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      The Actress Candy Clark Captured Some of the Most Famous Faces. Then She Put Them in a Drawer.

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      The actress Candy Clark documented her unlikely journey through 1970s Hollywood in a series of Polaroids, now published in a memoir.Jeff Bridges taught her how to drive in his Volkswagen bus. Steven Spielberg refused to flirt with her. She successfully talked the actor Rip Torn out of assaulting the director Nicolas Roeg on a movie set. While lying on a beach in Mexico with the painter Ed Ruscha, she was grazed by a stray bullet on the thigh. Once, she pinched David Bowie’s nipples.In Los Angeles, a city built on oversize lore and swaggering legend, where does one file away stories like these? Revealing but not gossipy. Candid but not lurid. Occasionally surreal but consistently sweet.“It’s a confessional era, right?” said Candy Clark, a former actress who wears a neat blonde bob and Warby Parker glasses, sitting in a booth at the Sunset Tower Hotel in West Hollywood, Calif. It was a recent Sunday afternoon, and Ms. Clark — the one behind the wheel of Mr. Bridges’s van, the starlet who tried to flirt with Mr. Spielberg, the peacemaker, the bullet-wound victim and the nipple-twisting culprit — was nibbling on pita and hummus.Dodging a life of mundane midcentury expectations, she started a modeling career in New York and went on to become a darling of the “New Hollywood” era in the 1970s. During her five decades onscreen, she collected over 80 film and television credits, establishing herself as a ubiquitous face who played mostly free-spirited lovers and burnouts like Debbie Dunham in “American Graffiti,” the part that earned Ms. Clark an Oscar nomination. It was her second-ever acting role.“It was my arrival,” she said, recalling the nomination. “You’re just the center of the universe, and it’s really wonderful.”A young Ms. Clark with the X-70 Polaroid camera she used to take photos of her fellow actors, before many of them became mega-famous.Candy ClarkWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘Streetcar,’ Patsy Ferran Gives Blanche a Nervy New Read

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      The London-based actress has been heralded as one of the most talented of her generation. Still, she worried audiences would balk at her “very unconventional Blanche.”Patsy Ferran will not judge a book by its cover. But covers are important to her. “See?” she said, palming a copy of a Barbara Kingsolver novel at a Brooklyn branch of McNally Jackson bookstore. “Such a good cover. Aesthetics do matter.”Ferran, a London-based actress, is currently starring in Tennessee Williams’s “A Streetcar Named Desire” at the Brooklyn Academy of Music, just up the road from the store. A latecomer to reading for pleasure, Ferran picked up fiction, particularly American fiction, during the pandemic lockdowns and has yet to put it down. Currently working her way through Percival Everett’s “James,” with Samantha Harvey’s “Orbital” cued up next, she had promised herself that she wouldn’t buy any more books. But the shelves were calling.“I kind of explore cities via book shops,” she said. “That and good coffee.”In the store, Ferran, lively, shrewd and lightly self-deprecating, (“I do my own glam,” she said wryly as she shook out her hair from a woolly hat) picked up and put down several recent paperbacks, enthusing about their feel. “British paperbacks are so stiff, you have to crowbar them open, which I hate,” she said. Ferran decided that she might buy just one. Or two. Certainly not more than three.Ferran leaped onto the London “Streetcar” days before previews were set to begin after another actress had to withdraw from the role.Dina Litovsky for The New York TimesFerran, 35, made her professional debut just after her graduation from the Royal Academy of Dramatic Art, in a production of Noël Coward’s “Blithe Spirit.” More stage roles followed, including her first lead, as Alma in “Summer and Smoke,” also by Williams, directed by Rebecca Frecknall. “This young actor is a genuine marvel, as hilarious as she is heartbreaking,” one critic wrote of the performance. Soon she was recognized as one of the most talented stage actresses of her generation.Small and quick, with dark, curling hair, Ferran was an unusual choice for Blanche. A great American heroine, “an aging Southern belle who lives in a state of perpetual panic about her fading beauty” in Williams’s words, Blanche is typically played by willowy, languorous blondes. (Recent New York Blanches include Cate Blanchett and Gillian Anderson). Ferran knows this. She worried that audiences would dismiss her as the wrong cover for this particular book.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      5 Books on Healing From Trauma

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      Neuroscientists, psychologists and other experts share the titles they recommend most.When Gabor Maté was in his 40s and a successful doctor in Vancouver, Canada, he struggled with depression and strained relationships. Picking up “The Drama of the Gifted Child,” by Alice Miller, was the first step to understanding the root of his problems.“A good book gives you a map to yourself,” said Dr. Maté, now a trauma researcher and author of “The Myth of Normal.”While reading Dr. Miller’s book, his experiences started to make sense. “My depression, my self-loathing,” he explained, were a result of early childhood trauma.Trauma is a deeply distressing experience that leaves lasting effects on a person’s thoughts, emotions and behavior. It rewires both the body and mind and shapes overall health. Research shows, however, that the right tools can help us regulate our emotions and rebuild a sense of safety.Many people are hungry for books that explore trauma: Dr. Bessel van der Kolk’s “The Body Keeps the Score” has sold more than three million copies globally and spent more than six years total on the New York Times best-seller list. But there are other works that can help us make sense of negative experiences.The five titles below were recommended by neuroscientists, psychologists and trauma specialists as sources to help you understand and process trauma.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Do You Know the Classic Works That Inspired These Popular Family Movies?

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      “The Lion King,” first released as an animated film in 1994, has spawned multiple adaptations and sequels, including Julie Taymor’s 1997 Broadway production and a soundtrack companion album by Beyoncé for the 2019 computer-enhanced movie version. The plot of the story, about a young lion finding his place in the world, has been compared to which play by William Shakespeare? More

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      Book Review: ‘Class Matters,’ by Richard D. Kahlenberg

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      Richard D. Kahlenberg has long argued for colleges to weigh socioeconomic status to promote diversity. His position is more relevant than ever.CLASS MATTERS: The Fight to Get Beyond Race Preferences, Reduce Inequality, and Build Real Diversity at America’s Colleges, by Richard D. KahlenbergIf there is one lesson that centrist Democrats have taken from Donald Trump’s startlingly broad-based victory in November, it is that their party will never return to majority status unless it regains the trust of working-class Americans. Those voters — nonwhite as well as white — rejected the language of race and identity that they associate, fairly or not, with the Democrats. So it’s no surprise that the party has scrambled to develop a “credible working-class message” that will “win them back,” in the words of one super PAC that plans to invest $50 million in the effort.Enter Richard D. Kahlenberg, who has been arguing for virtually his entire adult life that our race-based system of affirmative action pits the white working class against Black people, and aligns the Democratic Party with middle-class or well-to-do beneficiaries of color against Americans who see themselves as the losers in a zero-sum game. His ship finally came in two years ago when the Supreme Court ruled that affirmative action violated the Civil Rights Act and the 14th Amendment. Kahlenberg’s new book, “Class Matters,” is his personal history of the debate, his victory lap and his spirited argument for a liberal politics of class rather than race.That victory lap is hard to begrudge: Kahlenberg writes that he has been laboring in the vineyards since he wrote his senior thesis at Harvard in 1984 on Robert F. Kennedy’s attempt to forge a cross-racial working-class coalition in the 1968 presidential election. Kahlenberg found that Kennedy opposed even mild forms of racial preference in favor of economic programs that would benefit all working-class Americans. I was as surprised to learn this now as Kahlenberg was then, though as a biographer of Hubert Humphrey I know that the devastating loss in 1968 sent Humphrey on the same trajectory.A politics in which elite liberals told ordinary white Americans that they had to make sacrifices — from which elites themselves were largely exempt — in order to compensate for historical injustices was an invitation to disaster.Just before the 1992 election, Kahlenberg notes, the Democratic pollster Stanley Greenberg concluded that the fraction of white voters who felt they had a “personal responsibility” for those injustices was “zero.” Greenberg described affirmative action as a “problem of historic proportions” — as mandatory school desegregation plans had been for an earlier generation of Democrats. Bill Clinton won the 1992 election in part by soft-pedaling race-specific policy solutions; but as president, Kahlenberg concludes, Clinton felt the need to reward civil rights groups by embracing affirmative action.Unlike many conservatives, Kahlenberg accepts the immense salience of race in American life and thus the unfair disadvantages so many students of color face. But the ugly secret of affirmative action, the author argues, is that most Black beneficiaries are middle-class, while many of the white or Asian applicants left out in the cold are working-class students who have done well in school despite significant disadvantages of their own. Are they less deserving?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Book Review: ‘Tilt,’ by Emma Pattee

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      Emma Pattee’s debut novel, “Tilt,” takes place in the 24 hours after “the really big one” devastates the Pacific Northwest.TILT, by Emma PatteeThe most read New Yorker article of 2015 was Kathryn Schulz’s “The Really Big One,” about the potentially devastating Cascadia earthquake that has a 1-in-3 chance of striking the Pacific Northwest within the next 40 years. Taking this very real threat as its knockout premise, Emma Pattee’s debut novel, “Tilt,” is a moving adrenaline rush that also manages to be very funny.When “the really big one” hits, Annie — who narrates the novel as if addressing her unborn child, “Bean” — is 37 weeks pregnant and shopping for a crib at Ikea in Portland, Ore. “Tilt” takes readers through the next 24 hours, with chapters that flash back to fill in the details of Annie’s life. Annie and her husband, Dom, are “star children who forgot to become stars”: Annie, once a promising playwright, supports them as the office manager at a tech company, while Dom auditions for acting roles and picks up shifts at a cafe. Financially strapped, creatively stifled and increasingly distant, Annie and Dom are, “if not on the path to breaking up, at least able to see the path to breaking up from where we’re standing.”But when Annie emerges from the rubble of Ikea, all she can think of is finding Dom. And so she embarks on a journey across the ravaged city. In the summer heat, swollen and dehydrated, Annie trudges past collapsed bridges and burning houses, looted shops and leveled schools. Along the way, she crosses paths with others in their own dire circumstances — most memorably an Ikea employee named Taylor — some of whose fates we will learn, some of whom the narrative will leave behind as Annie presses on.The ingredients in “Tilt” are familiar: a bit of Emily St. John Mandel’s “Station Eleven” (theater kids in the apocalypse) and a bit of Rumaan Alam’s “Leave the World Behind” (cutting social observation in the apocalypse); the acerbic takes on marriage and motherhood reminiscent of Ashley Audrain and Rachel Yoder. Shaken together, these ingredients make for a potent cocktail.I cried more than once reading it. The book’s cover image — a small model bird — comes from an anecdote about Annie’s late mother’s unrealized artistic ambitions that is as heartbreaking as any of the tragic scenes Annie encounters on her journey. I also laughed out loud at many of her dark, unfiltered thoughts, like this one: “I read somewhere that in the case of a natural disaster, you should not look strangers in the eye in case they die later and you’re forced to eat them.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Book Review: ‘Yoko: The Biography,’ by David Sheff

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      David Sheff’s new biography convincingly argues for John Lennon’s widow as a feminist, activist, avant-garde artist and world-class sass.YOKO: The Biography, by David SheffHere’s the thing about Yoko Ono, the artist and widow of the murdered rock star John Lennon (usually not identified in that order), and the subject of David Sheff’s new biography. She is funny — ha-ha, not peculiar.Asked by an interviewer if she’d ever forgive Lennon’s killer Mark David Chapman, since Pope John Paul II had visited the jail of his own would-be assassin to offer absolution, Ono replied: “I’m not the pope.”Promoting an ephemeral Museum of Modern Art “exhibit” in 1971, in part to protest the underrepresentation of women and Asian people there, she posed in front with a strategically placed shopping bag so that the building signage read “Museum of Modern (F) Art.” (This was years before “Family Guy”!)Elton John recounted in his memoir, “Me,” how he’d wondered why Ono had sold the herd of Holstein cows she’d bought, trying to invest ethically. “All that mooing,” she told him.For Ono, now 92 and mostly out of the public eye, to have written her own “Me” would have been profoundly out of character. Her art was crowdsourced long before that was a word. “Self-Portrait” was a mirror in a manila envelope that reflected the viewer. She invited audiences to step on a painting, play a form of the child’s game Telephone, climb into a bag, cut off her clothing or otherwise “finish” her visions.Following Lennon’s death in 1980, trusted intimates flouted confidentiality agreements, stole the couple’s memorabilia and wrote tell-alls that Ono fought hard to suppress. (“Best book I’ll ever burn,” their son, Sean, told one particularly egregious betrayer in court.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Book Review: ‘Twist,’ by Colum McCann

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      TWIST, by Colum McCannIt’s a literary conundrum of sorts, how on the surface Colum McCann’s novel “Twist” feels narratively disheveled, with subplots warmed up and abandoned, and loose threads dangling as they do everywhere in life. But the parts are not the sum. McCann, author of six previous novels, including the National Book Award-winning “Let the Great World Spin,” clearly knows what he’s up to — every sentence feels placed with confidence — and through various authorial wiles he has produced a work at once enigmatic and urgent.“Twist” begins with a fairly straightforward narrative. Anthony Fennell, an Irish writer down on his luck, gets an assignment from an online journal to write a piece on the undersea cables that carry the world’s data and the repair teams that patrol the oceans, fixing ruptures. He narrates the saga.Fennell’s editor sends him to Cape Town, where he is to sign on with a repair ship and meet a man named Conway, who is in charge of operations. Waiting in a hotel lobby, Fennell spots Conway on the sidewalk, checking his flip phone. Nothing about the man quite computes. “I certainly thought he would be older, grayer and at the very least have an aura of the smartphone about him,” Fennell thinks. “But here he was, a creature from the unplugged side.” The hook is deftly set.Conway is, and will remain, a mystery: immediate and engaging at first, later aloof and noncommittal — and capable, as we’ll see, of extraordinary actions. Though they’ve just met, he straightaway asks Fennell to come meet his partner, Zanele, a South African-born stage actress. Fennell is wholly taken by her beauty and her obvious bond with Conway. He is now full of conjecture about this man who will preside over his fate for the next weeks.All things change when men are put out to sea. The immensities of sky and ocean are humbling. Shipboard life is a world unto itself, a primal reordering of things, and Fennell is a clear outsider. At the same time, Conway, his only link, has grown distant.Conway charts the path to the first reported break. Though he can be mercurial in his interactions with others, he is completely fixated on his mission. But, as a woman Fennell meets before the trip warns him, “He aspires downward, you’ll see.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More