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Mind & Mythos

Essay Club: Why I Write by George Orwell

"what i have most wanted to do throughout the past ten years is to make political writing into an art...".

Welcome to the first instalment of Essay Club! I’m very excited to get started, and I think our first essay— Why I Write by George Orwell—will be the perfect piece to kick things off. If you haven’t read it yet, click the link above and take the time (only about 10-15 minutes) to familiarise yourself. If you have no idea what Essay Club is, you might als…

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‘The Breakfast Club’ (Brian): “Sincerely yours, the Breakfast Club”

THE BREAKFAST CLUB by John Hughes

From : Movie

Type : Dramatic

Character : Brian Johnson is funny, smart and "sort of a nerd"

Gender : Male

Age Range : Late Teens

Summary : Brian writes a letter to Mr. Vernon in the closing monologue of the film.

More: Watch the Movie

Click Here to Download the Monologue

Brian: Dear Mr. Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. But we think you’re crazy for making us write an essay telling you who we think we are. You see us as you want to see us… In the simplest terms, in the most convenient definitions. But what we found out is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal… Does that answer your question? Sincerely yours, the Breakfast Club.

More Monologues from ‘The Breakfast Club’

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Orange High School junior earns second place in City Club’s Free Speech Essay Contest

• Updated: Apr. 19, 2024, 4:39 p.m. |
• Published: Apr. 19, 2024, 9:08 a.m.

Orange High School junior Lucy Campbell earned second place in the City Club of Cleveland’s 2024 Hope and Stanley Adelstein Free Speech Essay Contest (Photo Courtesy of Orange City Schools)

• Ed Wittenberg, special to cleveland.com

PEPPER PIKE, Ohio -- Orange High School junior Lucy Campbell earned second place and $750 in the 11th/12th-grade category of the City Club of Cleveland’s 2024 Hope and Stanley Adelstein Free Speech Essay Contest.

Winners were announced April 9.

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The Columbine-Killers Fan Club

A quarter century on, the school shooters’ mythology has propagated a sprawling subculture that idolizes murder and mayhem.

M ass shootings didn’t start at Columbine High, but the mass-shooter era did. Eric Harris and Dylan Klebold’s audacious plan and misread motives multiplied the stakes and inspired wave after wave of emulation. How could we know we were witnessing an origin story?

The legend of Columbine is fiction. There are two versions of the attack: what actually happened on April 20, 1999, and the story we all accepted back then. The mythical version explained it all so cleanly. A pair of outcast loners dubbed the “Trench Coat Mafia” targeted the jocks to avenge years of bullying. Dwayne Fuselier, the supervisory special agent who led the FBI’s Columbine investigation, is fond of quoting H. L. Mencken in response to the mythmaking: “There is always a well-known solution to every human problem—neat, plausible, and wrong.”

The legend hinges on bullying, but the killers never mentioned it in the huge trove of journals, online posts, and videos they left to explain themselves. The myth was so insidious because it cast the ruthless killers as heroes of misfits everywhere. Fuselier warned how appealing that myth would sound to anyone who felt ostracized. Within a few years, the fledgling fandom would find one another on social media, where they have operated ever since.

Around the world, Eric and Dylan are idolized as champions of “the nobodies.” Eric hated the nobodies. He mocked them mercilessly on his website and in his journal. He wasn’t a loner or an outcast, and neither was Dylan. Eric and Dylan made clear in their writings that they were planning the attack for their own selfish motives—certainly not to help the kids they ridiculed at the bottom of the social food chain.

Read: The Columbine blueprint

They were not in the Trench Coat Mafia. They were not Nazis or white supremacists, and they did not plan the attack for Hitler’s birthday. They did not target jocks, Christians, or Black people. They targeted no one specifically. They shot randomly and designed their bombs to kill indiscriminately. That’s where “they” ends: Their polar-opposite personalities drove opposite motives. Psychopaths are devoid of empathy; Eric was a sadistic psychopath who killed for his own aggrandizement and enjoyment. Dylan was suicidally depressed and self-loathing. Eric lured him into punishing the world for the pain it inflicted on him, instead of punishing himself. Columbine was a suicide plan, but on “Judgment Day,” as they called it, Dylan would show the world the “somebody” we’d never seen.

T he Columbine killers have fans. Eric and Dylan’s adoring online following spreads across nearly every continent, and it’s growing across multiple platforms. The Russian government, which has been plagued by an explosion of both Columbine fandom and mass shootings, estimates that more than 70,000 members exist worldwide. They call themselves the TCC, for “True Crime Community,” and I’ve spent much of the past 15 years inside their online world. My book Columbine made me enemy No. 1 for portraying Eric and Dylan as ruthless murderers.

In 2016, a young fan tweeted: “hey @DaveCullen block me or else i shoot my school.” She’d been ranting for hours, posting pictures of school shooters, and tweets such as: “It’s also something a lot of people need, To die....I wish i was dead...I LIKE VIOLENCE...I want to be killed in front of an audience. … I think someone failed to abort me (:”

These teens are ensnared in an American tragedy that just keeps growing worse.

I’ve tried to leave this story so many times, but this diagram haunts me, ruthlessly expanding like an unstoppable spider web, devouring all the lives and futures in its path. It demands that we address the cause—25 years too late. That web is made up of 54 mass shootings that have killed nearly 300 people and wounded more than 500. And every gunman left evidence that they were inspired or influenced by the murderers at Columbine. The Columbine effect.

Eric and Dylan’s bombs failed. Yet the legend made them heroic to their progeny and gave birth to their fandom. By the tenth anniversary, a small band of “Columbiners” had formed online. They gravitated to the TCC, to Ted Bundy, to the younger Tsarnaev brother, ‎to Dylann Roof, and to others—but Eric and Dylan are the megastars. The groupies multiply, as fresh crops of teens join their ranks each season.

Most gunmen die in the act, so the 54 attacks itemized in the diagram are just the ones that we know of, and that were carried out. A 2015 Mother Jones investigation of Columbine copycats found more than two thwarted attacks for each one that succeeded. It identified 14 plotters targeting Columbine’s anniversary and 13 striving to top its body count. Surviving mass shooters have admitted that they were competing with one another.

From the Marsh 2024 issue: To stop a shooter

A ll roads lead back to Columbine. The Virginia Tech shooter, Seung-Hui Cho, wrote in a school assignment that he wanted to “repeat Columbine” and that he idolized its “martyrs.” The Northern Illinois University killer marked a third generation, explicitly inspired by both Virginia Tech and Columbine. Sandy Hook was the fourth generation; Adam Lanza had studied all three. Six more school shooters later referenced Sandy Hook and Columbine. Five generations of fallout, all reenacting the original legend.

Most early Columbiners were just curious teenagers interested in the criminal mind or in analyzing Columbine. Many still are, and their analyses are often useful. Many are angry about being tarred with the group’s reputation, but they have been outnumbered by new arrivals unabashedly calling themselves fans. Many use the killers’ faces as avatars, extoll their virtues, and compose love poems, fan fiction, and gory memes about them. Sue Klebold said she was shocked by the volume of letters she received calling Dylan “heroic” and by the number of girls saying, “I wish I could have his baby.”

How little these groupies know about the murderers they obsess over is ironic. They keep repeating the misreporting that was debunked decades ago, convinced it’s true because it has metastasized into TCC dogma. The TCC twists the story to recast the murderers as victims; and the dead, wounded, and traumatized as villains. The groupies didn’t start these myths; we in the media bear that shame. But the groupies are now the carriers, spreading the legend of Dylan and Eric to remote reaches of the globe.

Seventy thousand is a tiny fraction of the adolescent population, but a magnet for a dangerous cohort of marginalized, disaffected, and hopeless teens—a major pool of aspiring shooters. Most TCC members outright say that they condone the Columbine murders, often in their profiles. They have turned Eric and Dylan into folk heroes, and they celebrate them as avenging angels. Adam Lanza obsessed over the Columbine killers and spent years immersed in these groups online. Then he murdered 20 little kids and six adults at Sandy Hook Elementary School.

Here’s the twist: Most of the TCC members I’ve engaged with describe themselves as awkward outcasts desperate to fit in. The TCC embraces them. The TCC feels cool—Eric and Dylan are super cool—and so they finally feel cool. I find it heartbreaking to hear them describe the pain they endure at school and the affinity they feel for “Dylan” and “Eric,” the fictional characters they’ve constructed. These kids are shocked when I tell them that other members of the TCC have told me the same—that they are putting on the same show, sure that all the others really mean it. Did Adam Lanza believe the posers? We’ll never know, but we can be certain that as you read this, a distraught, lonely kid somewhere is contemplating an attack—and the one community they trust is screaming, Do it!

Elaine Godfrey: The club that no one wants to join

Lots of kids fantasize about killing. Two days after Columbine, Salon ran “ Misfits Who Don’t Kill ,” in which three people came clean about their youthful fantasies of enacting mass murder. The phenomenon was widely reported that week. But none of those people did anything, because they knew how horribly wrong acting out the fantasy would be. Inside the TCC bubble, the constant message is that if your classmates are tormenting you, killing them is not just moral —it’s heroic and noble.

T he TCC has a tell: Actual shootings unnerve them. Their posts grow quiet, respectful, and even mournful after some troubled young person heeds their call. I can gauge the change instantly, because the incessant harassment I get from them stops cold—for a week or two. Parkland was different: Six months went by before the taunts began trickling back in, and I haven’t gotten a death threat in the six years since. Why? I have no way to be certain about this, but my educated guess is that David Hogg, X González, and the rest of the March for Our Lives kids were suddenly cooler than the young shooters. And so much more powerful.

Eric and Dylan weren’t powerful—their plan failed. They’d planned Columbine as a bombing , the primary terrorist tactic. They thought they were launching a three-act drama: The cafeteria bombs would kill nearly 600 people instantly; what they called the “fun” part would be shooting up hundreds of survivors; and the massive car bombs set in the parking lot outside were to be the coup de grâce. Those timers were set to explode 45 minutes after the initial blast, wiping out countless more survivors and first responders, live on national TV. The Columbine killers’ performance was staged as the most apocalyptic made-for-TV horror film in American history. Eric complained in his journal that his “audience” would fail to understand. He got that right. He got everything else wrong.

Every element fizzled. All of the big bombs failed. Eric and Dylan went down to the cafeteria in a last desperate move to ignite the bombs with gunfire and a Molotov cocktail. Failed. Experts on psychopaths say they get bored after their initial kills, and Eric had likely lost interest. His gun’s recoil had broken his nose, so he spent that time in acute pain. The cops refused to kill them in the blaze of glory that they’d described as their final curtain. The smell of all the blood and already decomposing bodies was overpowering. Out of options, each shot himself in the head.

A more obscene and pathetic way to die is hard to imagine. Yet their fans have never confronted that ugly reality, because the opposite story took hold, making Eric and Dylan masterminds of the “worst school shooting in American history.”

The Columbine effect has gone global. It has inspired mass shootings in Finland, Sweden, Brazil, Mexico, Canada, France, Germany, the Netherlands, Ukraine, and Russia—as well as knife and axe attacks in places as remote as Siberia. In 2022, Russia designated the online “Columbine movement” a terrorist group. To comply with the ruling, my publisher required me to disavow the group in the Russian translation of Columbine . Mass murder inspired by those inept perpetrators is America’s most revolting cultural export.

I know when the TCC colonizes a new region, because I start getting a barrage of taunts in a different language. It’s a social contagion. Researchers have described school shootings as the American equivalent of suicide bombings—an ideology joined with a tactic. The phenomenon is escalating and self-perpetuating.

The Columbine groupies have no idea that they’re exporting a fraud. The media set this whole thing in motion 25 years ago. To untell a legend is a formidable task. It will be possible only when the media finally begin to convey how pathetic and gruesome the killers’ final moments were. The fans need to hear the ugly truth. Eric and Dylan viciously murdered innocent kids for their own selfish and petty agendas, and they died miserable failures.

This essay is adapted by the author from the new preface to a 25th-anniversary edition of Columbine .

The Michigan Daily

One hundred and thirty-three years of editorial freedom

Photo Essay: Uncovering the University of Michigan Men’s Rowing Team

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On North Main Street, inside an unassuming two-story concrete building, lies an intriguing interior. Stairs lead up to the second story and a “Michigan Rowing” sign greets visitors before revealing rows of ergometers overlooking the Huron River.

Trophies line shelves displaying years of the team’s success alongside spreadsheets marking the progress and speed of each rower and boat. This building is home to the Michigan men’s rowing team.

Photos: Jenna Hickey/Daily. Buy this photo.

Recruitment starts at the beginning of the school year. “Since we’re not a varsity team, we can’t recruit high schoolers,” said Engineering senior Nicole Carpentiere, president of the Michigan men’s rowing team. This task is the responsibility of the relations officer who schedules recruiting events and sends out emails in the summer to garner interest from freshmen.

The team hosts three open boathouses for potential recruits to meet the coaches and rowers, try some strokes, compete for gear and learn more about the team.

Some experienced freshmen will reach out at the beginning of the year, but, according to Carpentiere, roughly 80% of rowers on the team have never rowed before.

“The bread and butter of our team are for sure the athletes that didn’t row before, and typically our fastest guys are the ones that have never rowed,” Carpentiere said.

While the weather is warm in the fall, practice takes place outdoors on the water. But toward the end of November, as it gets colder, the team winterizes the boats, moving them to the boathouse, and shifts indoors. Practices alternate between higher and lower intensity days.

The most intensive day includes a time trial for the 2K — an all-out sprint pushing the athletes’ physical abilities for 2 kilometers (1.24 miles). Groups are split into 30-minute increments, with the fastest rowers going in the last two sessions. Each group starts with a warmup led by a coxswain, the athlete sitting at the front of the boat steering the rowers, before transitioning to the testing ergometers.

When Coach Gregg Hartsuff yells “Go!,” athletes start to row as quickly as they can. The athletes in the next time trial group stand behind the testing group yelling words of encouragement.

As more athletes start to trickle in, the noise level increases. When the rowers reach the 2K mark, they high-five the athletes next to them before grabbing water as coxswains write down their times. The rowers are then led to a corner of the facility for a cool-down stretch directed by the coxswain while the next group prepares to warm up.

The team had a couple of races in the fall semester with the last falling on Nov. 18, 2023. The team didn’t compete in the winter semester until March 30, four months later. Since Michigan rowing is not a University-funded team, they compete under the American Collegiate Rowing Association, which has become the largest collegiate championship regatta due to many teams losing funding from their universities. The Michigan team also gets the chance to compete at other regattas with university-funded teams, giving them a chance to scout their fiscally superior competition.

Carpentiere says the team has a chip on their shoulder because they have to fund theirselves.

“You’re doing what they’re doing except you’re not getting spoonfed money and all the nicest and newest equipment.”

Instead of relying on university support and athletic scholarships like varsity Michigan sports, the team utilizes its large alumni network and its own funds to cover the costs. The athletes pay semester dues which cover the cost of travel, lodging, facilities and uniforms. The team participates in their event, “Rent-a-Rower,” to help cover these fees, where they do four hours of work, such as lawn care, around nearby neighborhoods. Every athlete must pay semester dues except “frosh” athletes in their first year on the team, as endowments by alumni waive their fall dues.

In 2018, the team moved from the Intramural Sports Building to the indoor facility through support from alumni and the Michigan Rowing Association. In 2023, the team moved to the second floor of the building, containing 75 ergometers, locker rooms, offices and a Swingulator rowing simulator.

Carpentiere attributed Michigan rowing’s strong alumni network to investments alumni put in during their times as student athletes, mentioning that she and other members of the team plan on donating as soon as possible.

“(It) comes down to a love of the sport, a love of the team, and a love for our coach,” Carpentiere said. “They continue to make sacrifices well beyond the time they’re here because of the pursuit of winning. (We) know how much we all value this experience and we want to make sure we can give that experience to as many people.”

Another important fundraising event is Giving Blueday, a U-M-wide event dedicated to financially supporting student-led organizations, colleges and programs on campus. Most teams utilize social media to fundraise on Giving Blueday, but the rowing team takes it one step further in the form of the Million Meter Row.

The team starts on the Diag before the sun rises and rows until all the distances on the ergs combine to 1 million meters long after the sun sets. The team loves being able to meet people and talk to them about their program through the unusual public display on the Diag.

Just beyond the practice facilities and past train tracks sits the boathouse and dock. Practice on Friday took place before the team left for Lubber’s Cup in Grand Rapids, where they would compete against teams such as Minnesota, Michigan State, Northwestern and Notre Dame. They are unsure how the competition fares as racing in the fall and winter semesters follow different formats. Rowers compete in longer 6Ks in the fall and shorter 2Ks in the winter.

As athletes arrive, boats and oars get moved to the dock in preparation for practice. Sounds of “Clear!” and “Watch your head!” fill the air as seven to eight team members move a boat to the stands.

Some of the coxswains begin derigging a boat to remove the oar attachments to fit on the trailer.

Once the boats are ready and placed in the water, final touches are made before the athletes get set and row to the start of the Huron River before the Argo Dam.

With the regatta the next day, this workout is less intense. It consists of 60 minutes of “steady state,” or slow, long distance. The aim is to keep their heart rates around 140 to 168 beats per minute to increase endurance by increasing capillary density around rowing muscles which allows for easier oxygen diffusion into the muscles.

The Varsity 8’s, consisting of eight athletes in a boat, shared the water with other Michigan boats as well as the Pioneer High School crew team. For 60 minutes, the team rowed up and down the Huron River, totaling about six times. After each pass, the boats would slow for water and coaching before turning the boat around and preparing to start again. The sun would peek through the clouds a couple of times during practice allowing some relief from the chilly wind. 

Top left: The Varsity 8 boats row underneath a bridge during their outdoor practice April 5. Middle right: Both Varsity 8 boats row down the Huron River while other schools share the water April 5. Bottom left: Coach Gregg Harstuff speaks into a megaphone to coach athletes down the river April 5. Bottom middle: LSA sophomore Freddy Aldinger helps row the boat down the Huron River April 5. Jenna Hickey/Daily. Buy this photo

After time on the water, it was all hands on deck. Athletes started to bring boats from the water for derigging, bringing oars over to the trailer, breaking down ergs and piling up items needed for the long day of racing.

Talking filled the air as some athletes worked together to strap boats onto the trailer while others talked about their day or whether or not they were going to Markley Dining Hall for dinner.

Left: Athletes sit on the trailer to help move the next boat April 5. Right: Engineering sophomore Zach Hutchings straps a boat onto the trailer April 5.  Jenna Hickey/Daily. Buy this photo

Once everything was loaded, Hartsuff brought together all the athletes for reminders about racing the next day, including setting three alarms to be awake for the early morning ahead.

The team is currently going for their 15th national title, having won the past 14 years in a row since ACRA was established.

“There’s a level of competition we expect of ourselves and each other to perform at to make sure we keep hitting those goals and staying on top because who doesn’t want to win?” Carpentiere said. “Not one person or one group of guys can win it. We need everyone to be racing and competing.”

Senior Photo Editor Jenna Hickey can be reached at [email protected]

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New York’s Hottest Club Is a Literary Event

These days, readings in the city can require tickets and be just as hard to get into as a trendy restaurant.

By Kate Dwyer

When the writer and professor Amitava Kumar invited the book scout Erin Edmison to his reading at McNally Jackson Books’ Seaport location in February, Ms. Edmison penciled it into her calendar and “didn’t think twice about it,” she said, “because I am old, and that’s the way things used to work.”

On the night of the reading, she arrived at the bookstore to discover that she needed a $5 ticket to the event, which was sold out. “It didn’t even occur to me,” Ms. Edmison, 48, said.

She got in eventually. After a brief wait near the cash register with the other walk-ins, Ms. Edmison was able to stand in the back of the room. “It wasn’t a big deal,” she said. She was happy to see that Mr. Kumar , who is a friend, had a packed house.

In the New York of the recent past, readings were events one could wander into, perhaps as a recent college graduate aspiring to be a published writer or simply looking for something to do. But these days, McNally Jackson and a handful of other independent bookstores across the city have begun requiring people to buy tickets or R.S.V.P. to attend readings. Tickets can cost anywhere from a few bucks to some $30, depending on whether you buy the book, too, sometimes rolled into the price.

New Yorkers may have gotten used to the idea that nothing in the city is ever really free and that everything is hard to get into. Nonetheless, some have begun to wonder: What changed?

“Recently, attendance has been extremely up,” said Mikaela Dery, the director of programming at McNally Jackson, which has multiple locations around the city. “At least half of our events sell out. Often, we have weeks where every single event is sold out. And we have three or four events a week.”

The bookstore started its reservation system when it reopened as pandemic lockdowns eased — as the staff was careful not to overcrowd the room. But McNally Jackson, as well as other bookstores including Books Are Magic and the newer P&T Knitwear, adopted it as a long-term policy as a way to prevent no-shows.

Crowded rooms, though, are still a consideration. Readings — and not just at bookstores, but at bars, galleries and parties, too — seem to be more popular than ever.

On a Tuesday night in late March, the poet and essayist Hanif Abdurraqib drew 350 people for a 10 p.m. reading and Q. and A. at the Bell House, a performance venue in the Gowanus neighborhood of Brooklyn, to promote his new book “There’s Always This Year: On Basketball and Ascension.” (The late-night event was added after an earlier 350-person reading with the critic Wesley Morris sold out in a matter of hours.)

But you don’t need to be a big name to fill a room. Over the years, less established writers have found large audiences at readings hosted by upstart magazines like The Drift and Cake Zine , which typically ask a few of their contributors to read in the earlier hours of their raucous parties.

Some of these readings cost money, too: Drift parties are free for subscribers, but otherwise tickets are $20 at the door and include the latest print issue. Cake Zine’s events were free until recently; at its issue party last summer, at Public Records, the space quickly reached its 500-person capacity, and people lined up down the block, said Aliza Abarbanel, a founding editor at the magazine. For the launch of the magazine’s winter issue, she and her co-editor, Tanya Bush, charged $15 for tickets.

Readings became a way “for people to ease back into social life” as Covid began to recede, said Whitney Mallett, the founder of The Whitney Review of New Writing, a biannual print magazine with shortform criticism and essays. And for a younger generation especially they can play a large role in social life.

“I’m sure kids still go to shows at Baby’s All Right and places like that,” Ms. Mallett said, though that Williamsburg concert hall has also hosted a few literary magazine parties recently. “Maybe readings have replaced that to some degree — it seems more contemporary. To go see someone’s indie rock band play doesn’t feel as of this era.”

It used to be that readings were a source of some grumbling, not because people couldn’t get in, but because they didn’t want to go. “You dread going to readings — they can be so boring,” the memoirist Priscilla Gilman, a child of literary New York , said. Lately, she noted, events have been more inventive, with things like food and cocktail pairings.

Bars like Pete’s Candy Store, Franklin Park and KGB have hosted readings for years. But chefs and restaurateurs have brought the events to new, upscale spaces, too. Tables of Contents, a reading series founded by the chef Evan Hanczor more than a decade ago, has become a mainstay on the literary event circuit and takes place each month at rotating venues such as the Ace Hotel in Brooklyn. The series’s upcoming 60-seat event — with dishes inspired by each reading — sold out within an hour of being announced, Mr. Hanczor said.

The fashion world has taken notice, too. Rachel Comey hosted a reading with The New York Review of Books last year. And in February, Ms. Mallett hosted a Whitney Review reading at the Comme des Garçons store in Chelsea.

Mr. Abdurraqib said he wanted to treat his book launch more like an “album release show or a concert,” and for it to feel for the audience “as though you’re settling into the end of a night hanging at your friend’s house, when a party kind of winds down and people aren’t leaving.” And in fact no one wanted to: The author signed books past midnight.

When literary events become trendy scenes, there are usually at least a few people who bemoan the loss of a seemingly bygone serious reading culture. (Some writers reading their work aloud are “not necessarily in it to publish books,” Ms. Mallett said, “or books are just another part of selling a persona — there’s a lot of social media stars.”)

But the landscape of readings in New York has always been varied, encapsulating both underground, D.I.Y.-ish performances and more professionalized gatherings.

The writer Lucy Sante remembered participating in poetry readings inside church basements and coffee houses as a high school student in the early 1970s. “When I was writing my first book, ‘Low Life,’ I tried out bits reading them at Mona’s bar on Avenue B,” Ms. Sante said.

Downtown bars like Sophie’s, Chumley’s and Phebe’s had reading series, as did CBGB, around the same time (on Sunday nights). There were also readings in art galleries, and “readings given under the auspices of downtown magazines like Between C&D,” Ms. Sante said, noting that Between C&D, which was on the Lower East Side, was “like two people operating out of their apartment,” similar to today’s indie publications run by twenty-somethings.

In a more cash-flush era of book publishing, in the 1980s and ’90s, releasing a book often involved parties uptown where authors would be feted at editors’ and agents’ apartments, Ms. Gilman, the memoirist, said. (Those gatherings did not usually include a reading.)

Today, most readings are not so ritzy, and what draws people to them is not the promise of a fancy cocktail or an hors d’oeuvre.

For many writers, they’re “an outlet to share this thing that might otherwise be seen as nerdy or a solitary pursuit,” said Leah Abrams, 25, who with a fellow writer, Heather Akumiah, 29, runs a series called Limousine Readings.

At a night of readings on Thursday in celebration of Cake Zine’s second anniversary, Ms. Abarbanel said a few people approached her to say they were inspired to go home and write immediately after the event.

“That’s probably the best feedback I could hear,” she said.

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In Photos: Harvard Figure Skating Club’s Annual Showcase

On April 7, students in Harvard’s Figure Skating Club took to the ice for an annual showcase in the Bright-Landry Hockey Center. Crimson photographer A. Skye Schmiegelow captured the elegance and athleticism of their performances.

Alice J. Feng ’26 ties her ice skates as she prepares for the showcase. Feng serves as co-president of the club with Katherine Jackson ’25, and the show opened with her routine.

Feng performs a one-leg glide as she skates to “Can’t Catch Me Now” by Olivia Rodrigo.

Feng demonstrates her 14 years of figure skating experience with a Biellmann spin (left) and an I-spin (right). As co-president, she organizes practices, social events, and workshops with specially invited coaches.

Jasmine N. Wynn ’27 is the second skater to take the ice. Wynn glides and spins to the upbeat show tune “Razzle Dazzle” by Richard Gere, from the musical “Chicago.”

Alexandra J. Poret is a second year Ph.D. student at the Harvard Graduate School of Arts and Sciences. She started figure skating as an undergraduate at MIT but has been on the ice more frequently since coming to Harvard.

Poret spins to “I’d Love to Change the World” by Jetta.

In her performance, Aylin E. Tanriverdi ’25 dances to “A Time for Us” by Barratt Waugh.

Tanriverdi skates backwards, transitions into a layback spin, and slides into a split by the end of her routine. Though Tanriverdi skated competitively in high school, this event was her first figure skating club showcase.

The showcase concludes with a performance by Han Qi, a first-year Ph.D. student at GSAS. Above, Qi skates to “Yaozu Wuqu” or “Dance of the Yao People.” The song comes from the traditional festival music of the Yao people of southern and southwestern China.

At the end of the showcase, co-president Feng presents each skater with an ice-themed bracelet for their unique and skillful performances.