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      A Dyslexic Comedian Walks Into a Recording Booth …

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      Phil Hanley stood in a womb-like studio, psyching himself up to record the final section of his memoir. Peppermint tea, check. Hands in meditation position, check. Sheaf of highlighted, color coded pages printed in extra large type, check.But when Hanley leaned into the microphone to read from “Spellbound,” his candid account of growing up dyslexic, he sounded more like an anxious student than the seasoned comedian he is.He eked out 13 words, then stumbled, exhaling sharply in triplicate, Lamaze style. He tried again, the same sentence with slightly different intonation. Puff, puff, puff. And again, making it through three more words. Puff, puff, puff. On his fourth attempt, Hanley choked up.It was his 60th hour in the booth at his publisher’s office, not counting practice sessions at home. Most authors are at the studio for a fraction of this time; the average recording length for a 7.5 hour audiobook is 15 hours. But because Hanley has severe dyslexia, the process was protracted. And complicated. And emotional.“The most traumatic moments of my life have been having to read out loud,” Hanley said. “I can’t even express how tiring it is to do the audiobook. It feels like chiseling a marble statue with a screwdriver and a broken hammer.”Nevertheless, he was hellbent on reading his own story. What would it say to the dyslexic community if he handed off the mic?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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      Anne Kaufman Schneider, 99, Ardent Keeper of Her Father’s Plays, Dies

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      She shepherded the works of George S. Kaufman from the 20th century into the next, encouraging regional theater productions and helping to steer two of them to Broadway.Anne Kaufman Schneider, who shepherded the plays of her father, George S. Kaufman, a titan of 20th-century American theatrical wit, into the 21st century with an acerbic sagacity all her own, died on Thursday at her home in Manhattan. She was 99.Her executor, Laurence Maslon, confirmed her death.“Headstrong girls are difficult,” Ms. Kaufman Schneider once told The New York Times, “but that was the source of my good relationship with my father. And it started early. Because there wasn’t any baby talk. We went to the theater together starting when I was 4. Now I have made his work my agenda in life.”George Kaufman’s stellar career as a hit-making playwright and stage director included winning two Pulitzer Prizes — one, in 1937, for “You Can’t Take It With You,” a comedy he created with his most constant collaborator, Moss Hart; the other, in 1932, for “Of Thee I Sing,” a satirical political musical co-written with Morrie Ryskind to a score by George and Ira Gershwin.George S. Kaufman, left, with Moss Hart, his most constant collaborator, in 1937, the year their play “You Can’t Take It With You” won the Pulitzer Prize.Underwood Archives/Getty ImagesEven so, after his death in 1961 at the age of 71, Kaufman was a hard sell for theatrical revivals.“Very little happened at all,” Ms. Kaufman Schneider once recalled, “until Ellis Rabb revived ‘You Can’t Take It With You’ for the A.P.A./Phoenix Theater in 1965. Ellis proved that these are classic American plays.” (Founded by Mr. Rabb, an actor and director, the A.P.A., formally the Association of Producing Artists, was a Broadway entity notable for mounting revivals after it merged with the Phoenix Theater, another Broadway house.)Ms. Kaufman Schneider proceeded to oversee her father’s renaissance over the next 50-plus years — a term of service that outdistanced his own living stewardship of his career.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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      Burned Out, Davey Wreden Tried to Heal by Making the Cozy Wanderstop

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      Nothing moves quickly in Wanderstop. To make a single cup of tea in the new video game is a meditative ritual of deliberate steps.The recovering hero, Alta, has to forage for tea leaves, dry out those leaves, plant seeds for fruit to flavor the tea, water those seeds, watch the plant grow, harvest the fruit individually, and then, with a fantastical apparatus the player traverses using rolling ladders, heat up the water, drain it into a brewing pot, throw the ingredients in one by one, go to a shelf of bespoke mugs, select one, place it under a tap and — finally — pour.There is recognition for doing so without spilling a single drop but no punishment if it is not perfect. It is not that kind of game.Davey Wreden, the 36-year-old writer and director of Wanderstop, has not released a stand-alone game in a decade. He burned out after commercial success with The Stanley Parable (2013), an absurd meditation on cubicle life and choice that has been cited as an inspiration for the TV show “Severance,” and artistic acclaim with the game’s follow-up.Wanderstop was supposed to be different from those mind-bending works, a calming experience set at a woodland tea shop.It did not end up that way.“I started out trying to make this game in a way that it wasn’t going to be a complex story about me and my life, and I failed to do that,” Wreden said. “The more that I began having Alta speak the words in my own head, the more compelling it got.”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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      Geoff Nicholson, Author of Darkly Comic Novels, Dies at 71

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      In more than a dozen books, he created characters who were obsessed with maps, urban walking, sexual fetishes and Volkswagen Beetles.Geoff Nicholson, whose darkly comic literary novels and eclectic nonfiction were full of characters defined by their obsessions — with cartography, Volkswagen Beetles, urban walking, jokes and sexual fetishes, many of which were enduring interests of Mr. Nicholson himself — died on Jan. 18 in Colchester, England, northeast of London. He was 71.His death, in a hospital, was from chronic myelomonocytic leukemia, his partner, Caroline Gannon, said. It is a rare bone marrow cancer, though, as Mr. Nicholson mordantly observed, “not rare enough, obviously.”In novels with far-fetched plots, characters who often flirted with the cartoonish and stylized, noirish dialogue, Mr. Nicholson wrote with verve and biting wit, and he attracted a dedicated, if not large, readership for his prolific output.His Facebook profile once had a list of “liked” books whose first two titles were “Gravity’s Rainbow” and “The Big Sleep,” a thumbnail distillation of his own oeuvre of highbrow plundering of lowbrow culture.Mr. Nicholson was a verbal jokester, whether in ambitious fiction or in more prosaic writing. For the “About” page of his website, he annotated his own Wikipedia entry. In response to Wikipedia’s assertion that his work was “compared favorably” to that of Kingsley and Martin Amis, Will Self and Zadie Smith, Mr. Nicholson wrote, “I don’t recall anybody ever comparing me to Kingsley Amis, but I suppose they might have.”One person who did compare him to Kingsley Amis, the midcentury British satirist, was the New York Times critic Michiko Kakutani, writing a 1997 review of Mr. Nicholson’s best-known novel, “Bleeding London.”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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      Joan Dye Gussow, Pioneer of Eating Locally, Is Dead at 96

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      An indefatigable gardener, she was concerned, a colleague said, with “all the things that have to happen for us to get our food.”Joan Dye Gussow, a nutritionist and educator who was often referred to as the matriarch of the “eat locally, think globally” food movement, died on Friday at her home in Piermont, N.Y., in Rockland County. She was 96.Her death, from congestive heart failure, was announced by Pamela A. Koch, an associate professor of nutrition education at Teachers College, Columbia University, where Ms. Gussow, a professor emeritus, had taught for more than half a century.Ms. Gussow was one of the first in her field to emphasize the connections between farming practices and consumers’ health. Her book “The Feeding Web: Issues in Nutritional Ecology” (1978) influenced the thinking of writers including Michael Pollan and Barbara Kingsolver.“Nutrition is thought of as the science of what happens to food once it gets in our bodies — as Joan put it, ‘What happens after the swallow,’” Ms. Koch said in an interview.But Ms. Gussow beamed her gimlet-eyed attention on what happens before the swallow. “Her concern was with all the things that have to happen for us to get our food,” Ms. Koch said. “She was about seeing the big picture of food issues and sustainability.”Ms. Gussow, an indefatigable gardener and a tub-thumper for community gardens, began deploying the phrase “local food” after reviewing the statistics on the declining number of farmers in the United States. (Farm and ranch families made up less than 5 percent of the population in 1970 and less than 2 percent of the population in 2023.)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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      Harper Lee’s Early Short Stories to Be Published for the First Time

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      Before she published “To Kill a Mockingbird,” Lee had written short stories in which she explored some of its themes and characters.For years before she published “To Kill a Mockingbird,” Harper Lee wrote short stories with themes that she would later explore in that now-classic novel: small town gossip and politics, tender and tense relationships between fathers and daughters, race relations.She tried and failed to get them published. Scholars and biographers have long thought the stories were lost or destroyed.But Lee was a meticulous archivist. She stashed the typescripts of the stories, along with the rejection letters, in her New York City apartment, where her executor discovered them after her death in 2016.This fall, those stories will be published for the first time in a collection titled “The Land of Sweet Forever.” The book, out on Oct. 21 from Harper, includes eight previously unreleased stories and eight pieces of nonfiction that Lee published in various outlets between 1961 and 2006, including a profile of her friend, the writer Truman Capote, a cornbread recipe and a letter to Oprah Winfrey.Lee’s nephew, Edwin Conner, said that he and other members of her family were thrilled that the stories were preserved, and can now reach a wide audience. The estate decided to publish them in 2024, according to Harper.“She was not just our beloved aunt, but a great American writer, and we can never know too much about how she came to that pinnacle,” Conner said in a statement released by Harper.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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      Overlooked No More: Maria W. Stewart, Trailblazing Voice for Black Women

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      She was the first Black woman to publicly address other women, using essays and lectures in the 1830s to champion their rights and challenge oppression.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.One day in 1831, Maria W. Stewart walked into the Boston offices of the publisher William Lloyd Garrison with a manuscript in hand that she was hoping he would print in his recently launched newspaper, The Liberator.Garrison was a famous white abolitionist; Stewart was a 28-year-old former indentured servant. In her manuscript, a political manifesto, she recounted her upbringing and described the conditions for Black women in an oppressive America.She also argued for equal opportunity for Black Americans, and she did something no Black woman had done before: speak directly and publicly to other women, urging them to educate themselves, “to promote and patronize each other” and, even more, “to sue for your rights and privileges.” As the historian Kristin Waters, the author of “Maria W. Stewart and the Roots of Black Political Thought” (2022), told Worcester State University in 2022, Stewart was “one of the very first writers to express what we would now call ‘feminism.’”Garrison didn’t hesitate to publish Stewart’s “Religion and the Pure Principles of Morality, the Sure Foundation on Which We Must Build,” as well as many more of her essays, in what would become America’s pre-eminent abolitionist newspaper.The masthead of the Oct. 8, 1831, issue of the Liberator, which contained Stewart’s first essay.The LiberatorWe 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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      Let Students Finish the Whole Book. It Could Change Their Lives.

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      Veronyka JelinekIn her memoir, Dorothy Allison writes, “Two or three things I know for sure and one of them is that telling the story all the way through is an act of love.”Throughout my teaching career at independent schools, which began during the Clinton administration, I’ve also been telling students that reading a story all the way through is an act of love. It takes stillness and receptivity to realize this, it takes a willingness to enter the life of someone you’ll never meet, and it requires great practice.It’s easy to join the hand-wringing chorus, blaming TikTok’s corn drill challenge, Jake Paul and their ilk for the diminuendo of Dickens. But we cannot let reading become another bygone practice. In their more than eight hours of screen time a day, on average, students navigate a galaxy of mediated experiences; schools need to be a bastion of the analog experience of the physical book.The study of English involves more than reading. It includes written expression and the cultivation of an authentic voice. But the comprehension of literature, on which the study of English is based, is rooted in the pleasure of reading. Sometimes there will be a beam of light that falls on a room of students collectively leaning into a story, with only the scuffing sounds of pages, and it’s as though all our heartbeats have slowed. But we have introduced so many antagonists to scrape against this stillness that reading seems to be impractical.The test scores released at the end of last month by the National Assessment of Educational Progress reveal disturbing trend lines for the future of literacy in our country. Thirty-three percent of eighth graders scored “below basic” on reading skills, meaning they were unable to determine the main idea of a text or identify differing sides of an argument. This was the worst result in the exam’s 32-year history. To make matters worse, or perhaps to explain how we got here, the assessment reported that in 2023 only 14 percent of students said they read for fun almost every day, a drop of 13 percentage points since 2012.In its attempt to make English more relevant, the National Council of Teachers of English — devoted to the improvement of language arts instruction — announced in 2022 that it would widen its doors to the digital and mediated world. The aim was to retreat from the primacy of the written word and invite more ideas to be represented by images and multimedia. “It behooves our profession, as stewards of the communication arts, to confront and challenge the tacit and implicit ways in which print media is valorized above the full range of literacy competencies students should master,” the council said.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