“I went too far,” he said. “It’s my fault, after all! I recognise that.” He had not met 77 serial killers, he acknowledged, but rather about 30, and some of them only briefly. Still, 30 struck him as a reasonably impressive total, all things considered. “My accomplishments might have been enough on their own, without my additions,” he reflected. He had had himself psychoanalysed; the trouble was, of course, with his parents. He had also begun a census of all known French serial killers, and was in the midst of expanding his book on Kemper. “I love to write!” he told me.
If you were on the internet in the 2010s, you’re probably aware of Calloway’s work, even if you can’t quite remember the specifics. Her writing appeared on websites like Thought Catalog and Vice, which were dedicated to archiving the feelings of upwardly mobile white millennials. Then in 2012 came the story that brought her both notoriety and ridicule; “Adrien Brody” was published online by Muumuu House, a small press founded by alt-lit writer Tao Lin in 2008. (The actor Adrien Brody has no apparent link to the piece.) In it, Calloway describes meeting a man online and sleeping with him. He’s significantly older than her, has more power in their dynamic, and has a girlfriend. “I know you said you don’t want me to say this,” “Brody” — a pseudonym seemingly selected because of the absurdity of naming him after someone so famous — tells her at the end of their encounter, “but you will connect with someone one day. It’s just not going to be me.” Amidst the female personal essay boom of the 2010s, the lengthy piece went viral.
EARLY INTO Naji Bakhti’s Between Beirut and the Moon, the novel’s protagonist Adam hides in a single bathroom with his family from Israeli aircraft bombs dropping in the distance. As the hours pass, Adam’s father asks him and his younger sister about school, literature, and soccer to distract them, while his chain-smoking mother reminds him that he’s “lucky” because he will now have inspiration as a writer later on. Adam resents his mother’s positive spin; not only does he find her use of black humor unsettling — after all, no citizenry would possibly be thankful for being bombed — but he dreams with unflinching determination of becoming an astronaut, not a writer: “I wanted to shout back … to exclaim that there was probably infinitely more inspiration in space than there ever would be in a tiny old bathroom in Beirut.”
In 1947, a 16-year-old David Cornwell left the British boarding school system where he’d spent many unhappy years and ended up in Switzerland, where he studied German at the University of Bern—and caught the attention of British intelligence. As the restless child of an estranged mother and a con-man father, and a precocious student of modern languages to boot, the young wayfarer was a natural recruitment target for the security services, which scooped him up in the late 1940s to be “a teenaged errand boy of British Intelligence,” as he put it in his 2016 memoir, The Pigeon Tunnel. Over the next 15 years, those little errands would continue and grow, furnishing Cornwell with the material that would fill the whopping 25 spy novels he wrote under the pen name John le Carré.
Recommended by Robin Whitten
I wouldn’t say The Sandman is a comfort read! The Sandman is an audio adaption of Neil Gaiman’s comic book series. The graphic novels are not new—they’ve been ongoing for many years—but the series has been adapted by Dirk Maggs and performed with this incredible cast that’s led by James McAvoy. Neil is in it—who is of course a wonderful storyteller himself—Michael Sheen, Taron Egerton, Bebe Neuwirth, Andy Serkis. It’s a great cast and the adaption that Dirk Maggs did is brilliant. If you’re not familiar with him, he was a collaborator with Douglas Adams on all The Hitchhiker’s Guides. So he has done many different adaptions and productions of audio drama and this is quite something. It’s dark, it’s very mysterious, but it’s very engrossing as a listening experience. It was too scary for me, but I loved the audio experience of it.
Roy shows that, while resistance is often dangerous and hopeless, it can also be joyful. There’s something gorgeous and seductive about Roy’s depiction of life among the “comrades,” the Maoist guerrillas in the Dandakaranya Forest who resist the Indian government’s violent attempts to convert their land into mines. These “strange, beautiful children with their curious arsenal” walk for days to reach a communal spot to dance together, right under the noses of the police and the murderous Salwa Judum. She doesn’t flinch from describing the diseases and violence she found among the Maoists, and certainly doesn’t advocate that everyone drop their lives to walk in the forest alongside these rebels. “It’s not an alternative yet,” she writes of the guerillas’ approach. “But it certainly has created the possibilities for an alternative.”
Robert Macfarlane’s Landmarks
There’s just one problem when you’re trying to convince other people that the best book in the world is a book about nature. The problem is that a lot of people don’t like nature. Or it’s not that they dislike it. It’s that they don’t think about it any more than they think about stamp collecting or subatomic physics. No one will fly into a rage if you say you’re on the trail of the British Guiana 1-Cent Magenta or the Baden 9 Kreuzer Error Stamp, just as they’re not like to start throwing the furniture through a window if someone starts geeking out over the fact that beryllium emits electrically neutral radiation when bombarded with alpha particles. Scockers, whelms: it’s all East Anglian to them.
If Robert Perreau was telling the truth—if he had, indeed, been taken for a rube by his conniving sister-in-law—then he would hardly have been the first. From a young age, Margaret Caroline Rudd had an almost supernatural ability to manipulate those around her, especially when it came to men. Her opinion of the opposite sex was no doubt cemented in her formative years, after she was expelled from boarding school at the tender age of 13 for so-called “illicit relations” with a staff member. Social mores of the time placed blame firmly upon the victim, at least if the victim were female, and local gossip could barely keep up with the flirtations and affairs that supposedly followed. At 17, Caroline ran off with an English soldier whose regiment was stationed near her small Irish hometown, but his commanding officer promptly sent her home again. Undeterred, she continued courting military men—who offered both a secure income, and an escape from the drudgery of rural life—until she won the heart of another young soldier named Valentine Rudd. Ten days after meeting, the two were married.
An interesting story of a heist – of a rare book, committed by college students.
By one o’clock that afternoon, the 227-year-old liberal-arts college was swarming with campus police, uniformed Lexington Police, plainclothes detectives, and forensic teams, as well as local news crews covering the developing “Transy Book Heist,” a crime that would one day be listed among the F.B.I.’s all-time most significant art-theft cases. From the facts that were available, it appeared that a team of four men, described as Caucasian, in their 20s, had stolen some of the most prized books and manuscripts in the university’s collection, and attacked a librarian in the process. The take could be more than $5 million. The thieves left no fingerprints behind, and there were almost no witnesses.
When you immerse yourself deeply into nature, exposing yourself to discomfort and risk, you recalibrate more sensitively to unseen patterns and rhythms. You feel your own pulse and breath instilled with a peace and calmness. The rugged landscape becomes hewn differently, takes on more intimate contours. Immersed daily in the sea, swimming in all weathers, it is interesting how other aspects of your life start adjusting to this routine. Tasks are organised differently, more closely aligned to the bigger cycles of sun, moon and tides and seasonal shifts. Some call this biodynamic living, and it makes sense. It connects the unique solitude of every animate or inanimate sentience, and connects it to an expansive, interconnected universe.