Category: Books

(Harvest, 203 pages)

If you are a woman of a certain age who spends any time on social media, you’ve likely encountered Melani Sanders, glasses on her head, glasses on her face, glasses on a lanyard around her neck, speaking deadpan to the camera about the things she doesn’t care about.

Sometimes she’s wearing a shower cap, too, or has a travel pillow around her neck. The more ridiculous the get-up, the better. It’s comedy gold, born in a Whole Foods parking lot.

“Hello, and welcome to all new and existing members of the We Do Not Care Club,” she says. “This is a club for all women going through perimenopause, menopause and beyond. We are putting the world on notice that we simply just do not care much anymore.”

With dramatic effect, she opens a notebook and takes out a pen, which she uncaps with her mouth. “Let’s go ahead and get started with today’s announcements.”

The announcements are the punchlines — the things Sanders doesn’t care about anymore:

We Do Not Care if we are wearing leggings and a graphic tee. We are dressed for the day. We’re ready for bed and possibly dressed for tomorrow.

We Do Not Care if we excel at work. We will be meeting expectations.

We Do Not Care if you have no interest in true-crime stories. Celebrity gossip does not interest us; we need to know why Ann in Toledo offed her husband in 1983.

After the announcements, she invites her audience to send her things they don’t care about anymore. Couldn’t be simpler. Also couldn’t be more viral.

Not even a year after her first “Do Not Care” video hit the internet, Sanders is out with a book, the idea of which will surely thrill her followers. Just the idea — not the book.

What makes Sanders so funny on Instagram — her deadpan delivery — is absent on the printed page, and even the same jokes aren’t as funny when you’re reading them yourself. Moreover, trying to make her short-form persona become long-form in a book, Sanders has produced a book that is part menopause primer, part autobiography, part social media posts and part fourth-grade diary. These things do not go together. The wise crone has no use, truly, for any book whose resources include an Official We Do Not Care Club Membership Card, with dotted lines so you can cut it out.

The clippable Letter to Coworkers is probably a joke? Not so the templates for the letters she suggests we send elected representatives supporting menopause care and research. Peak ridiculousness comes with the lyrics to a song — two full pages of lyrics — that begin:

We’re the We Do Not Care Club / She’s Melani, the fierce leader / Where peri and menopause / Will not ever defeat us.

There were Barney the Purple Dinosaur songs that were more thoughtful and intelligent than this.

A married mom of three, Sanders had a modest social media following with whom she shared household tips and snippets of family life before she went viral pretty much by accident. It is that story, summarized in a few opening pages, that holds narrative promise, promise snuffed out with the “handbook” format, with its club songs and club patches (like Scouting patches).

The only tolerable parts of this book are the occasional “Real Talk with Melani” pages, where she gives tidbits of her life with her husband and their three sons, before ripping us away for a list of things club members have forgotten (“vaccuum cleaner attachments / books we were just reading / sanity”) and all manner of trite self-love exercises. Brief bios of honorary members of the Club add no heft, nor do “Challenges of the Day” such as silencing your inner critic.

Sanders’s appeal is more than comedy. But the deeper issues she speaks to are not plumbed here.

The Official We Do Not Care Club Handbook is evidence that there are many things worse than social media, and one of them is books born of social media. By all means, if you enjoy cutting dotted lines with safety scissors, there is fun to be had with this book. If not, just find Sanders on social media. She’s a queen there, deservedly. Not in this book. D

Featured Photo: The Official We Do Not Care Club Handbook, by Melani Sanders

(Roxane Gay Books, 291 pages)

“You don’t realize how small your life has become until something wreaks havoc, until the pin is removed on which the threads of reality hang.”

That’s Rose Cutler musing on the havoc in her spare bedroom, where her 6-year-old nephew is barking and playing with chew toys, having been inhabited by the soul of a dead corgi.

This is the improbable premise of The Hitch, Sara Levine’s comic novel about a young woman whose world is thrown into chaos by an otherworldly event. Single and childless by choice, Rose lives alone — very comfortably, thanks to the success of her artisanal yogurt business. She’s a vegan, sharing recipes throughout. She’s also a moral scold who can’t get through a meal or a conversation without a lecture about the environmental problems caused by this, that or the other, and yet seems bewildered at the effect this has on other people. (“Chat rooms, social media platforms, electronic bulletin boards — people routinely misunderstand my tone,” she says.)

Rose has a younger brother, Victor, to whom she became a de facto mom after their parents died. Now that Victor is married and has a child, Rose is overly invested in the life of her nephew; spending two hours with Nathan every Saturday is the highlight of her week.

When Rose’s brother and sister-in-law announce they are visiting Mexico for a week to reconnect as a couple, she is thrilled to have Nathan stay with her. But she does not have a contingency plan for the dark turn the week takes when her dog, a massive Newfoundland, accidentally kills a corgi in a park and her nephew insists the soul of the corgi entered him.

This is a ludicrous premise, but Levine is known for absurdity. One of her previous books has three exclamation points in the title (Treasure Island!!!); I’ve not read it but am informed by the internet that it’s a cult classic. The internet also informs that she writes in the style of Kevin Wilson, who has an enormously appealing dry wit. And even though Levine’s muse appears to be slightly unhinged and The Hitch dangles on the precipice of lunacy, it works.

It works because (a) Levine is funny and (b) Rose, despite her circumstances, is achingly familiar; we all know someone like her, or perhaps we are her, if we’re willing to admit it. Rose describes herself as a “scientifically literate person with ethical standards,” and she is struggling to live in a world that violates these standards at every turn. Her own company, the Cultured Cow, violates them, adding to her inner turmoil.

Her comic foil is her sister-in-law, Astrid — Nathan’s mother — who “isn’t a dog person. Or a cat person. Or a people person.”

As much as Victor and Astrid love Nathan, they draw the line on their animal-loving son getting a dog, and so when the soul of the corgi enters him, Nathan is enthusiastic — he sees it as getting an “inner dog.” Rose, however, sees it as her nephew becoming possessed by a corgi, a turn of events made worse by the fact that she doesn’t like corgis: “The bat ears and the stubby legs, the huge head and the black-rimmed prostitute eyes; the length of the body, the absence of a tail! The breed is engineered to make people smile, specifically those people who need to patronize an animal in order to love it.” She is desperate to exorcise the corgi from her nephew before her brother and sister-in-law return from vacation. Hilarity ensues. And some sadness, too, as we begin to understand what motivates Rose, and how lonely she is.

The Hitch is by no means the great American novel, nor does it aspire to be. It’s more like a single episode of a sitcom contained in a book. Humorless vegans and corgi lovers best stay away, but for everyone else Levine offers a light-hearted diversion from the more reality-based cares of the world. B+ —Jennifer Graham

Featured Photo: The Hitch, by Sara Levine

(Summit Books, 229 pages)

A dozen years ago Tom Layward learned his wife had an affair. He decided he’d stay with her until his youngest child left home.

Now that milestone has arrived. Tom’s son, Michael, is living in Los Angeles, coming home as rarely as he can get away with; he has become “one of those young people who decides that contact with their family is not a source of happiness, so you have to limit it to unavoidable occasions.” His daughter, Miri, is headed to Carnegie Mellon University and trying to extract herself from a romantic relationship before she goes.

For Tom and his wife, Amy, the past 12 years have been an exercise in marital managed care. Most people who stay married for the long haul, Tom observes, do so because “you’ve accepted that this is what they’re like, and what your life with them is like, and you stop expecting them to do or give you things you know perfectly well they’re unlikely to do or give you. It’s like being a Knicks fan.”

With that, author Ben Markovits signals what the ride of Tom Layward’s life will be like in his 12th novel, The Rest of Our Lives: an excavation of a marriage and its attendant family life, served with droll wit that is a welcome interruption to Tom’s matter-of-fact recitation of events.

It’s a quite manly book, unusual in a fiction market oversaturated with women’s points of view.

Tom, the first-person narrator, is a 55-year-old law professor who departed from literature when he realized he actually would have to write a book. He met his future wife (who “looks like the kind of woman who can ride a horse, which she actually can”) when they were both graduate students in Boston. Amy’s family has a vacation home on the Cape, which is where we first observe the Layward family’s dynamics: the simmering conflict between husband and wife, and between wife and daughter, of which Tom notes, “from the beginning their relationship was one long argument.”

Tom’s relationship with his kids is less fraught; he feels comfortable talking with his son, and he is looking forward to driving his daughter from their home in Scarsdale, New York, to Pittsburgh, as a family. When Amy decides not to go, he doesn’t object and is still planning to drive home after moving his daughter in.

But after spending the night in the spare bedroom of a friend in Pittsburgh, he takes off on an impromptu road trip that will begin with a visit to his brother and end with a visit to his son, first visiting a Walmart to buy clothes, snacks and a basketball for the road. (“If you ever want to feel your place in the scales of the universe, go into a Walmart Supercenter,” Tom says.)

He has the bandwidth for a road trip because, unbeknownst to Amy, he’s on leave from his job, having inadvertently become entangled with a scandal through a client. When she reaches him, bewildered, he’s in Akron and vaguely explains that he needs a few days to himself. It’s clear he’s not even really sure what he is doing or what he will do next. Meanwhile, the physical problems he’s been having for months — waking up with a puffy face and draining eyes — are worsening. Everyone has been telling him to get medical help, but Tom is too involved in his existential crises and keeps writing the symptoms off as long Covid.

Throughout the trip Tom ruminates on his marriage, which he concludes “was a C-minus marriage, which makes it pretty hard to score much higher than B overall on the rest of your life.” Along the way we learn more about Tom’s childhood and other aspects of his life.

He doesn’t have an especially compelling voice, which can make it difficult to want to stick with him when he’s talking about minutiae, such as what he and others are eating. There are no made-for-Hollywood plot twists here, just the quiet unspooling of a life, with two questions that beckon the reader to the end: What’s wrong with Tom physically, and will he leave his wife?

The Rest of Our Lives, first published in the U.K.,was on the short list for 2025’s Booker Prize, which may baffle some readers who find the novel’s plodding pace tough sledding. But it doesn’t so much intend to dazzle as to evoke, and its heart and intelligence won me over, as did its understated ending. B+ —Jennifer Graham

Featured Photo: Dragon Cursed by Elise Kova.

(Entangled Publishing, 464 pages)

It’s been a minute since I’ve been so enraptured with a book that I removed myself from real-life obligations to immerse myself in a different world, and I have no shame about the fact that the book that brought me to this magical place is a young adult novel. Dragon Cursed is in good company, living on the same shelves as The Hunger Games and Harry Potter.

My skepticism in starting this was less about the genre and more about whether I wanted to read another dragon-themed book, having recently read the non-YA Empyrean series by Rebecca Yarros and other dragon-adjacent books. I’m glad I didn’t let that stop me. Dragon Cursed is unique despite some typical tropes, and it’s fun, fast-paced and full of compelling characters. I loved the heroes and hated the villains — and I love that sometimes it was hard to know who was who.

This was only my second experience with an Elise Kova novel, but she’s published many fantasy/romance books and series for adults and young adults. Prior to this I listened to her most recent adult novel, Arcana Academy, on audiobook and really enjoyed it.

Dragon Cursed is set in Vinguard, where dragons are an eternal threat to the people. The main character, 18-year-old Isola, was deemed “Valor Reborn” at age 12 after she survived a face-to-face encounter with a dragon. She then spent six years training with the vicar of Vinguard, who pushed her to her limits, assuming she has the ability to battle the Elder Dragon, as Valor had done.

Isola doesn’t believe she’s Valor Reborn. She’s terrified that she’s actually dragon cursed.

Being dragon cursed means someday transforming into a dragon that can and will destroy anything and everything. To prevent this, every year Vinguard holds a Tribunal for all 18-year-olds.

“Every moment of this Tribunal is a test — a test to ensure that a dragon cursed does not draw breath within the walls of Vinguard,” the vicar says. If there are any signs that there’s a dragon within a tribute, he is killed by Mercy Knights, so called because it is seen as an act of mercy to kill someone before they become a beast.

Heading into the tribunal, Isola worries that every challenge she faces could out her as dragon cursed. She’s not alone, though. She’s there alongside her best friend, Saipha, as well as a few enemies who seem to dislike her because of the attention she’s received as Valor Reborn. And then there’s Lucan, a maybe enemy or maybe friend, who follows her as if he’s been assigned to watch her every move. Lucan was taken in by the vicar and is assumed to be his prodigy, but Lucan’s motives become less clear as he both hurts and helps Isola throughout the trials.

The “is he friend or foe?” trope of course paves the way to a simmering romance between Lucan and Isola. It’s PG, definitely YA appropriate, and just the right balance of frustrating tension, complicated feelings and tender moments.

My 17-year-old daughter just finished the Empyrean series and loved it — except for the rather explicit spicy scenes. So I gave her Dragon Cursed and assured her that it is full of action and drama and dragons, but way lighter on the intimacy.

One minor complaint: The use of magic was confusing at times. There were several instances during the trials where I thought, “Wait, what just happened?” I’m pretty new to the fantasy genre, though, so that could be my lack of understanding of how, for example, sigils work. Fantasy requires a fair amount of suspending disbelief anyway, so this didn’t impact my enjoyment.

Finally, one small pet peeve: the book jacket and promo materials call the human city “Vingard,” but throughout the book it’s “Vinguard.” The first edition of the book is so visually beautiful and the story so well-written that it’s a shame this was overlooked.

Regardless, Dragon Cursed is a fun, moderately suspenseful, lightly romantic addition to the ever-growing lineup of dragon tales. A

Featured Photo: Dragon Cursed by Elise Kova.

(Farrar, Straus & Giroux, 401 pages)

During the Covid-19 pandemic, George Packer often traveled between rural New York and New York City. They seemed like two different worlds, he told the Pittsburgh Review of Books. The dichotomy underpins Packer’s dystopian novel The Emergency.

It centers on 48-year-old surgeon Dr. Hugo Rustin, struggling to adapt to his new life after the collapse of the government, defined only as “the empire.” There was a standoff in the capital that lasted for weeks and devolved into fighting between mobs, and before long the leadership and police fled and looting began. A new form of governance emerged, more egalitarian than the old system, marked by the motto “Together.”

Rustin was happy to do what he could to keep the hospital running. But as Together took hold, he began to resent some of the changes — how people under his command called him by his first name, how titles like “nurse” or “housekeeper” were replaced with “healing associate” and patients were called “healing recipients.”

He finally snaps when a junior associate points out a mistake at the end of a grueling day. That results in Rustin being called into a meeting — a “Restoration Ring” — where his colleagues recite principles of Together like “I am no better and neither are you” and “Listen to the young.” Rustin tries to apologize without compromising his values, and it doesn’t go well. He is advised to spend a month wandering around the city and then come back and share the lessons he has learned.

Meanwhile, Rustin’s wife, Annabelle, is caught up in the spirit of Together and starts a ministry of sorts helping to care for the homeless “Strangers” constructing tent encampments near their home. His son Pan and his daughter Selva, too, have taken up the cause.

It is the father-daughter relationship that is at the heart of this book, as Dr. Rustin and Selva attempt a dangerous journey in a dystopian world even while bickering about the ordinary things families bicker about. Rustin understands that Selva’s beliefs, as much as he thinks they are wrong, come from a good place — at one point, she tells him, she has been angry with him “because you never believed the world could be better or worse than the one you gave me. And that breaks my heart.”

And Packer makes it clear that there were things wrong in the pre-Emergency world; for one thing, the disdainful way Rustin and those of his standing referred to the bottom 10 percent, the ones barely getting by and often succumbing to addiction, as “Excess Burghers.”

But there are uncomfortable things in the new world, too, such as the “Suicide Spot” — a gallows where young people go and put a noose around their neck, and are then talked out of the act by young people serving as “Guardians.” It is a ghastly sort of therapy, but the Guardians take pride that they have not lost a child. And there are ghastly things that father and daughter encounter as they venture beyond the city’s borders in hope of reuniting a “Stranger” father in the city with his missing son.

From the opening pages of the novel it is clear we are being asked to consider what happens when a society of disparate means and morality throws out the old ways of being for a new order. But it is not clear whether Dr. Rustin is the hero or the antihero in this world. That is one of the mysteries that propels the reader through the story; it is as compelling as whether Hugo, Annabelle and their children can stay together in a Together world. Give Packer credit for not revealing his hand; this is a deeply nuanced book. Most astonishingly, it’s also occasionally funny. B+

Featured Photo: The Emergency, by George Packer

(St. Martin’s Press, 287 pages)

From Hollywood stars who microdose the drug to people who were once hundreds of pounds overweight, many people have found Ozempic and its imitators to be game-changers. Ozempic has also been a game-changer for Novo Nordisk, the Denmark-based company that brought the drug to market at a time when its fortunes were failing.

In the 1990s the company had what was internally described as “an innovation problem,” Aimee Donnellan explains in this deep dive into the history of Ozempic and similar drugs. But Novo Nordisk had a promising project, a drug to help people with diabetes. It was a synthetic version of a gut hormone called GLP-1 (glucagon-like peptide 1), discovered through research on anglerfish caught in Boston Harbor, and it proved a powerful means of lowering blood sugar in people with diabetes — and, fortuitously, of helping these same people lose weight.

The weight loss industry has long been profitable in America, and it was clear there was money to be made. Ozempic was used for weight loss off-label; word spread and so did its use.

Several researchers did the work that would lead to this breakthrough, among them Danish chemist Svetlana Mojsov, whose work preceded the approval of Ozempic by more than a decade. But science is as competitive as politics, especially when its result is lucrative, and Donnellan takes up the banner of Mojsov here, presenting her as a woman done wrong by men who attempted to take credit for her work (and might have succeeded had she not kept detailed notes).

The story of the behind-the-scenes infighting seems incongruent with other parts of Off the Scales, which can’t seem to decide what sort of book it wants to be.

Donnellan, a Reuters columnist who covers the pharmaceutical industry, begins with the story of a marketing specialist in Michigan who lost more than 100 pounds on Ozempic and saw her world change. At work Sarah started getting promotions, even though her performance was the same. “At her parents’ house, her father, previously loving but somewhat absent, seemed to take a newfound interest in her. She could visibly see how proud he was of her. Now 34, she had never before seen this look on his face.”

Through Sarah’s story and others, Donnellan offers a picture of lives changed. Formerly invisible people gain social status as their bodies shrink and gain peace as the “food noise” that had dominated their lives quiets.

She also shares disturbing stories, like that of a Los Angeles hairstylist who lost weight on Mounjaro, albeit while also taking an anti-nausea medication because she constantly felt sick. After four months a friend told her she looked gaunt; she started getting facial injections to restore volume to her face. (Donnellan notes that not everyone can afford dermal fillers.) Moreover, Donnellan writes, “for a small minority of GLP-1 users, the side effects are so severe that they may wish they never even heard of the medication.”

Donnellan presents these and other stories without judgment. Toward the end she touches on what may be the most underreported part of the story: how these drugs will affect the culture as people who use them change their eating habits (several writers have tried to tackle this, as Kari Jenson Gold did in a First Things essay titled “The Night Ozempic Came to Dinner”). Donnellan suggests that changed eating patterns may spell doom for fast food restaurants and the makers of ultra-processed food, and says weight-loss drugs may also affect alcohol consumption.

But we are new to the GLP-1 world and we don’t know the drugs’ effect decades out. Donnellan’s examination, while sometimes disjointed and uneven in its readability, raises interesting questions. B-

Featured Photo: Off the Scales, by Aimee Donnellan