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      Madeleine Riffaud, ‘the Girl Who Saved Paris,’ Dies at 100

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      Madeleine Riffaud, a swashbuckling French Resistance hero who survived three weeks of torture as a teenager and went on to celebrate her 20th birthday by helping to capture 80 Nazis on an armored supply train, and who later became a crusading anticolonial war correspondent, died on Nov. 6 at her home in Paris. She was 100.Her death was announced by her publisher, Dupuis.Ms. Riffaud was propelled into the anti-Nazi guerrilla underground in November 1940 by a literal kick in the backside from a German officer. He sent her packing after he saw Nazi soldiers taunting her at a railway station as she was accompanying her ailing grandfather to visit her father near Amiens, in northern France.“That moment,” she said in a 2006 interview with The Times of London, “decided my whole life.”“I landed on my face in the gutter,” she told The Guardian in 2004. “I was humiliated. My fear turned into anger.”She decided then and there to join the French Resistance.“I remember saying to myself,” she said, “‘I don’t know who they are or where they are, but I’ll find the people who are fighting this, and I’ll join them.’ ”Madeleine with her father, Jean Émile Riffaud, in about 1925. Mr. Riffaud, who had been wounded in World War I, was a pacifist.Fonds Madeleine RiffaudShe connected with the Resistance in Grenoble, France, at a sanitarium where she was being treated for tuberculosis. She had contracted the disease while studying midwifery in Paris.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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      Dorothy Allison, Author of ‘Bastard Out of Carolina,’ Dies at 75

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      She wrote lovingly and often hilariously about her harrowing childhood in a working-class Southern family, as well as about the violence and incest she suffered.Dorothy Allison, who wrote with lyrical, pungent wit about her working-class Southern upbringing — and about the incest and violence that shaped her — and whose acclaimed 1992 novel, “Bastard Out of Carolina,” based on her harrowing childhood, made her a literary star, died on Tuesday at her home in Guerneville, Calif., in Sonoma County. She was 75.Her death, from cancer, was announced by the Frances Goldin Literary Agency, her longtime representative.Ms. Allison was flat broke in 1989 when she decided to try to sell “Bastard Out of Carolina,” the novel she had been writing for nearly a decade, to a mainstream publisher. “Trash,” a critically praised collection of short stories, had already been published by Firebrand Books, a feminist publishing house; so had her collection of poetry, “The Women Who Hate Me,” which she first published herself as a chapbook in 1983. In both books, she tackled lust, the scrum of feminist politics and her chaotic, beloved family. Feminism had saved her life, she often said, and she was certain that because of her political convictions, the mainstream press would not welcome her.“Bastard Out of Carolina” was published in 1992 to almost unanimous acclaim and made numerous best-seller lists.No creditMs. Allison liked to describe herself, as she told The New York Times Magazine in 1995, as a “cross-eyed, working-class lesbian addicted to violence, language and hope.”But at the time, she and her partner, Alix Layman, a trombone player who had been kicked out of the Army for being gay, were living on grits. Ms. Allison, who was legally blind in one eye, had numerous other health concerns and medical debt, and she could no longer support her writing with part-time clerical jobs.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 Australian Ballet’s ‘Oscar,’ Ventures Into New Romantic Territory

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      The Australian Ballet’s premiere of “Oscar,” based on the life of Oscar Wilde, explores the love relationship between two men.Boy loves girl. Prince enchanted by princess. Or swan queen, sylph, fairy, doll, peasant girl or courtesan.The central narrative elements of the full-length story ballets familiar to audiences mostly share a single element: The central romantic relationship is between male and female characters. Since many of these ballets (“Giselle,” “Swan Lake,” “The Sleeping Beauty”) date from the 19th century, that’s not surprising. But well into the 21st century, ballet — unlike opera, film or theater — has been slow to take up the challenges of telling other kinds of tales.That changed last month, with the Australian Ballet’s premiere of “Oscar,” about the life of Oscar Wilde. Choreographed by Christopher Wheeldon and set to a score by Joby Talbot, it is the first full-length narrative ballet that makes a gay hero and his love for another man its central subject.In a video call, Wheeldon pointed out that Matthew Bourne’s “Swan Lake — which featured an unhappy, repressed prince falling in love with a fiercely alluring male swan — was a groundbreaking forerunner, although not a classical ballet. But since then, he said, almost no narrative dance work has put a gay romance at its heart. David Bintley’s 1995 “Edward II” depicted something of the king’s relationship with Piers Gaveston, the Earl of Cornwall, but even the Yuri Possokhov-Kirill Serebrennikov “Nureyev” at the Bolshoi almost entirely skirted the issue of the dancer’s sexuality.It was time for something more. “I wanted us to be a company that tells stories that resonate, to be bold in our storytelling,” said David Hallberg, the artistic director of the Australian ballet. “Oscar Wilde wrote these beautiful tales, but was persecuted in a way that is still true for many people today.”Wheeldon, a major choreographer, clearly likes a narrative challenge. He has created the full-length “Alice in Wonderland,” “The Winter’s Tale” and “Like Water for Chocolate” for the Royal Ballet, and directed and choreographed (and won Tony Awards for) two Broadway shows, “An American in Paris” and “MJ: The Musical.”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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      Lore Segal, Mordant Memoirist of Émigré Life, Dies at 96

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      One of thousands of Jewish children transported to England at the dawn of World War II, she explored themes of displacement with penetrating wit in novel-memoirs like “Other People’s Houses.”Lore Segal, a virtuosic and witty author of autobiographical novels of her life as a young Jewish Viennese refugee in England and as an émigré in America, died on Monday at her home in Manhattan. She was 96.Her daughter Beatrice Segal announced her death.On Dec. 10, 1938, 500 Jewish children boarded a train in Vienna as part of the British-organized Kindertransport, as it was known, that would deliver them from Nazi-occupied territory to foster families in England. Ms. Segal, age 10, was registered as No. 152, the pampered only child of comfortably middle-class parents.She would go on to live with four families in seven years, including a pair of pious, garden-and-house-proud sisters straight out of a Barbara Pym novel whose influence would make Ms. Segal, as she wrote later, a temporary snob and an Anglophile forever.The writer at age 11. A year earlier, she was one of 500 Jewish children sent to Vienna as part of the British-organized Kindertransport.via Segal familyHer parents followed her there in 1939, entering the country on domestic servant visas, which was the only route available to them. Her mother, a skilled homemaker, would rise to accept that role. But it would break her father, a former accountant, who died after a series of strokes.Ms. Segal, with the adaptability and callousness of youth, along with her innate sense of the absurd and the detachment of a born writer, fared better. After settling in New York, she found her métier by telling tales of her exile.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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      Robert Coover, Inventive Novelist in Iconoclastic Era, Dies at 92

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      Once called “probably the funniest and most malicious” of the postmodernists, his books reflected a career-long interest in reimagining folk stories, fairy tales and political myths.Robert Coover, who along with Donald Barthelme, John Barth and others occupied the vanguard of postmodern American fiction in the 1960s and 1970s, and who went on to a long and prolific career writing and teaching, died on Saturday in Warwick, England. He was 92.His death, in a care home, was confirmed on Sunday by his daughter Sara Caldwell to The Associated Press. Ms. Caldwell, an author and filmmaker, did not give a cause but said his health had been declining recently.Mr. Coover’s first novel, “The Origin of the Brunists,” published in 1966 and fairly traditional in its telling, was about a religious cult built around the lone survivor of a mining accident in the Midwest.In The New York Times Book Review, Webster Schott wrote of its author: “If he can somehow control his Hollywood giganticism and focus his vision of life, he may become heir to Dreiser or Lewis.”If it wasn’t obvious then that Mr. Coover had no interest in inheriting the kingdom of social realism from Theodore Dreiser or Sinclair Lewis, his 1969 story collection “Pricksongs and Descants” made it abundantly clear. Those stories firmly established his career-long interest in remixing fairy tales, exploding myths and placing only the most transparent window in front of fiction’s inner machinery.“The Babysitter,” a widely anthologized story from that collection, rifled through the many possible scenarios of one night after a young woman arrives at a house to take care of three children. The brief, fractured episodes range from the banal to the violent and the lascivious, including the fantasies of the babysitter’s boyfriend and of the children’s father. (More than 25 years later the story was, improbably, adapted into a movie with the same title starring Alicia Silverstone.)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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      2024 National Book Award Finalists Are Named

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      Percival Everett’s “James,” Salman Rushdie’s “Knife” and Diane Seuss’ “Modern Poetry” are among the honorees. Winners will be announced next month.This year’s finalists for the National Book Award include the novel “James,” by Percival Everett, a retelling of the “Adventures of Huckleberry Finn” from the perspective of an enslaved man, “Knife,” by Salman Rushdie, a memoir about the stabbing attempt on his life and his recovery, as well as books translated from Arabic, Mandarin Chinese and French.The National Book Foundation announced its 25 finalists on Tuesday for awards across five categories: fiction, nonfiction, poetry, translated literature and young people’s literature. The winners of the National Book Award, among the most prestigious literary prizes in the United States, will be announced in November.The fiction finalists also included Miranda July’s “All Fours,” about a 45-year-old artist whose road trip is cut short for a torrid affair. ’Pemi Aguda’s “Ghostroots,” a debut short story collection set in Lagos, Nigeria, was also on the list, as was “Martyr!” by Kaveh Akbar, a book about addiction, grief and art, and “My Friends,” by Hisham Matar, which follows three Libyan exiles living in Britain.In the nonfiction category, Kate Manne’s “Unshrinking: How to Face Fatphobia” explores weight stigma in different facets of society, including health care and employment. “Circle of Hope: A Reckoning with Love, Power, and Justice in an American Church,” by Eliza Griswold, who won the 2019 Pulitzer Prize for general nonfiction, documents the rise and fall of a progressive Christian church. In “Soldiers and Kings: Survival and Hope in the World of Human Smuggling,” Jason De León embeds with human smugglers. Deborah Jackson Taffa examines her Native identity and her family’s history of displacement in “Whiskey Tender.”The poetry finalists include Diane Seuss, who won the Pulitzer Prize for the same category in 2022, and m.s. RedCherries, who was nominated for her debut poetry collection, “mother,” which is about an Indigenous child who is adopted by a non-Indigenous family. Anne Carson’s “Wrong Norma” is made up of prose poems and drawings about everyday life. Fady Joudah’s collection “[…]” is about Palestinians and the horrors of war, and Lena Khalaf Tuffaha’s “Something About Living” is about the erasure of Palestinian history.In translated literature, Bothayna Al-Essa’s “The Book Censor’s Library” is set in a dystopian future. It was translated from Arabic by Ranya Abdelrahman and Sawad Hussain. “Taiwan Travelogue,” by Yáng Shuāng-zǐ and translated from Mandarin Chinese by Lin King, is about a Japanese writer and her relationship with her Taiwanese interpreter. “Where the Wind Calls Home,” by Samar Yazbek, translated from Arabic by Leri Price, is told through a 19-year-old soldier who is trying to survive the Syrian Civil War. “The Villain’s Dance,” by Fiston Mwanza Mujila, was translated from French by Roland Glasser and “Ædnan” by Linnea Axelsson was translated from Swedish by Saskia Vogel.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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      John D. MacDonald Knew a Hurricane Like Helene Was Coming

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      John D. MacDonald was eerily prescient about the risks of human-driven climate disasters in the region.When I learned early Friday morning that Cedar Key, Fla., had been flattened overnight by Hurricane Helene, one of the first things that came to my mind was a song lyric by Jimmy Buffett — early Buffett, before he became a walking tourist attraction. One of his better songs is “Incommunicado,” released in 1981. It begins: “Travis McGee’s still in Cedar Key/That’s what old John MacDonald said.”Buffett didn’t get it quite right. McGee, the tanned, laid-back antihero of John D. MacDonald’s terrific thriller novels, didn’t hang out in Cedar Key. He docked the houseboat he lived in — it was named the Busted Flush, because he’d won it in a card game — on the opposite coast, in Fort Lauderdale.But Buffett clearly knew MacDonald’s own geography. The novelist, who died in 1986, spent most of his adult life in Sarasota and on nearby Siesta Key, just a few hours south of Cedar Key on the Gulf Coast. When Helene scraped ruinously along the central and northern parts of the Florida’s Gulf Coast on Thursday night, it was taking aim at MacDonald country.There are many reasons to read MacDonald’s 21 Travis McGee novels, which include “The Deep Blue Good-By” (1964), “Pale Gray for Guilt” (1968) and “The Dreadful Lemon Sky” (1974). They’re sly, satirical, tattered around the edges. Kingsley Amis thought MacDonald was a better writer than Saul Bellow. All of the McGee books have colors in their titles. MacDonald was among the first to use this sort of mnemonic device, as Sue Grafton would in her alphabet series, so readers could remember which ones they’d read.Another reason to read MacDonald is that he was eerily prescient. How much so? He saw Helene coming, more clearly than most. Here is a paragraph from his novel “Dead Low Tide,” from 1953:You pray, every night, that the big one doesn’t come this year. A big one stomped and churned around Cedar Key a couple of years back, and took a mild pass at Clearwater and huffed itself out. One year it is going to show up, walking out of the Gulf and up the coast, like a big red top walking across the schoolyard. … It’s going to be like taking a good kick at an anthill, and then the local segment of that peculiar aberration called the human race is going to pick itself up, whistle for the dredges and start it all over again.In his 1956 novel “Murder in the Wind” (also published as “Hurricane”), he wrote about a storm named Hilda — not Helene, but close enough — that destroys the area around Cedar Key. In an author’s note at the front, he urges anyone doubting the plausibility of such a disaster to remember that just six years earlier, a hurricane had put much of the region underwater.“Though the chance is statistically remote,” MacDonald writes, “there need only be the unfortunate conjunction of hurricane path and high Gulf tide to create coastal death and damage surpassing the fictional account in this 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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      Brontë Sisters Plaque at Westminster Abbey Typo Fixed

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      Punctuation delayed, but not denied: A memorial to Charlotte, Emily and Anne Brontë at Poets’ Corner in the celebrated London church finally gets its accent marks.For 85 years, the names of three of English literature’s best-known writers, Charlotte, Emily and Anne Brontë, were featured in Poets’ Corner, the Westminster Abbey nook dedicated to great poets, authors and playwrights, but something wasn’t quite right: They were missing the accent mark.This week, the error was fixed when six diereses — umlaut-like punctuation dots, each just about a third of an inch in diameter — were added above the E of the famous last name.It’s a small but sizable victory for three sisters who could not publish under their own names nearly 200 years ago, even as their novels “Jane Eyre” and “Wuthering Heights” helped change the portrayal of women’s lives in fiction.“Those three women fought harder than most to have their voices heard, to have their work understood on its own merits, and it endures,” said Sharon Wright, who discovered the mistake while visiting Westminster Abbey in London in January. “We can at least get their names right.”Ms. Wright, who describes herself as a stroppy Yorkshire woman like the literary sisters, was researching her upcoming book “The Brontës in Bricks and Mortar,” when she visited the plaque. Ms. Wright, who also edits the Brontë Society Gazette, a periodical for Brontë fans, compared the plaque with how the women had signed their own names, and saw the discrepancy.“Three of our greatest writers, and their names are spelled incorrectly,” Ms. Wright said at the abbey on Friday. “You can’t make it up.”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