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Asked to Delete References to Racism From Her Book, an Author Refused

The case, involving Scholastic, led to an outcry among authors and became an example of how the culture wars behind a surge in book banning in schools has reached publishers.

Maggie Tokuda-Hall declined Scholasticโ€™s offer to license her book, โ€œLove in the Library,โ€ on the condition that she edit her authorโ€™s note to remove a description of past and present instances of racism.

Florida Rejects Dozens of Social Studies Textbooks, and Forces Changes in Others

The state objected to content on topics like the Black Lives Matter movement, socialism and why some citizens โ€˜take a kneeโ€™ during the national anthem.

Gov. Ron DeSantis of Florida has campaigned against what he has described as โ€œwoke indoctrinationโ€ in the classroom.

The New New Reading Environment


For larger publications, the upside of newsletters is obvious. Email-bound readers can seamlessly swipe over from their Zocdoc appointment notification to their health insurance bill payment notification to their student loan payment notification to their local mass shooting notification to a Washington Post opinion newsletter about the biggest threat facing the nation (still, somehow, cancel culture). Of course, no one has pursued newsletters as zealously as the legaciest legacy-media operation of them all: the New York Times.

Outside the Museum of Literature


Solenoidโ€™s parasites take us well over the horizon marked out by any kind of realism. In one of Cฤƒrtฤƒrescuโ€™s odder fantasias, his narrator comes to know a librarian with a messianic vocation: to find a way to communicate with the subject of his obsession, the world of mites, on whose astonishing variety, beauty, and omnipresence at the edges of our attention he soliloquizes at length.

Finding Form


Writing fiction hadnโ€™t been false, for nonfiction isnโ€™t truer than fiction; but Iโ€™d seemed to row at the shallowest region of the narrative stream, where the water wouldnโ€™t reveal its deepest enchantments. I needed to allow the subject to change the form as I progressed. Where I began with curiosity about my uncleโ€™s fate, my travels made me aware of how little of the war had been monumentalized in the Nigerian landscape, ultimately making it necessary for me to define the shape of my work as a reconciliation with the fragmented nature of the past.
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