Lifestyle
Why Anthony Fauci approaches every trip to the White House as if it's his last
Dr. Anthony Fauci testifies before the House Oversight and Accountability Committee Select Subcommittee on June 3.
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Chip Somodevilla/Getty Images
For much of the past four years, Dr. Anthony Fauci has been the public face of the government’s response to the COVID-19 pandemic — a status that garnered him gratitude from some, and condemnation from others.
For Fauci, speaking what he calls the “inconvenient truth” is part of the job. He spent 38 years heading up the National Institute of Allergy and Infectious Diseases at the National Institutes of Health, during which time he advised seven presidents on various diseases, including AIDS, Ebola, SARS and COVID-19.
Fauci still recalls the advice he received when he first went to the White House to meet President Reagan: A colleague told him to pretend each visit to the West Wing would be his last.

“And what he meant is, you should say to yourself that I might have to say something either to the president or to the president’s advisers … they may not like to hear,” Fauci explains. “And then that might lead to your not getting asked back again. But that’s OK, because you’ve got to stick with always telling the truth to the best of your capability.”
During the COVID-19 pandemic, Fauci clashed repeatedly with President Trump. “He really wanted, understandably, the outbreak to essentially go away,” Fauci says of Trump. “So he started to say things that were just not true.”

Fauci says Trump downplayed the seriousness of the virus, refused to wear a mask and claimed (falsely) that hydroxychloroquineoffered protection against COVID-19. “And [that] was the beginning of a situation that put me at odds, not only with the president, but more intensively with his staff,” Fauci says. “But … there was no turning back. I could not give false information or sanction false information for the American public.”
Fauci retired from the NIH in 2022. In his new memoir, On Call: A Doctor’s Journey in Public Service, he looks back on the COVID-19 pandemic and reflects on decades of managing public health crises.
Interview highlights
On appearing before the House Select Subcommittee on the Coronavirus Pandemic to answer questions about the pandemic response

If you look at the hearing itself it, unfortunately, is a very compelling reflection of the divisiveness in our country. I mean, the purpose of hearings, or at least the proposed purpose of the hearing, was to figure out how we can do better to help prepare us and respond to the inevitability of another pandemic, which almost certainly will occur. But if you listened in to that hearing … on the Republican side was a vitriolic ad hominem and a distortion of facts, quite frankly. As opposed to trying to really get down to how we can do better in the future. It was just attacks about things that were not founded in reality.
On his interactions with President Trump concerning COVID-19

He is a very complicated figure. We had a very interesting relationship. … I don’t know whether it was the fact that he recognized me as kind of a fellow New Yorker, but he always felt that he wanted to maintain a good relationship with me. And even when he would come in and start saying, “Why are you saying these things? You got to be more positive. You got to be more positive.” And he would get angry with me. But then at the end of it, he would always say, “We’re OK, aren’t we? I mean, we’re good. Things are OK,” because he didn’t want to leave the conversation thinking that we were at odds with each other, even though many in his staff at the time were overtly at odds with me, particularly the communication people. … So it was a complicated issue. There were times when you think he was very favorably disposed, and then he would get angry at some of the things that I was saying, even though they were absolutely the truth.
On reading reports of a mysterious illness afflicting gay men in 1981 (which later became known as AIDS)
I knew I was dealing with a brand new disease. … The thing that got me goosebumps is that this was totally brand new and it was deadly, because the young men we were seeing, they were so far advanced in their disease before they came to the attention of the medical care system, that the mortality looked like it was approaching 100%. So that, you know, spurred me on to … totally change the direction of my career, to devote myself to the study of what was, at the time, almost exclusively young gay men with this devastating, mysterious and deadly disease, which we ultimately, a year or so later, gave the name of AIDS to.
On the trauma of caring for patients with AIDS in the early years of the epidemic
All of a sudden I was taking care of people who were desperately ill, mostly young gay men who I had a great deal of empathy for. And what we were doing was metaphorically like putting Band-Aids on hemorrhages, because we didn’t know what the etiology was until three years later. We had no therapy until several, several years later. And although we were trained to be healers in medicine, we were healing no one and virtually all of our patients were dying. …
Many of my colleagues who were really in the trenches back then, before we had therapy, really have some degree of post-traumatic stress. I describe in the memoir some very, very devastating experiences that you have with patients that you become attached to who you try your very, very best to help them. … It was a very painful experience.
On working with President George W. Bush on the President’s Emergency Plan for AIDS Relief (PEPFAR), which aimed to combat the global HIV/AIDS crisis
The president, to his great credit, called me into the Oval Office and said we have a moral obligation to not allow people to die of a preventable and treatable disease merely because of the fact [of] where they were born, in a poor country, and that was at a time when we had now developed drugs that were absolutely saving the lives of persons with HIV, having them go on to essentially a normal lifespan here in the United States, in the developed world. So he sent me to Africa to try and figure out the feasibility and accountability and the possibility of getting a program that could prevent and treat and care for people with HIV. And I worked for months and months on it after coming back from Africa, because I was convinced it could be done, because I felt very strongly that this disparity of accessibility of drugs between the developed and developing world was just unconscionable. Luckily, the president of the United States, in the form of George W. Bush, felt that way. And we put together the PEPFAR program. … We spent $100 billion in 50 countries and it has saved 25 million lives, which I think is an amazing example of what presidential leadership can do.
On personally treating two patients with Ebola during the 2014 outbreak

The fundamental reason why I wanted to be directly involved in taking care of the two Ebola patients that came to the NIH is that if you look at what was going on in West Africa at the time — and this was during the West African outbreak of Ebola — is that health care providers were the ones at high risk of getting infected, and hundreds of them had already died in the field taking care of people in Africa — physicians, nurses and other health-care providers. So even though we had very good conditions here, in the intensive care setting, of wearing these spacesuits that would protect you, these highly specialized personal protective equipment, I felt that if I was going to ask my staff to put themselves at risk in taking care of people … I wanted to do it myself. I just felt I had to do that.
We took care of one patient who was mildly ill, who we did well with. But then the second patient was desperately ill. We did have contact with him, and we did get these virus-containing bodily fluids — everything from urine to feces to blood to respiratory secretions — we got it all over our personal protective equipment. And that was one of the reasons why you had to very meticulously take off your personal protective equipment so as not to get any of this virus on any part of your body. So the protocols for taking care of persons with Ebola in that intensive care setting were very, very strict protocols, which we adhered to very, very carefully. But it was a very tense experience, trying to save someone’s life who was desperately ill at the same time as making sure that you and your colleagues don’t get infected in the process.
Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz and Meghan Sullivan adapted it for the web.
Lifestyle
Love Island and Pre-Teen Punks with Jason Narducy : Wait Wait… Don’t Tell Me!
A promo image of Peter Sagal, Jason Narducy, and Alzo Slade
NPR and James Richards IV/NPR and Jason Narducy
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NPR and James Richards IV/NPR and Jason Narducy
This week, we’re live in Milwaukee with musician Jason Narducy. Plus, panelists Alonzo Bodden, Adam Burke, and Negin Farsad talk the World Cup, Love Island, and new rules for summer travel.
Lifestyle
‘The Odyssey’ is the mother of bad-trip tales. Why are we obsessed with travel disasters?
Lost luggage? Tarmac delays? Rental-car blues? No whining about measly travel headaches with the mother of all bad-trip sagas looming on the big screen.
“The Odyssey,” Christopher Nolan’s epic take on the Trojan War’s fallout, debuts July 17. Spoiler alert, if you somehow avoided Homer in community college: Nobody, save biblical Job, has had more misery hurled at them.
Outflanked by cruel and fickle gods at every turn, legendary Greek hero Odysseus outsmarted a one-eyed giant, suffered through the bewitching Sirens’ song and braved the Underworld’s dead denizens. He battled oversize cannibals, outmaneuvered a witch and lost scores of men at every turn. Then made it back to Ithaca after 10 years only to find his home overrun by suitors wooing his wife.
It’s a tale packed with bad decisions, failure, heartbreak and death. Perfect story fodder, given how much we love bad-trip stories. We consume lists of the worst airports and wonder at accounts of illness-plagued cruises. We scroll through videos starring unruly passengers or mangled bags, and read about the last resting place for lost luggage.
Hollywood has created a whole franchise around road trips gone wrong. Think of “The Hangover” or “Sideways” or “Little Miss Sunshine.” Screenwriter-director John Hughes perfected the big-screen comedic treatment of travel gone south with classics such as “Home Alone,” “National Lampoon’s Vacation” and “Planes, Trains and Automobiles.”
Let’s not even talk about the “three-hour tour” that left Gilligan and friends stranded on a deserted island for 98 episodes, or how Jack Dawson’s voyage ended aboard 1997’s “Titanic.”
A significant body of evidence even indicates that travel makes us sick. Trip-related problems are so common, in fact, that consumer advocate Christopher Elliott has stitched an entire career out of resolving them — from timeshare scams to horrible airline customer service and beyond.
Still, we keep buying tickets and packing our bags to sail into the great unknown, across Homer’s wine-dark sea. Why? Elliott attributes it to what he terms “traveler’s amnesia.”
“It amazes me that travelers are not up in arms about the way they get treated,” he said. “They take a trip, have a terrible experience, and forget about everything that went wrong and only remember what went right.”
He suggests that avoiding a bad trip starts with choosing companies noted for strong customer service. He cited some name-brand examples: Marriott for hotels, Alaska Airlines, and Enterprise Rent-A-Car. He avoids cruises as much as possible.
Which is funny, because when I think about cruising, I don’t revisit the miserable 36 hours that norovirus confined us in our cabin. I instead recall coasting past a flotilla of icebergs in Alaska’s Glacier Bay.
When I think about Mexico, I don’t wallow in memories involving Montezuma and his gastrointestinal revenge. But I do cherish thoughts of snorkeling with playful sea lion pups.
And when I consider airports, I blot the memory of the woman next to me at Gate 66 who insists on blaring a video call at maximum volume. Instead, wielding my noise-canceling earbuds, Odysseus-like, I plan to smother this screeching sound to preserve my sanity. But before I can insert them, a voice speaks to me.
To all of us, to be technically correct, since it emanates from the speakers of Los Angeles International Airport’s Terminal 6.
“It’s time to play TSA’s favorite game!” says the voice, mimicking a game-show host’s hustle. “You lost it, we found it!”
The speaker explained that someone had left a laptop computer at a checkpoint. The two were reunited moments later, which set my feet in motion, wondering whose voice it was. There at the checkpoint I met Carl Revis, a TSA supervisory officer with a penchant for comedy.
“You don’t have to be a jerk to get things done,” he told me. “I think reaching people through comedy is a lot easier than screaming and yelling at them.”
Taken together, my trip recollections probably qualify me as living proof of Elliott’s traveler’s amnesia theory. The final diagnosis should be clear soon. I’m retiring from full-time work this year, and people inevitably ask what’s next.
It’s not completely clear, I tell them. But I’ll definitely have more time to travel. Maybe sail across the Aegean … what could go wrong?
Lifestyle
Azar Nafisi on the movie adaptation of ‘Reading Lolita in Tehran’
Azar Nafisi on the set of Eran Riklis’ Reading Lolita in Tehran
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Marie Gioanni/Greenwich Entertainment
A new film version of Azar Nafisi’s critically-praised, worldwide bestselling memoir, Reading Lolita in Tehran, is now in theatres.
The film shows a group of women meeting clandestinely in Nafisi’s home in the mid-1990s, to read forbidden books. They read classics of the West, like Madame Bovary, The Great Gatsby, Pride and Prejudice, and Lolita.
Education had become dangerous and even deadly during the Islamic Revolution, and reading forbidden books was Nafisi’s way to fight back.
The film, directed by Eran Riklis, begins with Nafisi as a university professor and ends with her exiled from her homeland. Nafisi told Scott Simon about the experience of seeing herself and her story depicted on the big screen, “I feel towards it the way I feel towards my children.”
The film is directed by Eran Riklis and won the the Audience Award and a special jury prize at the 2024 Rome Film Festival.
It stars Iranian actors Goldshifteh Farahani, Zar Amir Ebrahimi, and Mina Kavani. Like the author, some of the actors are exiled from Iran.
Actor Golshifteh Farahani stars as Azar Nafisi in Eran Riklis’ Reading Lolita in Tehran.
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Greenwich Entertainment
“These girls were very different, one from the other,” Nafisi said of the students who studied with her in Tehran. Remembering them now, and seeing them depicted on the screen, Nafisi saw anew the power of great literature.
“Outside the classroom, they probably wouldn’t talk to one another. But in that class, they learned to communicate and to connect,” she said.
Through the stories in the books, Nafisi said each woman could find more and become more herself. “It reached a sort of magic,” she said.
The magic was brutally broken by a government that was desperate to quiet the voices of dissenters. Nafisi’s homeland changed quickly into a place she barely recognized
“This wasn’t my land,” she told Simon. “This was a country ruled by a regime that stoned people to death.”
When the religious hardliners in the government banned women from appearing in public without a headscarf, the film shows Nafisi, played by Goldshifteh Farahani, agonizing in front of a mirror with a black headscarf.
“The expression on her face is fear, because by and by, she disappears into this garment,” Nafisi said. For some, the headscarf was a symbol of the place of women in society, but for Nafisi the stakes were even higher.
“This is not a political fight. This is an existential one,” she said. “Our identity as human beings, as women, has been taken away from us.”
When fighting against covering her hair became too dangerous, Nafisi found small ways to rebel. “I never wore my scarf properly. I would always show a few strands out of the scarf to tell them, ‘You don’t own me.’”
Nafisi’s book about fighting the Iranian Revolution through the simple act of reading was an international bestseller, won numerous literary awards, and was named as one of the “100 Best Books of the Decade” by The Times (London).
Nafisi now lives in Washington, D.C., and continues to make a passionate case for the role of artists and writers in society.
She shared with Simon an illustrative story from the beginning of Islamic Revolution. The new leaders tore down the statues of the king and the royal family and changed the names of streets. But when they tried to bring down the statue of Persian poet Abul-Qâsem Ferdowsi, and erase his place of honor within the culture, the people opposed it.
“I thought how fantastic that they can bring down the statue of the Shah, but they can’t touch the poet,” she said.
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