require patrons. Get it?

19th century Russian culture was an effect of wealth. It raises questions about what Russia (and the world) lost in the 20th century. In his 1922 masterpiece Socialism, Austrian scholar Ludwig von Mises observed that socialist demagogues are given life by wealth creation, and it brings us back to the demagogue from Moscow who speaks in disdainful fashion about wealth inequality to Pushkin and Irina’s mir. Wealth demagogues are an effect of wealth creation, wealth creation is an effect of freedom, and art is once again an effect of wealth. Too bad the wealth demagogues won in Russia as evidenced by the country’s economic suicide in the 20th century. What a tragedy for freedom, progress and art.
In Towles’s remarkable story, Irina in particular is taken in by the visitor and subsequently decides for herself and Pushkin that “the time has come for Russia to lay the foundations of the future – shoulder to shoulder and stone by stone!” They subsequently sell their meager possessions, and move to Moscow to join the revolution.
Irina thrives in the new, declining Russia, while Pushkin flails. They both take jobs at Red Star Biscuit Collective, but Pushkin is soon fired. Irina memorably asks her beta husband “How does one get fired from communism?”
Yet despite Pushkin’s ineptitude on the job, he oddly finds life under communism appealing exactly because there’s little to no choice. Long lines for a black loaf of bread, but only a black loaf of bread. To Pushkin, the appeal of limited choice is that he can do no wrong. And having found inner peace of sorts within the brutality of communism, Pushkin oddly prospers. Which speaks to the joy of Towles’s short story.
It brings to mind the heavily passed around clip of Milton Friedman on Phil Donahue’s eponymous show, of Donahue asking Friedman if Soviet communism has noble qualities since it’s allegedly a society devoid of greed. Friedman rejected the question outright, pointing out to Donahue that greed in fact did define life in the Soviet Union. So does it in “The Line.”
Markets always speak, and Pushkin makes them speak. Cognizant of the reality that lines for limited goods had to be the norm under communism, Pushkin starts a waiting-in-line business. And it proves lucrative. “By 1925, Pushkin had 10 boys waiting in 30 lines, all of them handing tokens of gratitude to Pushkin.” Yes!
Markets once again always speak, and they do because they’re an expression of human nature. It’s a reminder of a happy truth too often forgotten by critics of free markets: they claim that the return of economic freedom where there had been none amounts to “shock therapy” whereby individuals allegedly require an easing back to freedom as they re-learn what they allegedly forgot. Nonsense. That’s like saying people who’ve been starving need to learn once again how to eat. They don’t. It’s natural.
The only difference with Pushkin is that he’s particularly good at instituting market forces where there are none such that he and Irina are soon living well. Wait, Irina is living well after cheering the revolution against possessions? Well, yes. As Towles puts it oh so well, “There is nothing that a human will adapt to more quickly than an improved standard of living.” Amen.
The main thing is that there’s so much to Towles’s story. No doubt Pushkin figures out how to prosper in a country that has largely banned it, which is itself a tragedy. As made plain in my review of Towles’s best novel so far, A Gentleman In Moscow, it’s the unequal (yes, the 1 percenters) who drive progress in all ways. Pushkin and Irina were living well, but all due to a system that suffocated genius of all kinds such that gaming the lines that are the rule under communism was one of the very few ways to prosper.
Towles writes through the eyes of Pushkin of genius suffocated, that “To possess such a gift and no longer be allowed to put it to use struck Pushkin as heartbreaking.” Yes. So true.
It arguably speaks to why most hated communism, but some actually were ok with it. For those who lacked skills, or who had not happened on skills, communism would reasonably be the excuse for their failure. But for those cognizant of their genius, how brutalizing to not be able to showcase it.
About this, it’s difficult to not think of actors like Kevin Spacey who are no longer able to do what gave them so much happiness. Some will say Spacey earned his suffocation, but that’s not fair. They’re judging Spacey’s past acts on present morals. George Will refers to this as presentism. It’s wrongheaded, and not just because talented people can no longer express those talents. Presentism is also wrong because it supposes a world and society defined by rigidity, or a lack of progress. No, that’s not us. We keep improving, and in improving we quite frequently look back to past actions with disdain. Yes, we’re evolving. The past is the past. To ruin the present of so many based on the past is truly horrifying.
In “The Ballad of Timothy Touchett” that follows, we meet a would-be writer who interestingly lacks the life experiences and sufficient misery to be a writer. As Towles puts it so comically, “Timothy’s parents hadn’t even bothered to succumb to alcoholism or file for divorce.” Notable there is that in reading the story, I found myself wondering if life’s brutalities had informed Towles’s own writing.
Whatever the answer, the Touchett story is a reminder of how much learning there is in fiction. It’s useful to point out mainly because so many voracious readers stick to non-fiction. Some feel they don’t have time for stories, that life is short such that reading time has to be spent on real history. Towles’s stories show us what a mistake this is. Just as we learn about ourselves through real historical figures, so do we through fictional characters.
With Touchett, Towles brings the reader to the arguably crucial revelation that we’re more malleable than we think, and arguably to our detriment: “…offer a young man an extra fifty dollars a week in exchange for a modest adjustment in his dreams, and you have him by the throat.” I felt like Towles was describing all too many of us, including your reviewer.
It also made me think of the 2016 movie La La Land. Why did Mia fall out of love with Sebastian? My speculation has always been that he sold his dreams in return for more stable earnings, and she lost interest as a result. Was that the director’s (Damien Chazelle) message?
What got Touchett by the throat was dishonesty, though seemingly harmless dishonesty that proved remunerative. The story is a page turner, but for one disappointing line that may or may not be the thinking of Towles. With Touchett, the story is about the writer and his rare bookstore owner boss Mr. Pennybrook, along with a NYC cop who is informed of a potential crime. Are opinions expressed through Touchett, Mr. Pennybrook and Lieutenant McCusker those of Towles, or are they what Towles imagines Touchett, Pennybrook and McCusker would think?
Whatever the answer, in pursuing a crime of false signatures McCusker contemplates how “the boys with the MBAs had begun building Sistine Chapels of larceny right there on Wall Street.” Towles’s background is finance, but did he or does he share McCusker’s simplistic view of Wall Street? I found myself hoping not. With all commerce there’s two sides, and on Wall Street the clients of the institutions are much more often than not smarter than their coverage at the institutions. Think Goldman Sachs, a firm that makes an appearance in a later story by Towles: its wealth managers earning millions a year earn that money because they’re managing the wealth of centimillionaires and billionaires, their traders are covering the most sophisticated hedge funds in the world, and their investment bankers are courting and financing the world’s greatest companies. The Sistene Chapel line implies trickery hatched within investment banks. Ok, but whom did they trick?
In “Hasta Luego,” what most stuck with me was the question asked by Jerry at the story’s end about whether “my wife would be willing to fight for me as hard as Jennifer had fought for her husband.” Her husband, Smitty, unexpectedly has problems that reveal themselves after bad weather forces the cancellation of LaGuardia’s outbound flights.
What’s interesting about Jennifer in the story is that as a reader of it, you find yourself thinking of her as the nightmarish wife, as the person you hope Smitty won’t get in too much trouble with, only for the great storyteller in Towles to force the reader (married male readers in particular) to rethink the perception of Smitty’s wife, and in the process perhaps rethink how they perceive their own wives.
About the canceled flights that set the stage for Jerry and Smitty’s night at a hotel bar in Manhattan, Towles writes of “the audible sighs, the eye rolling, the muttered profanity.” Yes. Fiction is reality in so many ways.
The story of Jerry and Smitty also brings up something about Towles the fiction writer: he knows so much. Smitty loved tequila, “He loved the blanco, the reposado, and the anejo.” In “The DiDomenico Fragment,” we learn about art, including that some art pieces exist as fragments. Who knew? Towles explains why turkey on Thanksgiving is frequently so dry, and all sorts of little and big things that enhance his page-turning stories. It’s a digression on the way to speculating that Towles is a good conversation and a great Trivial Pursuit partner. His knowledge is vast.
Back to the stories, “I Will Survive” seemed least believable at first, but ended pretty powerfully. Peggy worries second husband John is cheating on her, and asks daughter Nell to follow him to his weekly squash game at the Union Club to see if her worries are true. Peggy says to Nell that “You and your sister both like to joke about what a mess your lives would be if it weren’t for John.” Except that John is 68, and he came into their mother’s life at 64. The comment didn’t fit the timeframe?
And when Nell gets dressed to follow her stepfather, her husband tells her to not wear his Mets’ cap since “John is a Mets fan. And when one Mets fan sees another, he’s bound to come over and commiserate.” No, that just didn’t read as realistic.
Just the same, the conclusion of the story did seem realistic. And powerfully so. Without mentioning what Peggy ultimately finds out about her husband, what a revelation it is. And it’s unexpectedly cruel despite the revelation not being of the prurient sort. Towles is so interesting.
In an argument that ensues from the revelation Towles observes that “in the aftermath of a heated conversation, bad ideas travel at the speed of light.” So true, and a reminder to us all that our worst ideas and most crippling thoughts reveal themselves when we’re most prone to act or talk on them. We all need to learn to shut our mouths. Let time elapse. Lots of time.
The least compelling of the stories was “The Bootlegger.” It involves a young, but pretty senior Goldman Sachs investment banker (Tommy Harkness) and his wife at Carnegie Hall for a concert, or series of concerts. Arthur Fein sits next to them early on, and it quickly becomes apparent to Harkness that Fein is taping the concerts. Harkness is deeply offended: he haughtily asserts that “copyright laws were created because a world in which artists cannot secure fair compensation for their endeavors is a world less likely to contain art.” The bet here is that Towles doesn’t agree with Tommy.
Towles plainly loves writing, and while he’s made substantial sums as a writer, it’s hard to imagine he got into it with the expectation that he would be the globally famous author of bestsellers, including one (so far) that’s made it into the miniseries category. The speculation here is that Towles recognized that he had a talent, and then proceeded to write a book for himself. Huge audiences were the against-all-odds surprise.
People create art because they want to, because they can’t not create it. More than a few would still create it even without fair compensation. And if given the choice between typical compensation and reaching millions without compensation, most would take the big audiences. Furthermore, copyright as applied to Carnegie Hall cuts both ways. If Carnegie Hall reserves the right to distribute the music of the artists that play there, why would Fein have needed to bootleg in the first place?
Fein has an answer to the above question, but it didn’t make much sense, nor did it make sense that a top investment banker would suddenly have the inclination or time to walk a pre-scanned part of Manhattan each day in search of Fein in order to apologize for what transpired at the concert hall. And then the reaction of Fein’s daughter to Harkness was way over the top.
“The Bootlegger” is redeemed by “The DiDomenico Fragment.” Once again, Towles knows so much. Or he knows a great deal more than his readers. The short story about a piece of art and subsequent sale of same was interesting and revelatory.
Which brings us to the novella, “Eve In Hollywood,” that closes Towles’s excellent book. About it, I first read Towles’s first novel, Rules of Civility, in 2011. It rates mention because Eve is a character from it, though one I’m pretty hazy about at this point. “Eve In Hollywood” was very good, but would likely be much better after a re-read of Rules of Civility (so little time), and also a re-read of the novella itself.
Having done neither, I lacked sufficient memory of Eve to bring to the novella. The latter also brings a lot of characters into the story at short bursts. The story seemed a little bit difficult to follow, but it was rewarding just the same. So rewarding that it deserves another read.
With “Eve In Hollywood,” Towles is doing novel noir. The Los Angeles of old, “the city within the city that had its own diners and cable cars, its own chapels and banks,” but also the other one defined by “gangsters and grifters and ladies of the night.” Towles writes it so well, including the great Beverly Hills Hotel. To read the novella is to hope that Curtis Hanson (L.A. Confidential) will option it for a movie, or that Roman Polanski (Chinatown) will get ahold of it.
The characters (including Eve) are so interesting, so wise. Prentice Symmons is the once prominent actor who once had great looks because by his own admission he was starving himself. His “rotundity” is what ended his career, and it happened on a day when he “tumbled down the vertiginous trail of my desires.” Food got the best of him. Don’t ever say actors and actresses are soft or don’t work hard.
About men, “we are doomed to end our days in an ignorance largely of our own making” but for the sad fact that we’re “either too proud, too stubborn, or too timid to submit to the process of discovery.” As always, Towles is so interesting, as is his story about a movie industry scandal and bribery that takes place in a town (it’s said 1935 Los Angeles had town-like qualities) where “the law, like everyone else in this city, was on the payroll.”
What a read “Eve In Hollywood” was, and what a better read it will be a second time around thanks to a grasp of the various characters. What a collection of stories Table for Two is. How fun it will be to read and write about what’s next from Amor Towles.