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Why Guardiola, Maresca and Salah love chess: Space, patterns and 'controlling the centre'

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Why Guardiola, Maresca and Salah love chess: Space, patterns and 'controlling the centre'

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What do Pep Guardiola and Enzo Maresca have in common?

Coaches wedded to a certain style of football? Midfielders who became managers? Worked together at Manchester City? Bald? All of these things are true, but that’s not the answer we have on the card.

The answer we’re looking for? Chess.

Both men, who meet at Stamford Bridge this afternoon, are keen proponents of the idea that football can learn plenty from chess, and they as coaches can take valuable lessons from it too.

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After leaving Barcelona in 2012, Guardiola took a sabbatical and travelled to New York, where he met with Garry Kasparov, the Russian grandmaster. He has also studied the methods of the world’s top-ranked chess player, Magnus Carlsen.

“You have no idea how similar the two things are,” Guardiola said in Pep Confidential, Marti Perarnau’s book about his first season at Bayern Munich. “There was one thing Carlsen said that I loved. He said that it doesn’t matter if he has to make some sacrifices at the start of the game because he knows he is strongest in the latter stages. It got me thinking and I must learn how I can apply it to football.”

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Maresca dedicated large tracts of his 7,000-word coaching thesis, written for his diploma at the Italian coaching school Coverciano, to chess. “A coach can only benefit from acquiring the mind of a good chess player,” Maresca wrote. “I concluded that playing chess can train the mind of a coach. The fundamental element of chess is the logic that leads a player to understand and thus predict the opponents’ moves.”

Maresca also highlighted the two games’ tactical similarities. “The chess board is like a football pitch that can be divided into three channels — a central one and two external ones. In football as in chess, an inside game can be more interesting as it’s the quickest and most direct towards goal or the king.”

The similarities in how space is used also came up in an interview with Carlsen and Guardiola. “In chess and football, the important thing is to control the middle,” Carlsen said as Guardiola looked on, rapt. “If you control the middle, you control the pitch or the board. Another thing is that in chess, you attack on one side, so you overload, and then you switch so you have an advantage on the other side. In terms of space, it’s remarkably similar.”

Most people reading this piece will know why ‘controlling the middle’ is important in football, but an explanation in chess might be worth making. “Each of the pieces moves differently, but nearly all of them are better in the centre,” Gawain Jones, a grandmaster who recently won his third British Championship, tells The Athletic.

“It’s one of the first maxims you are taught: get your pieces out and control the centre squares, and starve your opponent of space and they’re hemmed in at the sides. The knights are referred to as ‘octopuses’ because they can move to eight squares, whereas if they’re at the side they can only go to three or four.”

In his book Football and Chess: Tactics, Strategy, Beauty, Adam Wells draws further parallels. “At the most fundamental level,” Wells writes, “football and chess involve using space effectively and getting the timing right to break down an opponent’s defence while preventing them from breaking down yours.

“And that’s it. There are very few limiting rules. There are no complicated scoring systems or procedures of play that have to be followed. It is clear cut: you must capture pieces or score goals while staying within the confines of the board or pitch.’


The list of football coaches and managers who apply chess to their profession is lengthy. During the European Championship this summer, Switzerland coach Murat Yakin was asked about a match being a ‘poker game’, to which he responded that he doesn’t like poker because too much depends on what hand you are given, and that he prefers chess.

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“There are certainly parallels when it comes to tactics,” he told magazine Schweizer Illustrierte before the tournament. “I explain simple (chess) moves to my daughters: which steps they can make with which piece, how they have to think ahead and how to safeguard their tactics. If I set a strategy for the team, I have to be able to explain easily what I mean exactly.”

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Rafa Benitez is a keen — and very competitive — player, which fits with the perception of a manager who doesn’t so much see 11 human beings running around on a football pitch, more 11 pieces that he emotionlessly shifts.

Maybe the most enthusiastic chess player in football management is former Barcelona and Villarreal coach Quique Setien, who used to compete in tournaments. At one point, he was so highly rated that, according to an interview with the Spanish newspaper Marca, he could have represented “51 of the countries at the Chess Olympiad”.

“As many as you wish to find,” he told Marca when asked about the similarities between football and chess. “You can be an offensive player, but you always need to control what’s going on in your camp, without leaving pieces unattended, in a synchronised way. The same happens in football when you have a coordinated team, in which all the players are connecting.”


Borussia Dortmund coach Mathias Kolodziej is watched by staff and players (Alexandre Simoes/Borussia Dortmund/Getty Images)

Perhaps slightly more surprising is the number of footballers who swear by chess.

Mohamed Salah told Sky Sports in 2023 that he was “addicted” and is rated at around 1,400, which, according to Chess.com, puts him somewhere between ‘decent’ and ‘proficient’. Salah mostly plays online, with a username that is his actual name with a bunch of numbers after it: he said he enjoys messing with people who ask him if he actually is Mohamed Salah.

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Christian Pulisic almost seems to play as much chess as he does football: for him it’s partly an emotional connection, having been taught the game by his grandfather (he has a tattoo of a queen on his arm, with Mate, his grandfather’s name, beneath it), and partly a distraction because he started playing again regularly during the Covid-19 pandemic.

“It’s an incredible game that can help you with a lot of things, like problem-solving or seeing different patterns,” Pulisic told the Daily Mail in 2021. “I’m not saying it directly correlates to me being a better footballer but it’s certainly better than staring at a screen, gaming. It can really help you to stay sharp in your head — you have to think very quickly.”

New Barcelona midfielder Dani Olmo believes chess can inform his use of space. “On the pitch, I try to think about every movement,” he told Sky Sports, “not just to move left because the ball is going left. I am always trying to find the best solutions when I have the ball and when I do not have the ball. Either for me or the team-mate, to create space for other guys or even for myself.”

This tallies with something Jones tells The Athletic. “Chess tactics tend to focus on pattern recognition,” he says, “recognising that there is something not quite right with the opposition’s tactics.”

For Anthony Gordon and Trent Alexander-Arnold, chess is more akin to brain training. “Chess is a life skill because it applies to everything,” Gordon told the BBC this year. “It’s a very peaceful game. It gets my brain working, which I love.”

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Alexander-Arnold played Carlsen in a game arranged by sponsors in 2018: predictably he was routed in 17 moves, but you don’t have to be able to compete with the best player in the world to benefit. “It helps with concentration,” Alexander-Arnold said. “Because it takes a lot of concentration throughout both games to really focus on what your opponent is doing and how they’re trying to attack and hurt you. I think you can take notes from both of them and use them in each other’s games.”

The Liverpool defender isn’t the only player who has faced Carlsen, himself an almost obsessive football fan who, for a while, topped the world rankings in Fantasy Premier League. Pulisic, Martin Odegaard and former Real Madrid midfielder Esteban Granero are among those who have faced Carlsen.


Magnus Carlsen, chess champion, FPL master (Koen Suyk/ANP/AFP/Getty Images)

Others just use it to pass the time: Harry Kane took up chess after watching Netflix drama The Queen’s Gambit and has continued at Bayern Munich, playing against team-mates Joshua Kimmich and Kingsley Coman. “I use chess to switch off,” Kane told GQ. “It’s such a mental game. You have to focus on every moment, every move.”

During Euro 2024, the Netherlands squad travelled around Germany by train and on these long journeys, Bart Verbruggen and defender Stefan de Vrij would set up a board and play a game or two.


Chess also has a firm place in the language of football, but perhaps erroneously. When a match is likened to ‘a game of chess’, it’s normally a cypher for ‘this game is slow and boring’.

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A more generous interpretation would describe a very controlled, cagey match, which fits the perception of chess. Jones argues that chess is a much more reactive game than that, which strengthens the link between it and football. “It’s much more chaotic than we would like to think,” he says. “It’s good to have a long-term plan, but you can’t just stick to it: it’s all about adapting your plan to what your opponent is doing. From that perspective, it’s much more like a team sport. You have to be reactive.”

Players or coaches are often said to be thinking three or four moves ahead, but that’s a misnomer. “I don’t think it’s that practical,” says Jones. “It’s more about thinking one move ahead. It’s just about making the right move. There’s always the idea of balancing your plan and your opponent’s. There will be some calculation involved, but chess is understood as a much more dry, mathematical game than it actually is.”

There are reasons to be sceptical about the influence of chess on football. The obvious difference is footballers are sentient while chess pieces are not: a chess player can have a plan and enact it while only worrying about their opponent, whereas a football coach has to rely on 11 independent human beings doing as they’re told.

But even if the realistic influence is relatively thin, there are ‘marginal gains’ that explain why coaches are so keen on chess. Someone like Guardiola will do or study almost anything if they think it will give them even the smallest advantage. “He does it with anyone who can contribute any small idea to continue progressing,” Marti Perarnau, Guardiola’s biographer, told the Spanish journalist Kike Marin about the manager’s meetings with Carlsen.

Like anyone who is good at anything, Guardiola and other football managers take inspiration and influence from many different sources, but that so many elite figures look to chess tells you the strength of its influence.

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“If we’re the ones initiating the action, as opposed to simply reacting, then we’ll control the flow of the game,” Guardiola says in Perarnau’s book Pep Guardiola: The Evolution when describing similarities between chess and football. “The opponents then have to react to what we do, which automatically means a limited choice of options. It makes them more predictable.

“It’s a cycle: you take control, show that you have the upper hand and then you slam home your advantage… this is what it means to eclipse the opposition.”

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GO DEEPER

How Pep Guardiola takes inspiration from other sports

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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Video: Our Spring Book Recommendations

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Video: Our Spring Book Recommendations

new video loaded: Our Spring Book Recommendations

A few editors from the New York Times’s Book Review give their recommendations for what new releases you should be reading this spring.

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