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    Mario Vargas Llosa: An Appreciation

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    The Peruvian author Mario Vargas Llosa was the world’s savviest and most accomplished political novelist.Once upon a time, during the last quarter of the 20th century, it was possible to argue that one person was America’s best novelist and best literary critic. I am talking about John Updike, whose long and elegant reviews in The New Yorker set reading agendas.Such was Updike’s influence that readers paid heed when, in the mid-1980s, he developed a sustained literary man-crush on the Peruvian writer Mario Vargas Llosa, who died on Sunday at 89.More than once in his reviews of Vargas Llosa’s novels, Updike took note of the author’s handsomeness and urbanity. He was more impressed by Vargas Llosa’s substantial intelligence, his learning, his versatility and his imagination, which could conjure the comic fussiness of a tiny left-wing splinter group in solemn session, or the nauseated feelings of a young wife who discovers that her husband is gay, or the mixed feelings of a citified idealist engaging in a gun battle in the Andes while beset with altitude sickness.Vargas Llosa “has replaced Gabriel García Márquez” as the South American novelist North American readers must catch up on, Updike wrote in 1986, four years after García Márquez received the Nobel Prize in Literature and 24 years before Vargas Llosa himself would.Even Updike was two decades late to the writer’s work. Vargas Llosa had already published most of his major and enduring novels, including “The Time of the Hero” (1963), “The Green House” (1966), “Conversation in the Cathedral” (1969) and “The War of the End of the World” (1981). These grainy, raunchy, politically minded and mind-expanding books found a worldwide audience but were slower to catch on in the United States.Vargas Llosa had helped start, in the early 1960s, a movement that became known as the Boom, a term applied to a freewheeling and socially conscious new generation of Latin American writers: García Márquez, Carlos Fuentes, Julio Cortázar, Juan Rulfo, Guillermo Cabrera Infante, José Donoso and Miguel Ángel Asturias, among others.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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      She Worked in a Harvard Lab to Reverse Aging, Until ICE Jailed Her

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      A barracks-style detention center in Louisiana is jammed with around 90 immigrant women, mostly undocumented workers from central and South America, sharing five toilets and following orders shouted by guards.There is also, among them, a Russian scientist.She is 30 years old, shy and prone to nervous laughter. She cannot work, because her laptop was confiscated. She plays chess with other women when the guards allow it. Otherwise, she passes the time reading books about evolution and cell development.For nearly eight weeks, Kseniia Petrova has been captive to the hard-line immigration policies of the Trump administration. A graduate of a renowned Russian physics and technology institute, Ms. Petrova was recruited to work at a laboratory at Harvard Medical School. She was part of a team investigating how cells can rejuvenate themselves, with the goal of fending off the damage of aging.On Feb. 16, customs officials detained her at Logan International Airport in Boston for failing to declare samples of frog embryos she had carried from France at the request of her boss at Harvard. Such an infraction is normally considered minor, punishable with a fine of up to $500. Instead, the customs official canceled Ms. Petrova’s visa on the spot and began deportation proceedings. Then Ms. Petrova told her that she had fled Russia for political reasons and faced arrest if she returned there.This is how she wound up at the Richwood Correctional Center in Monroe, La., waiting for the U.S. government to decide what to do with her.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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      The Masters Helped Turn Ely Callaway Into a Golf Club Maker

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      He invented the Big Bertha driver, which changed the game of golf. Bobby Jones, a creator of the tournament, was a Callaway cousin.Ely Callaway, founder of the namesake golf club company, did something few golf enthusiasts could imagine doing. He declined an invitation from Bobby Jones to join the Augusta National Golf Club in 1957.Jones, a revered amateur golfer who won the Grand Slam in 1930 and was a co-founder of Augusta National with Clifford Roberts, was Callaway’s distant cousin and hero. Over the family’s mantel, long before the Masters achieved the major status it has today, hung a lithograph of Jones winning the Amateur Championship, also known as the British Amateur, and completing the Grand Slam. Across it was a personal handwritten inscription from Jones to Callaway and his first wife, Jeanne.Bobby Jones teeing off at St. Andrews in Scotland in 1928. Jones was Callaway’s distant cousin and hero.Getty ImagesNicholas Callaway said his father had practical reasons to turn down Jones.“Ely’s rationale later in life when he became the Callaway of Callaway Golf was that since Augusta was only open for a portion of the year, most of the year he would spend fielding calls from friends angling to get an invitation to play,” he said. His father’s posthumous memoir, “The Unconquerable Game: My Life in Golf & Business,” is being released this month.It worked out fine for him. “In the 1990s, he attended the Masters for many years and would get invited to play often in the days following the tournament,” his son said.The decision had to have been difficult. Something that comes across in Callaway’s memoir was the impact Jones had on him.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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      How a Black Progressive Transformed Into a Conservative Star

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      In the summer of 2020, Xaviaer DuRousseau was preparing to appear on a Netflix reality show called “The Circle,” where a group of strangers, isolated in separate apartments, compete for a cash prize and occasionally adopt fake digital personas to trick one another.Mr. DuRousseau, then 23, was a progressive who marched in Black Lives Matter protests, had pushed his university to require ethnic studies courses as a graduation requirement and voted for Senator Bernie Sanders of Vermont in 2016. For the TV show, producers wanted Mr. DuRousseau, a Black man, to pose as a white woman and lecture others about racial injustice, before revealing his true identity.Mr. DuRousseau spent hours boning up on right-wing politics to get ready for debates with conservative contestants.But as he watched videos from PragerU, the conservative advocacy group, and Candace Owens, a right-wing influencer, he found himself nodding along.Maybe, he began to think, the media really was targeting President Trump for taking on the political establishment. Maybe free college and free health care were unrealistic goals, despite what Mr. Sanders said. Maybe police brutality against Black people was less common than he thought.“I was getting so frustrated, because I kept agreeing with some of the stuff that they were saying,” he said. “I just kept debunking myself, over and over.”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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      The Caretaker of Muncy Farms

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      In November 1940, four children showed up after dark at a stone farmhouse in rural Pennsylvania. They arrived by car down a long dirt driveway. The headlights illuminated the tall elm trees surrounding the manor house, and the rooms inside were lit up brightly.Brian, Susan, Sheila and Malcolm Barlow, ages 12 to 5, had just endured the blackout of the London Blitz, the German bombing during World War II.To protect her children, Violet Barlow, their mother, had placed them on a boat from England to Canada, a 3,000-mile journey. The children then took a train to New York City, where they spent several weeks in immigration limbo, and then got on another train to the small town of Muncy, Pa.Awaiting them was Margaret Brock, who owned the farmhouse and country estate called Muncy Farms, dating to 1769 and set on more than 800 acres of fields and woods along the Susquehanna River. Muncy Farms was once part of a 7,000-acre estate. The original stone farmhouse dates to 1769. Some 85 years later, Malcolm Barlow, the youngest sibling, still remembered the menu that first night. “It was leg of lamb, brussels sprouts, roasted potatoes and apple pie à la Mode,” he said. “A very British dinner.”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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      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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      Scowl Made Hardcore Purists Angry. Now the Band Is Doubling Down.

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      The punk band fronted by Kat Moss wound its way from a local scene to national attention. Its second album, “We Are All Angels,” unpacks the pain of the journey.Last fall, on the second-floor stage of a cramped tavern called Neck of the Woods in San Francisco, Kat Moss was throwing elbows, shoving men twice her size into a packed circle pit and screaming into a microphone.Moss, the frontwoman for the Bay Area hardcore band Scowl, held her own. In the tight-knit circle of Northern California punks, this sweating, pulsing, tattoo-covered cluster of bodies were her people. Just before midnight, the crowd streamed out of the swampy bar into the cold air, bruised and smiling. In this crowd, stage diving, moshing and the occasional foot to the face all come from a place of love.But as Scowl’s star has risen from a group of underdogs playing house shows across the West Coast to a broader national audience, Moss and her four bandmates have been engaged in a different kind of fight — one with the gatekeepers who believe the band isn’t hardcore enough.The band was blasted on message boards and social media in 2023, accused of “selling out” when it struck a brand deal with a corporate sponsor. (Many hardcore contemporaries have done similar ones.) The group later took heat for putting out what some saw as pop sensibility masquerading as punk. Scenesters chafed when megastars like Post Malone and Hayley Williams of Paramore said they were fans of the group. And some of the most aggressive purists didn’t appreciate Moss’s proclivity for posting beauty tutorials on her personal social media channels. (Her mop of neon lime hair is hard to miss in a crowd.)Scowl isn’t shying away from the conflict. Instead, its members want to push the limits of their sound and what they feel hardcore music can be. With Scowl’s second album, “Are We All Angels” out April 4, the group is moving from the stalwart hardcore label Flatspot Records to Dead Oceans — home to Phoebe Bridgers and Mitski. It has enlisted Will Yip, a producer known for broadening the sound of punk bands. And it has leaned more into a slower, heavier sound with grungy riffs and catchier choruses.Scowl’s members want to push the limits of their sound and what they feel hardcore music can be. Mariano Regidor/Redferns, via Getty ImagesWe 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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      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