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“A man is severely injured in a mysterious accident, receives an outrageous sum in legal compensation, and has no idea what to do with it” is a pretty simple story idea, but that’s verbatim the pitch for Tom McCarthy’s Remainder. The publisher’s blurb is elegantly written around what he does wind up doing with it, so if that doesn’t sound like something you want to know, it’d behoove you to stop reading here. The real spoiler that’s not a spoiler is that if you’re reading this, you already know everything’s going to end in motorcycle racing anyway.

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The last thing I did before was visit a library. The Friday ahead of a citywide stay-at-home order, I cut out of the office early and ran over to Harold Washington to pick up Matthew McIntosh’s theMystery.doc, a book you would’ve heard me relentlessly shoehorn into conversations at parties for weeks after had there been any to attend. I did this counting on the idea that 1,600+ pages would get me through a good chunk of quarantine while the libraries were closed, but it turns out there’s a lot of negative space in that thing; I read it in six days. To balance it out, I spent April reading — and I promise this is the only time you’ll see me talk about this unprompted — Infinite Jest. It’s fine. Also, the only other people I know who’ve read or own this book are women. Just saying.

But that Tuesday, the last night out I had before was at a brewery. Beer and books, books and beer. Bikes. This is, fundamentally, all I have been for seven months. Maybe longer, depending on who you ask.

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Questlove

…well Tariq?

So begins the mid-life memoir of Ahmir “?uestlove” Thompson, Mo’ Meta Blues: The World According to Questlove. Thompson, whose drumming with neo-soul outfit The Roots and, consequently, on Late Night With Jimmy Fallon has catapulted him to fringes of the American musical conscience, a place which seems hard-earned and well-deserved, yet perhaps not entirely desired. The dedication, directed toward Roots co-founder Tariq “Black Thought” Trotter, sets the tone for an exploration of Thompson’s ego, which rides a strange line between pretension, generally about the history of the music he loves, and modesty, generally about his own career and the experiences which have made him who he is.

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