Alan Cheuse’s 1982 lyrical biography of John Reed is mistitled. While the title refers to Reed’s fellow travelers of the cultural and political upheaval that took place during the first decades of the 20^th century, it is Reed’s life story that Cheuse has told no doubt because Reed in many respects was one of the main players in that era’s story.

Reed is best known for his Ten Days That Shook the World, the story of the Communist takeover of the Russian Revolution. Before travelling to Russia where he passed away in October 1920 from typhus, however, he had chronicled for alternative magazines like The Masses, the labor movement wars in the U.S. and the rise of the socialist movement in the U.S.

Chosen by a book club I belong to, due to the volumes of praise attached to the front and back cover, I anticipated a more compelling story than The Little Stranger turned out to provide. I’ll try to explain why.

The Little Stranger is described as a modern gothic novel. The author inserts story elements that cannot be explained by standard logic––the vision of a ghost and events for which there is no rational explanation and for which Waters provides no justification.

Readers may feel comfortable with unresolved gothic tropes. I don’t. The key question is whether these elements are critical in determining the story’s outcome. If they are, all the more reason that I, as a reader, feel they need to be explained either by providing a rational cause or by a theory that says in this world, ghosts exist.

What major federal policy has every president from Lyndon Johnson to Barak Obama agreed on? Answer: Advancing educational opportunity as a path to societal equality. They may have differed on how to expand schooling, but not that it was a goal to be achieved in order to reduce social inequality. Why then have the results not lived up to the promise? The answer is simple according to Fredrik deBoer: schooling can never produce social equality––not because we don’t spend enough or because teachers aren’t good enough. It’s because not all people are academically talented.

Marshaling studies that expose the raw underbelly of schooling’s failures on top of insights from his personal experience as a teacher, and capping that off with a measure of behavioral genetics, deBoer concludes, “as long as our education system creates winners, it will also create losers.”

Writing a memoir can be a most rewarding experience––one your family and friends will thank you for having done. A memoir is your opportunity to leave concrete documentation of your life in a form that is easily accessible to present and future generations.

Every family has stories. That’s human nature. But all too often people have questions about the past they wish they had answers to when someone important to them is gone. You may have felt that way upon the passing of a parent, sibling or other significant person in your life. Don’t make your offspring wish they knew more about your family background or how you met your spouse or why you moved to a certain city.

Here are some reasons you might want to write your memoir:

• To share your life’s story with your offspring, other relatives and friends.

Honoring writers who paved the way with their contributions to the literary world is a great way to introduce young people (as well as the still young-at-heart) to the joys of the written word. In Baltimore, we are especially grateful for the existence of the Edgar Allan Poe House & Museum and the annual International Poe Festival and Awards which will take place this year Saturday and Sunday, October 4 & 5, from 11 am to 4 pm both days.

Poe’s place in the literary firmament is assured by those who champion him as an forerunner of the genres of science fiction, mystery and horror, but he is also a must read for his poetry and his critical essays. He belongs in the pantheon of early American writers that includes the Transcendentalists as well as Washington Irving, James Fenimore Cooper, Nathaniel Hawthorne, Herman Melville and Harriet Beecher Stowe.

Jerusalem has been called many things. “City of Secrets” probably not until that is Stewart O’Nan chose that title for his 2016 novel of the tumultuous years in the “Holy Land” after the end of the Second World War.

The title implies the story is about the city of Jerusalem, which to a large extent it is, but it’s primarily about one member of a group of people campaigning to get Great Britain to fulfill its 1917 promise that the land west of the Jordan River become a homeland for the Jewish people.

O’Nan assigns his protagonist the single un-Jewish name “Brand.” Brand is a Holocaust survivor who makes his way through the blockade set up by the British to prevent Jewish refugees from the Holocaust from reaching the Holy Land beyond the small annual quota.

One of the reasons I keep traveling out to Tucson each March is to attend the Tucson Festival of Books, which has become one of the country’s top book festivals by attendance and by the quality of authors it attracts. This year 140,000 patrons were exposed to books and authors––fiction and non-fiction, geared to readers of all ages. I prefer sessions where I can hear fiction authors talk about their books and writing careers. Here’s a sample of authors readers might look for in their librarys and bookstores.

Rachel Kadish. Kadish is the author of The Weight of Ink, a complex historical novel that took her 12 years to write. The story takes place in London in two time periods—the year 2000 and the mid-17^th century and traces the lives of two women––a history professor nearing the end of her career and an orphan who becomes the scribe to a blind rabbi.