Jennifer Szalai in The New York Times:
It’s tempting to presume a clear line between intention and accomplishment, but Janice P. Nimura, in her enthralling new book, “The Doctors Blackwell,” tells the story of two sisters who became feminist figures almost in spite of themselves. Elizabeth Blackwell was the first woman to receive a medical degree in the United States, in 1849, and she later enlisted her younger sister Emily to join her. Together they ran the New York Infirmary for Indigent Women and Children and founded a women’s medical college — even though, as Nimura puts it, opening a separate school for women was just about the last thing they had planned to do.
The Blackwell sisters had initially cast themselves as exceptions, seemingly content to be the only women allowed into the room. Their temperaments were decidedly different: Elizabeth was self-assured and occasionally grandiose; Emily was quieter and more methodical, though her apparent equipoise concealed an inner turmoil. They treated the women in their care with sympathy, but empathy — the sense that they inhabited the same ordinary plane as their patients, or even other women — seemed mostly to elude them. Elizabeth, especially, would rhapsodize about humanity in the abstract, even as actual experiences of clinical intimacy could unnerve her. “I feel neither love nor pity for men, for individuals,” she declared as a young doctor, in a letter to one of her brothers. “But I have boundless love & faith in Man, and will work for the race day and night.”
The broad outlines of their lives could have made for a salutary tale about the formidable achievements of pioneering women; instead, Nimura — a gifted storyteller whose previous book, “Daughters of the Samurai,” recounted another narrative of women’s education and emancipation — offers something stranger and more absorbing. She begins with her subjects’ early lives in Bristol, where their father, a sugar refiner, introduced his young children to antislavery politics. Samuel Blackwell’s eight British-born offspring — a ninth would be born after they immigrated to the United States — “grew strong on a diet of nature, literature and political consciousness,” Nimura writes.
More here.

I want to write about a certain kind of prose. It is the kind of prose that gets lost in itself. The kind of writing that tumbles head over heels and threatens to drown in its own wake. But not quite. The kind of prose that drowns completely is not so interesting. And the prose that never gets lost is not so interesting either. In my opinion. You’ve got to teeter around and stumble just at the edge there. In my opinion.
Imagine spilling a plate of food into your lap in front of a crowd. Afterwards, you might fix your gaze on your cell phone to avoid acknowledging the bumble to onlookers. Similarly, after disappointing your family or colleagues, it can be hard to look them in the eye. Why do people avoid acknowledging faux pas or transgressions that they know an audience already knows about?
It was February 20, 1939, two days before George Washington’s birthday. Fritz Kuhn, leader of the prominent pro-Nazi German American Bund, took the stage at Madison Square Garden. Behind him stood a towering 30-foot portrait of the first US president between giant swastikas, and around him twenty thousand rally-goers. Posters at this infamous Pro-America Rally promised a “mass-demonstration for true Americanism,” bringing National Socialist ideals to the American people. Participants waved American flags, marched to loud drum rolls, and heard pro-fascist speeches. Speakers urged the audience to embrace National Socialism, not merely to show support for Germany, but above all because it was fundamentally American.
The United States of America was founded on a conspiracy theory. In the lead-up to the War of Independence, revolutionaries argued that a tax on tea or stamps is not just a tax, but the opening gambit in a sinister plot of oppression. The signers of the Declaration of Independence were convinced — based on “a long train of abuses and usurpations” — that the king of Great Britain was conspiring to establish “an absolute Tyranny” over the colonies.
My daughter, a Pakistani American mother of two young children, married to an African American man of Jamaican parentage, is understandably excited about our new Veep-to-be, Kamala Harris. She keeps sending me articles by “desi” women like herself in relationships with Black men, who are excited about this new chapter dawning in American history.
During the mad rush of leaving, they had to find homes for 60 animals, a menagerie of horses, snakes, turtles, and various other creatures. Only two made the cut to tag along with them: their blue budgie parakeet, Bird, who went eerily still as they crossed the Sonoran Desert, and their Doberman, Kinch, who panted in the scorching heat.
No matter how much we might try and hide it, there’s an enormous problem staring us all in the face when it comes to the Universe. If we understood just three things:
A record-breaking 4,000 Americans are now dying each day from Covid-19, while the federal government fumbles vaccine production and distribution, testing and tracing. In the midst of the worst pandemic in 100 years, more than 90 million Americans are uninsured or underinsured and can’t afford to go to a doctor when they get sick. The isolation and anxiety caused by the pandemic has resulted in a huge increase in mental illness.
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In all its varied symptomology, menopause put me on intimate terms with what Virginia Woolf, writing about the perspective-shifting properties of illness, called “the daily drama of the body.” Its histrionics demanded notice.
Build a working coalition
The 
Like his many previous literary endeavors, Turkish novelist Orhan Pamuk’s new book Orange is about Istanbul, or rather how the city appears in his eyes. The book consists of color photographs of the city’s streets which Pamuk has been perpetually constantly taking for several years, always with the same technique and choice of motif. The result is a visual essay dedicated to the alleys and corners of his hometown. Over the author’s more than six decades living in Istanbul, Pamuk has witnessed the constant transformation of the city, notably from the gradual change from orange street lamps to white over the last ten years or so, not that the actual duration of the change matters. What does matter is the stark visible disappearance of the yellow-hued fluorescent lamps bringing a loss of the magical moments in a city landscape he dearly loves; the change is one he accepts only with some bitterness.