THE ABSTRACT: Throughout Jill Lepore’s “The Deadline,” there’s a sense of urgency, a pulse.

Jill Lepore. The Harvard titan and New Yorker’s resident raconteur, with an uncanny ability to make history sizzle and pop like a vintage vinyl on a summer’s day. Remember These Truths? That wasn’t just a book; it was an odyssey, a journey through the American psyche, penned with the kind of verve that most writers would kill for.

And let’s not even get started on The Name of War: King Philip’s War and the Origins of American Identity. That was Lepore in fifth gear, tearing up the historical highway.

Now, with The Deadline: Essays, she’s offering up a veritable feast of 46 essays, each one a masterclass in storytelling. From the gun-slinging saga of “Battleground America” to her deep dive into the literary oceans of Moby-Dick, Lepore is on fire, making history not just palatable but downright addictive.

“Drafted” stands out, a poignant piece that throws shade on the glaring omissions of women’s rights in our foundational documents. It’s Lepore with gloves off, and it’s a sight to behold.

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The Deadline’s unexpected jaunt into the tech realm, marked by a visit to the Internet Archive, is akin to watching a classical pianist riffing in a jazz club – unexpected, but oh-so delightful. And the two fresh essays she’s thrown into the mix?

They’re the cherry on this historical sundae. One, a deeply personal tribute to a departed friend, showcases Lepore’s softer side, a tender counterpoint to her usual incisive style.

Throughout The Deadline, there’s a sense of urgency, a pulse. Lepore’s wit, her scalpel-like precision, and her gift for making yesteryears feel like today, are all turned up to eleven. It’s a heady mix of past and present, served with a generous splash of inspired panache.

Dive deep, dear reader, and let Lepore’s waves of words wash over you. It’s a trip you won’t soon forget.

WORDS: brice.


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