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Book Review: ‘How to Be Well,’ by Amy Larocca

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Book Review: ‘How to Be Well,’ by Amy Larocca

HOW TO BE WELL: Navigating Our Self-Care Epidemic, One Dubious Cure at a Time, by Amy Larocca


Oh, the irony of cracking open “How to Be Well” while on vacation in Italy. There, on an island off the coast of Naples, a breakfast buffet included three varieties of tiramisu. Wine was poured not to a stingy fingertip’s depth but from a bottomless carafe — at lunchtime, no less. And when stores closed in observance of an afternoon siesta, the only people on the streets were American tourists, jogging. (I was on the prowl for a postage stamp because, yes, I still send postcards.)

It was from this place of abundance and balance that I followed Amy Larocca, a veteran journalist, into the hellscape of stringent food plans, cultish exercise routines and medical quackery that have, over the past decade or so, constituted healthy living in some of the wealthiest enclaves of the United States. Blame social media, political turmoil or the pandemic — no matter how you slice it, the view is dispiriting. But Larocca’s tour is a lively one, full of information and humor.

The book begins with a colonic, “the flossing of the wellness world,” Larocca writes. We find the author herself on an exam table, “white-knuckled and curled up like a baby shrimp, naked from the waist down.” She recalls her doctor’s disapproval of the procedure — a sort of power washing of the colon — and its risks, including rectal perforation, juxtaposed with one woman’s claim that a colonic made her feel like she could fly, like it was “rinsing out the corners of her psyche.”

Where did we get the idea that the body — specifically a woman’s body — is unclean inside? A problem to be solved? And how did the concept of wellness bloom “like a rash,” Larocca writes, into a $5.6 trillion global industry?

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These are the questions she seeks to answer, using data, history, medicine, pop culture and her own experience. She parses fads and trends, clean beauty and athleisure wear, the gospel of SoulCycle and the world according to Goop. She weighs the advantages and disadvantages of micro-dosing and biohacking. She too goes to Italy, where she attends a Global Wellness Summit featuring a spandex and sneaker fashion show and a presentation on ending preventable chronic disease the world over.

At times, Larocca seems to approach her own subject with the same sweep. The second half of “How to Be Well” reads like a survey course, cramming the industry’s relationship to politics, men and the environment into single chapters when each could fill a whole semester. As for why meditation merits more real estate than vaccines, I can only assume that the book was already at the printer when Robert F. Kennedy Jr. was confirmed as health secretary.

But when Larocca goes deep, as she does on self-care, body confidence and sex positivity, she’s at her best — authoritative and witty, personal without being chummy.

She debunks the cockamamie but persistent notion that “feeling old is not an inevitable byproduct of aging but something easily avoided by paying attention.” (And by forking over gobs of cash; more on this shortly.) After attending an Oprah-sponsored conference on menopause, a subject Larocca has covered for The New York Times, she realizes that “aging is different from disease” and “isn’t necessarily something to be cured,” let alone through “neat, tidy, attainable solutions.”

Then there’s the sneaky rebranding of old-school dieting for “detoxification,” another wolf in sheep’s clothing. Think fasting, juicing, abstaining from all manner of verboten foods. Even if the professed endgame is “glow,” Larocca makes clear, “part of the promise is still, always, to rid us of a bit of ourselves.”

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And finally, refreshingly, she’s honest about the money at stake for the wellness-industrial complex — not just for stylists turned wellness coaches or models turned nutritionists, but for massive corporations cashing in on an age of worry.

“None of these institutions is nonprofit; none of these institutions is altruistic at its core,” Larocca writes, in a passage reminiscent of Carol Channing’s monologue from “Free to Be You and Me,” in which she reminded us that happy people doing housework on TV tend to be paid actors.

“It is their job to persuade me to come back,” Larocca continues, “to spend more money on what they’ve got to give, to serve their investors, to serve themselves.”

And that, as “How to Be Well” wisely shows us, is the bottom line.


HOW TO BE WELL: Navigating Our Self-Care Epidemic, One Dubious Cure at a Time | By Amy Larocca | Knopf | 291 pp. | $28

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Can You Identify the Literary Names and Titles Adopted by These TV Shows and Musicians?

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Can You Identify the Literary Names and Titles Adopted by These TV Shows and Musicians?

Welcome to Lit Trivia, the Book Review’s regular quiz about books, authors and literary culture. This week’s challenge celebrates allusions to characters and plots from classic novels found in music and television. In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to the books.

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What’s So Great About ‘Slow Horses’? This Scene Says It All.

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What’s So Great About ‘Slow Horses’? This Scene Says It All.

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A couple dozen pages into “Clown Town,” Mick Herron’s latest novel, two veteran spies share a bench in London. They’re Jackson Lamb and Diana Taverner, notorious fictional fixtures of MI5, the British intelligence service. Fans of “Slow Horses,” the Apple TV series adapted from Herron’s earlier Slough House books, will recognize the pair as the characters played with brisk professionalism and callused gravitas by Kristin Scott Thomas and Gary Oldman.

Those incomparable actors are a big part of the show’s appeal, but the Britain they inhabit — weary, cynical, clinging to the tattered scraps of ancient imperial glory — is built out of Herron’s witty, corkscrew sentences.

And this bench, like others where Lamb and Taverner meet with some regularity on both screen and page, is hardly an incidental bit of urban furniture. It holds not only their aging bureaucratic bums, but also a heavy load of literary and sociological significance.

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An ambient sarcasm hangs in the foul air around his characters. Nearly every word is freighted with a mockery that is indistinguishable from judgment. Herron’s prose bristles with the kind of active, restless grudge against the world that is the sure sign of a moralist.

While spies, bureaucrats and especially politicians come in for comic scolding, the real target of his satire is an administrative regime that will be familiar to many readers and viewers who have never cracked a code or aimed a gun. In interviews, Herron has often noted that unlike John le Carré, to whom he is often compared, he has had no first-hand experience of espionage. But he has spent enough time toiling in offices to understand the absurdity — the banality, the cruelty, the cringeiness — of modern organizational life.

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“Slow Horses” is a workplace comedy, and Diana and Jackson — nightmare colleagues and bosses from hell — are its flawed, indispensable heroes. Their nastiness to each other and everyone else is a reflection of their circumstances, but also a form of protest against the ethical rottenness of the system they serve.

The gimlet-eyed Diana, managing up from a precarious perch high in the organization, must contend with the cretinous crème de la crème of the British establishment. The epically flatulent Jackson, a career reprobate exiled to a marginal post far from the center of power, manages down, wrangling MI5’s designated misfits, the Slow Horses who give the series its name. Those poor spies need to be protected from external savagery, internal treachery and their own dubious instincts.

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Jackson and Diana seem to share a cynical, self-serving outlook, but what really unites them is that they care enough about the job to do it right. More than that: They may be the last people in London who believe in decency, honor and fair play, embodiments of the humanist sentiment that lurks just below the busy, satirical surface of Herron’s novels. Not that they would ever admit as much — especially not to each other, planted on a public bench, where anyone could be spying on them.

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Can You Identify the European Locations in These Thrillers and Crime Novels?

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Can You Identify the European Locations in These Thrillers and Crime Novels?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights the locations of thrillers and crime novels set around Europe. (Even if you aren’t familiar with the book, most questions offer an additional hint about the location.) To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

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