Entertainment
A poet's novel of utopia shows less an ideal than, perhaps, a road map
Book Review
Ours
By Phillip B. Williams
Viking: 592 pages, $32
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Award-winning poet Phillip B. Williams’ debut novel, “Ours,” begins with a death — and a resurrection. A 17-year-old Black boy stands up shortly after a policeman fatally shoots him, as surprised as anyone else that he’s alive. He’s surrounded by the residents of the neighborhood: “Yes, they had left something behind to stand in that street together, blocked off from touching him and told to ‘Back up,’ had it yelled at them as though they were to have as little care and consideration for the boy as the ones who had shot him.”
From this contemporary opening, Williams takes readers back in time to the 1830s, when a woman known as Saint travels around Arkansas, freeing the enslaved and indirectly killing their so-called masters. She takes them to an area near St. Louis and founds a town called Ours, which she intends to keep safe and hidden from the outside world using her conjuring powers. She’s unsure where those powers came from. There’s a lot that Saint doesn’t know, doesn’t quite remember, but what she’s convinced of is that in order to keep the townspeople, called the Ouhmey, safe, she must keep them physically nearby and emotionally at a distance, for “if there’s anything more shockingly unpredictable than freedom, it’s love.”
Saint is only one of many characters whose stories unfold over the course of this deeply absorbing novel. Others include Luther-Philip and Justice, two boys born free in Ours, whose intimacy ebbs and flows through changing times and needs; Frances, whose pronouns and gender identity vary according to the eye of the beholder; and Joy, a young woman with a taste for vengeful violence, who accompanies Frances when the boardinghouse matrons they were staying with in New Orleans are murdered. Some get less page time than others but remain important. Luther-Philip’s mother, for instance, Miss Love, leaves the stage much earlier than her husband, Miss Wife, but her absence, and the way it came about, reverberates throughout the novel. Many of the characters’ conflicts and questions are never fully resolved, but that is because “Ours” is a book that embraces mystery and the unknown, whether found in conjuring and rituals or in the vagaries of lifelong relationships.
“Ours” has a fickle relationship with linearity. (I suspect it’s no coincidence that the novel’s title and town name is a homophone of “hours.”) The town’s denizens variously pass, reject, deviate from, travel through, ignore or lose time. It’s been interesting to see, then, how shorthand attempts to describe the book have leaned into the idea of Ours being an attempt at utopia, a word that doesn’t appear in the book.
* * *
A truism of our times is that the dystopia is already here — potentially a riff on a line attributed to author William Gibson, which goes something like “The future is already here. It’s just not very evenly distributed.” Dystopian fiction, John Scalzi wrote for The Times a few years ago, “lets us simulate our worst imaginings from the private security of our own homes, the better to avoid them in the real world.” The problem, of course, is that we haven’t managed to avoid many trappings of dystopian fiction: a rapidly changing climate and its attendant human displacement; the rise of fascist ideas and rhetoric; a seemingly ever-widening income gap; several ongoing genocides; billionaires building bunkers in case of some worldwide cataclysmic event. By many metrics, the dystopias we’ve been envisioning for decades no longer feel quite so escapist, nor fictional.
It’s against this background that I’ve come to notice a rise in recent fiction that explores possible utopias. Allegra Hyde’s 2022 “Eleutheria,” for example, follows its white protagonist to the titular Bahamian island and to Camp Hope, a commune attempting to address the ravages of climate change by living differently. Last year, in Gabriel Bump’s “The New Naturals,” a deeply disillusioned and grief-stricken Black couple tries to create a utopian society in a bunker in western Massachusetts, where they hope to abandon the plagues of capitalism, politics, racism and global warming. Gabrielle Korn’s “Yours for the Taking,” published in December and set in a dystopian near-future, features the troubling consequences that arise when a white girlboss billionaire decides to create a feminist utopia by cultivating a society without men, to prove that in their absence, peace and harmony will prevail.
None of these novels end up fully endorsing their various utopias, nor is that their intent. Instead, they ask tricky questions about what attempting to create an ideal society entails: What compromises of exclusion are made in the name of future equality? What fundamental human realities do we ignore in our fantasies of perfect harmony? What happens when a foundational ideology works for some but not others? Perhaps most tellingly, these books seem to conclude that it’s largely impossible to manufacture a utopia — which isn’t to say that the project is entirely unworthy, only that curation won’t be how we arrive at equality, safety and peace.
I’m wary of codifying literary trends. In part, the recognition of a trend so often depends on what subset of literature you’re looking at. Science fiction writers, for example, have long been interested in both utopias and dystopias, but those novels from Hyde, Bump and Korn were not presented strictly as science fiction. Another reason for my caution is that many “trend” labels arise from what is essentially marketing language, from book editors and publicists — such as the one who pitched “Ours” to me as being about the creation of a utopian town. For better or worse, this framing remained with me as I read the novel.
Williams writes in his author’s note at the end of the book that “Ours” is his attempt “at creating a contemporary mythology for Blackness in the United States of America.” He says he “aimed to write an epic taking place during the antebellum period where slavery is not the main antagonist without disregarding or disappearing the enslaved.” In other words, the author’s own framework doesn’t include the idea of utopia. Even so, his novel still ends up demonstrating what a utopia can look like.
Ours is a manufactured town, yes, created by Saint for the purposes of providing both safety and freedom to its people, but she refuses to be its leader, and when her meddling causes harm, she suffers consequences, losing the Ouhmey’s trust. In many ways, the 1800s Ours runs itself, without need for a mayor or a police force; it’s a communal effort whose people help one another when and as needed, even when they don’t particularly like each other. They come together to protect the town when it’s under assault, not because it’s perfect, but because it is their home, where they find joy and sorrow and love and heartbreak, where they relive the traumas of their past enslavement while also comforting one another. It is a messy utopia, unpredictable and full of conflict, which is to say it is human.
The novel’s opening indicates that the town has changed drastically in the nearly 200 years of its existence, becoming what Williams calls a hood rather than a town, suffering from the same police violence enacted against Black people all over the country, including infamously in Ferguson, Mo., a real town that like Ours sits just outside St. Louis. And yet its sense of community remains intact.
In a 2022 interview, Williams expressed his interest in navigating “the terrain of harsh realities without falling into the trap of valorizing them,” acknowledging that “rarely are moments simply pure in either direction of beautiful or ugly, peaceful or challenging.” Fictional utopias often fail because they refuse to dwell in complexity, insisting on a moral or ideological purity that ignores the lived realities of human beings and all their hurts. In this sense, “Ours,” for all its elements of magic, fantasy and mythology, is a realistic depiction of how we might arrive at utopia: through people who are always trying to become, always finding ways to navigate and survive harsh realities, always reaching for moments of joy and intimacy.
Ilana Masad is a books and culture critic and author of “All My Mother’s Lovers.”
Several private equity firms and Hollywood power players, including United Talent Agency and longtime agent Patrick Whitesell, have expressed interest in buying parts of Casey Wasserman’s music and sports management firm after it abruptly went up for sale.
Wasserman became ensnared in controversy earlier this year after his salacious decades-old emails to Ghislaine Maxwell, an accomplice of child sex offender Jeffrey Epstein, were released as part of the U.S. Justice Department’s trove of Epstein files.
The agency auction is in the early stages, according to three people close to the process but not authorized to comment.
Earlier this week, several interested parties submitted proposals to meet a preliminary deadline in the auction, two of the sources said.
The company, which changed its name to the Team last month, is expected to be valued at around $3 billion.
Providence Equity Partners holds the majority stake. The private equity firm has discussed selling the entire company or carving off Wasserman’s minority interest. Providence also has considered selling the bulk of the firm and staying on as a minority investor, one of the sources said. Another scenario could involve separating, then selling the individual business units that make up the Team.
Wasserman and Providence’s company boasts an enviable roster of music artists, including Kendrick Lamar, Coldplay and Ed Sheeran. Its sports marketing practice is viewed as particularly lucrative and has potential to grow in value as big dollars flow into sports that draw large crowds.
Wasserman, who declined to comment, has a veto right over any sale of the company that he has spent a quarter of a century building.
UTA, which also declined to comment, is among the most aggressive suitors, the sources said. The Team’s sports marketing and music representation divisions would dramatically boost the Beverly Hills agency’s profile and client roster.
Whitesell, former executive chairman of Endeavor, separately has been motivated to make investments in sports, media and entertainment since last year when he left the talent agency that he and Ari Emanuel built. Whitesell launched a new firm with seed money from private equity firm Silver Lake, and last spring he started WIN Sports Group to represent professional football players.
Whitesell wasn’t immediately available for comment.
European investment firm Permira also has expressed interest, according to a knowledgeable source. Permira declined to comment.
The New York Times first reported that Permira, UTA and Whitesell had expressed interest.
The sales process is expected to stretch into summer, the knowledgeable people said. The auction could become complicated particularly if Providence decides to unwind the business.
For example, UTA could not buy the entire company because of the Brillstein television unit. The agency is bound by an agreement with the Writers Guild of America that prevents it from owning television production.
Investment bank Moelis & Company is managing the sale. A representative of the firm declined comment.
Wasserman also is the chairman of LA28, the nonprofit group that will be staging the Summer Olympics in Los Angeles in two years.
Following revelations of Wasserman’s 2003 emails with Maxwell, several musicians and athletes — led by pop artist Chappell Roan and soccer star Abby Wambach — said that, to stay true to their values, they would leave the agency then known as Wasserman.
Wasserman apologized to his staff for “past personal mistakes” and said he would sell the agency.
He had limited dealings with Epstein, flying on the financier’s jet along with former President Clinton for a September 2002 humanitarian trip through Africa.
Wasserman, a prolific Clinton fundraiser whose legendary grandfather, Hollywood titan Lew Wasserman, helped the Democrat win the 1992 presidential election, was joined on Epstein’s jet by his then-wife, Laura, actor Kevin Spacey, Epstein, Maxwell — who was convicted of sexual abuse in 2021 — and others, including security agents.
The LA28 board’s executive committee unanimously voted to keep Wasserman as chairman, citing his “strong leadership” of the Games.
Pizza Movie (2026) Director: Nick Kocher and Brian McElhaney, Star: Gaten Matarazzo and Sean Giambrone
Somehow, I got through an hour of this movie. I was seconds away from turning off in the first fifteen minutes because of the juvenile humor. Pizza Movie is too silly, repetitive, and the characters are annoying. Stranger Things Gaten Matarazzo and Sean Giambrone star as college friends, Jack and Montgomery. College angles are rarely seen in films right now, and that’s the one saving grace of the film. Similar to high school, people are also trying to fit in. The story and visuals were too corny. You can only watch someone’s head exploding for so long without letting yours.
The Super Mario Galaxy Movie (2026) Director: Aaron Horvath and Michael Jelenic, Stars: Chris Pratt, Charlie Day, Anya Taylor-Joy
I never saw the first Super Mario Brothers Movie when it was out, but I heard it got positive reviews. My brother always loved playing Super Mario video games as a kid, and I’d watch him. I tagged along with my friends to see Super Mario Galaxy Movie, and it’s a cute and fun film. I like it when movies explore the video game world. The animation creates unique worlds and characters. The characters are split into their own storylines, and for me, I felt like it worked. It adds more action, especially for kids who are seeing the films.
Emily in Paris Season 5 (2025) Creator: Darren Star, Stars: Lily Collins and Ashley Park
After a bright spot in season 4, I thought season 5 of Emily in Paris would continue its growth in the story and its protagonist, but no, it’s all drained out in the usual Emily (Lily Collins) mishaps. Ashley Park (Mindy) has become too good for this show. Emily and Mindy waste several opportunities because of their love lives. The whole relationship angle is ruining it. I don’t understand why Alfie (Lucien Laviscount) is still in the show. I thought writers learned their lesson, but by the last episode, they’re continuing to bring the past into an apparent season 6.
Sarah’s Oil (2025) Director: Cyrus Nowrasteh, Stars: Naya Desir-Johnson and Zachary Levi
There’s always history lurking right beneath our noses. Sarah’s Oil (2025) tells the true story of Sarah Rector, an Oklahoma-born African American girl who became the first black female millionaire in the U.S. Naya Desir-Johnson is fierce and driven as Sarah. Zachary Levi is also along for the ride as Bert, a man who helps Sarah. Kate (Bridget Regan) was another favorite character as an intelligent woman. Cyrus Nowrasteh was drawn to the subject for its story and its themes. Nowrasteh’s direction is compelling as he unearths a hidden story from history. The film is streaming on Amazon Prime.
Jack Goes Boating (2014) Director and Star: Phillip Seymour Hoffman and Amy Ryan
Jack Goes Boating (2014) didn’t quite work for me, largely because of its slow pace and uneven storytelling. The film stars the late Seymour Hoffman as Jack, who also directed the film. This was Hoffman’s first and only time in the directing chair. Amy Ryan also stars in the film, giving a solid performance. This was also based on a play that Hoffman starred in. Jack wants to participate in a swim championship. That’s hardly what the film is about, tracking other characters’ stories. While the film aims for quiet intimacy, it ultimately drags, making it an underwhelming viewing experience.
You Kill Me (2016), Director: John Dahl, Stars: Ben Kingsley, Tea Leoni, Luke Wilson
Meet You Kill Me (2016), yet another film that I found in the museum of underrated gems. The concept revolves around Frank (Ben Kingsley), a hitman, who is sent to an A.A. meeting to get his mind focused again. A different story happens, where Frank falls in love with Laurel (Tea Leoni). Leoni is one of my favorite actresses. It also stars the funny Luke Wilson. I liked the trio’s dynamics. You Kill Me is a mental health movie. It’s okay to make changes if you’re not happy. I recommended that you keep an eye out for this movie.
Entertainment
Review: Trigger warning? ‘For Want of a Horse’ gives new meaning to the term ‘animal lover’
“For Want of a Horse,” a play by Olivia Dufault receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre, wants to have a rational conversation about a taboo topic that can provoke instant outrage.
The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference.
Calvin (Joey Stromberg), a good-looking, mild-mannered married accountant, has harbored a secret for much of his life. He has a thing for horses. His erotic interest began at an early age, and all his efforts to lead a normal life have left him depressed and contemplating suicide.
His wife, Bonnie (Jenny Soo), is a permissive kindergarten teacher who’s having difficulty restraining a girl in her class who has discovered the joys of masturbation. Worried about her husband, she discovers through his browsing history that he’s once again visiting strange animal sites.
She suggests he keep a horse, explaining that she doesn’t want to end up a widow or divorcée. Calvin is taken aback by her generosity but has come to recognize that his preference is more than a kink. It’s part of his identity — and maybe the only part that makes his life seem worth living.
Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
A horse named Q-Tip (Griffin Kelly) enters the couple’s lives. A stable is secured, and the mare, who senses that something strange is going on, is indulged with apples and caresses.
Kelly, a statuesque presence in a dress, harness and boots, brings the horse to life with wild, unpredictable movements. The sheer size of the animal poses a threat to humans. One kick, as Q-Tip herself explains in one of her thought-bubble monologues, is capable of penetrating a steel wall. But controlling an animal’s food supply is an effective way of winning over its trust.
Calvin has found support in the online zoophilia community. PJ (Steven Culp), a man whose current inamorata is a bichon frise, is considering moving to a country where zoophilia isn’t illegal. He’s tired of the shame and the secrecy. He’s proud of his attachment to pooch, even if his thing for dogs has cost him contact with his daughter and ex-wife.
Dufault doesn’t shy away from sexual details. For PJ, intimacy depends on peanut butter. Calvin describes the physical signals that reveal Q-Tip’s erotic satisfaction. The play occasionally descends into sitcom humor. (PJ says he’s considering creating a human-dog dating app called Rin Tin Tinder.) But mostly the subdued tone steers clear of sensationalism.
The production, directed by Elana Luo, is scrupulously well-acted by the four-person cast. Stromberg makes Calvin seem not only reasonable but surprisingly sensitive. Soo’s Bonnie sweetly embodies the excesses of a kind of progressive piety. As PJ, Culp gruffly embraces his role as the play’s polemical fire-starter. And Kelly’s Q-Tip, in the production’s most physically demanding performance, straddles the human-animal divide with theatrical aplomb.
Steven Culp, left, and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
The open-mindedness that Dufault, a trans playwright, brings to the play creates some dramatic slack. Possibly the same fear of making value judgments that has inhibited Bonnie from imposing common-sense discipline in her classroom has robbed “For Want of a Horse” of a propulsive point of view.
The play moves monotonously between Calvin and Bonnie’s bedroom and the stable. Scenic designer Alex Mollo has worked out an efficient way of shifting between these realms by employing the same set of wooden trunks. But the argument of the play doesn’t so much build as elapse.
Time takes its toll, and Calvin eventually has to make a decision. But the character who interested me most was Bonnie, whose reality is only glimpsed. The play tacitly uses her husband’s threat of suicide as a trump card. Zoophilia isn’t merely a fetish for Calvin but a nonnegotiable part of his identity.
This questionable assumption can be psychologically scrutinized not only from Calvin’s point of view but also from his wife’s. The play wants to have an intelligent debate, but it doesn’t want to interrogate certain political positions too skeptically.
At one point, Bonnie objects when Calvin compares his situation to that of homosexuality, but the conversation ends there. The reality is that the right wing has been making a similar claim, arguing that same-sex marriage opens the door to bestiality, polygamy and incest. “For Want of a Horse” inadvertently lends legitimacy to this line of reasoning.
Griffin Kelly in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
Not that extremist positions should be off limits, but they ought to be more rigorously addressed. Similarly, Bonnie’s concern about the issue of consent — how can a horse say yes to intercourse with a human — is introduced only to be dismissed in a shrug of mild-mannered bothsidesism.
While watching “For Want of a Horse,” I recalled a program on PBS called “My Wild Affair” that wasn’t about zoophilia but about the problematic nature of human bonds with untamed animals. Relationships with a seal, an elephant and a rhino, for example — obsessive, protective, loving friendships — all seemed to end if not in outright tragedy, then in shattering heartbreak.
Q-Tip is rightfully given the play’s last word, and Kelly, an actor (HBO’s “The Book of Queer”), writer and comedian, is the production’s driving force. We can never know what’s inside this mare’s mind because Q-Tip’s brain has evolved so differently from our own. Kelly plays the anthropomorphic game while retaining some of the inscrutability of a four-legged creature.
It is through language that we, as humans, traverse the chasm separating us from one another. That’s not possible with animals, even with our closest domestic companions. (Try explaining a necessary medical procedure to a cat.)
“For Want of a Horse” sets out to speak about the unspeakable, but its construction may be too tame for such a wild subject.
‘For Want of a Horse’
Where: Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave., L.A.
When: 8 p.m. Fridays, Saturdays, Mondays; 4 p.m. Sundays. Ends May 25
Tickets: $15-$42.75
Running time: 1 hour, 30 minutes (no intermission)
Info: echotheatercompany.com
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