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by Abbigale Kernya, ​for The 44 North

Managing Editor


The book cover of Everything Is Tuberculosis by John Green
The book cover of Everything Is Tuberculosis by John Green



Genre: Non-Fiction


“It reminded me that when we know about suffering, when we are proximal to it, we are capable of extraordinary generosity. We can do and be so much for each other. But only when we see one another in our full humanity. Not as statistics or problems, but as people who deserve to be alive in the world.”


― John Green, Everything Is Tuberculosis
“Nothing is so privileged as thinking history belongs to the past.”

Lately, I’ve been thinking about COVID. 


But I still skip every episode from whatever TV show in 2020 where a pandemic invades the static screen. I don’t want to talk about it, and yes, I also can’t believe it happened. 


Sometimes I’m catapulted five years ago in the smallest of places: Standing on the crusted six-feet-apart footprints scuffed on the grocery store floor, or a blue mask snagged on a trash bin, or even the sharp moment of panic when a stranger sneezes on the bus.


Despite all my shoving and pushing it down into a crevice of my memory, the pandemic still happened, and we are still living through it. I still think about it, even when I don’t want to.


John Green is the first person to untangle my stress ball of past anxiety and future confusion about illness into one tidy book. It fundamentally changed my life. Everything is Tuberculosis follows the illness (or, “consumption,” as it was so often glorified as a beautiful wasting disease of the rich and privileged) through the threads of class and capitalism in the past centuries. Green weaves us through the romanticization of the “white man’s disease” to now, where the raging class disparities around the globe ignite the fire for consumption to not only rage on, but fuel humanitarian crises like gasoline on a brush fire.


What took this book (by no means a solely historical textbook) from a simple Crash Course about disease to a commentary on beauty and capitalism was Green’s account of travelling to Sierra Leone to see first-hand how a disease—that was once considered desirable for its beauty and attraction to upper-class intelligence—is now the beacon for a humanitarian crisis. 


In a calling card to end the disparity between the tuberculosis (TB) crisis and access to medication and vaccines, Green details the story of a little boy, Henry, treated in a Sierra Leone hospital. A hospital it may have been, but one much different from the one you and I and John are familiar with. One that is denied access to life-saving medicine. One that is impoverished by colonialism, past and present, and one where children die of an easily curable disease for the sole reason that they were born in a country that the rest of the world turned a blind eye to.


Green details his relationship with Henry throughout the book, from innocent childlike wonder to recounting stories of Henry’s family, where disease and poverty have taken more than just his childhood. Despite the catastrophic humanitarian crisis invading Henry’s lungs, he is hopeful. He is brave, and he fundamentally changes Green’s life. 


The othering of the ill is not something special to our tiny pocket in time, but rather a telltale sign of how disease is treated based on class, race, and access to medicine. From belladonna’s use in the 1800s as a cosmetic to mimic the pale, feverish look of consumption, to the vilification of TB when poor marginalized communities fell victim, to the current rise of unnatural thinness that plagues the beauty standard of our post-COVID society. Everything is connected, and everything is curable.


To paraphrase perhaps my favourite line in the entire book: Where there is a humanitarian crisis, you will find TB. Where there is poverty and colonialism and people stuck under the boot of centuries of oppression, you will find TB. This disease does not compromise on its victims; it does not judge or offer plea deals. Instead, we as humans are the sole perpetrators of the thousands and thousands of deaths every year from this entirely curable disease. It is when humans fail to act, or don’t care, or put profit over human lives, that TB will show up.


It is hard for me to briefly explain how much of an impact this book had on not only my relationship to illness, but also how I view the world. Green makes an excellent argument throughout the entire book that there is no reason that humans should die of a disease like TB. There is no logical reason that in a world where humans have gone to space and built electric cars that even one human life dies from an entirely preventable illness. In that case, tuberculosis is not a disease of medicine, but rather a disease of human empathy and the cavern standing between suffering and power.


Everything is Tuberculosis is as gentle with human spirit as it is fundamentally important to understanding the politics of human suffering. From tender-hearted stories of compassion and generosity, to a century-long study into illness as a catalyst for global misunderstanding of what it means to be alive. 

by Abbigale Kernya, ​for The 44 North

Managing Editor


The book cover of Genderqueer by Maia Kobabe
The book cover of Genderqueer by Maia Kobabe

Genre: Memoir, Graphic Novel, Queer Literature


Some people are born in the mountains, while others are born by the sea. Some people are happy to live in the place they were born, while others must make a journey to reach the climate in which they can flourish and grow. Between the ocean and the mountains is a wild forest. That is where I want to make my home.”


Maia Kobabe, Genderqueer

This 2019 memoir by author, advocate, and storyteller Maia Kobabe (e/em/eir) is a tender journey through childhood to adolescence, exploring gender expression and the anxieties of growing up. It’s a beautiful walk with time and acceptance of oneself—a teacher, a guide, and at times, a friend. 


It’s also been banned in Alberta schools. 


Genderqueer follows Maia Kobabe from infancy to adulthood, where the first memories of gender confusion and dysphoria peak through the pages. This is a memoir where self-love, kindness, and acceptance of the people around you are seen as radical and sexually explicit. When I first heard that Alberta was banning over 200 books from public school libraries, alarm bells immediately started going off. In my research to not only read a banned book, but also to recommend it to my readers, Genderqueer climbed to the top of my list after Alberta’s Minister of Education, Demetrios Nicolaides, released a list of “sexually explicit” and “harmful” books found in school libraries on X.


Imagine my shock, then, when I began reading this graphic novel and found that the only sexual red flag was the conservative projection of homophobia and transphobia that turns a peaceful recount of gender exploration into sexually explicit content.


Kobabe shares a story that is full of hope—one that is importantly what eir needed when eir was younger. The frustration and self-hatred of not having any non-binary or asexual representation when Kobabe was growing up cost eir friendships, relationships, and peace within eirself. I found the most important part of this novel to be when Kobabe—after years of thinking eir were “wrong” or “broken” for not fitting traditional masculine or feminine gender roles—finds eirself in a teaching position looking out onto the sea of students and realizing this is eir’s chance to be the change eir needed when eir was young. 


On the flip side, this story that beautifully recounts childhood innocence and welcomes in a new wave of kindness and “radical” acceptance has been constantly demonized by right-wing parties as sexually explicit. In flipping through these pages, I had a hard time coming up with examples to fit their narrative. 


Is it sexually explicit to talk about periods and pap smears?


Or talking about sex in a natural and relatable way?


Perhaps dismantling gender roles and the sexualization of young girls is too “radical?”

Or maybe it was too sexually explicit to depict gender dysphoria in a raw and honest way that not only acts as a refuge for those needing representation, but also as a learning opportunity for those looking to understand their neighbour. 


Kobabe’s journey from a fanfiction writing tween struggling to understand why eir can’t move through life equal to eir’s peers, to an adult on a mission to ensure no other transgender children feel the alienation or sense of “wrongness” that filtered through eirs childhood is as memorable as it is raw. One particular scene that really drove this message home for me was an earlier recount of when Kobabe transitioned from homeschool to public school, and feeling like eir was eons behind social norms than eirs female classmates for not understanding why women have to shave their legs, why they cannot swim with their shirt off, or why girls were so obsessed with boys. It was this novel’s transition from a sense of other to togetherness that filled this story not with sadness, but instead a profound message of hope. 


Maia Kobabe’s Genderqueer opened my eyes to a new perspective—the end goal of any great novel, I am so bold as to claim. Yet, it is hard to understand how a government could remove this teacher from shelves in the act of “protecting children” when unrestricted internet access and the normalization of extremely harmful actual pornographic content (found everywhere on Snapchat, TikTok, YouTube) are left out of the conversation. How is this novel—detailing the journey from self-hatred to self-love—harmful?


I’ll save you the trouble: it’s not. 


The fearmongering of queer spaces through the right-wing dog whistle of “protecting the children” isn’t about children at all: it’s about enacting harmful narratives to raise a generation that fears each other and anyone who dares to live authentically. The most important role we have now as an audience is to read and surround ourselves with as many “radical” perspectives as possible, ensuring everyone is given the same right to go through this life with peace, kindness, love, and respect. 

by Abbigale Kernya, ​for The 44 North

Managing Editor


The book cover of Normal People by Sally Rooney
The book cover of Normal People by Sally Rooney

Genre: Literary Fiction


“Marianne had the sense that her real life was happening somewhere very far away, happening without her, and she didn't know if she would ever find out where it was or become part of it.”


Sally Rooney, Normal People

I’ve written before about how university, for me, was quite a lonely experience. The movies and TV shows I watched growing up—depicting college or university as this “straight out of a movie” experience—set me up for a sore disappointment when I found myself unable to adapt to the fast-paced, extroverted lifestyle I expected. I found it hard to make friends, and even harder to keep them. Romance was daunting, and building a dating profile was near impossible when I really didn’t have a sense of who I was staring back at the screen. 


It was lonely, and I didn’t quite know how to grapple with the slow disappointment (in myself) that I wasn’t making the life I had imagined for myself only months before. I’d never seen anything in the media painting university as grey, damp, and a slow mental descent into isolation until Sally Rooney’s Normal People came across my screen. The 2018 novel was adapted into a TV series two years after publication, and after seeing just one trailer for the show, I immediately bought the book.


Connell Waldron is me, and I, unfortunately, was him in university. The book follows Connell from high school to Trinity College in Dublin, alongside his long-time situationship, Marianne Sheridan, as they traverse every embarrassing aspect of adulthood—for better or for worse—together. Connell, who was the star-studded high school athlete, suddenly finds himself without meaning as he walks quietly through his college classes in sour distaste for everyone around him. Marianne, as his better half at the worst of times, opposingly and finally finds her stride in college, stepping out of the depressive and anxious mental health spiral she (through no fault of her own) spent the past few years suffering alone in. 


It’s a tale as old as time. A smart girl suddenly gets pretty, and a jock boy learns empathy. However, Sally Rooney has an unbelievable way of taking these character tropes and ripping them apart in a revolutionary and refreshing way. Connell is a villain in his own story, and Marianne can’t escape the chains she was swaddled in. The story follows these two as they try to bury themselves in each other, in the competitive, insatiable craving to reinvent themselves, and in the understanding that everyone else around them kind of sucks. But maybe that’s the whole point. Maybe everyone is just as miserable and maybe that makes it not so bad in the end. 


Set in university, this tale of romance and self-discovery is tinged with the aftertaste of soured desire so invigorating and addicting you can’t help but place yourself somewhere alongside the characters on the page. Whether it be a desire for connection or a sense of self, Rooney captures the existentialism of post-secondary perfectly. 


It captures the feeling of watching your life pass you by while you stand watching, not knowing if you should run to catch up with it or if it was ever yours in the first place. College and university are a nauseating experience for some of us. It’s never how you thought it would be: love, sex, money, friends, politics, peace within yourself—everything becomes unfamiliar. 


Everything except the pieces of yourself you will inevitably find in these characters. 


For better or for worse, I found solace in knowing someone else had felt what I was feeling, strong enough to create an entire series depicting it in high definition. From the page to the screen, university for me felt like a poorly written chapter in the Sally Rooney universe, and honestly, I think I’m better off because of it.


I find myself at the end of this review feeling that no matter what I write, the power of Rooney’s work—the life she breathes into characters on the page—will always be somewhat of an injustice. Normal People is the one book I wish, more than anything, I could go back to and read again for the first time. The complicated strings that bind every one of her characters together—whether involuntary or not—struck a new spark in me as someone who, much like the two stumbling protagonists, had no idea why I ended up anywhere and even less what to do with the life handed to me. From class inequality spelled out on the page to the urge to prove your womanhood in an extreme fashion, Normal People depicts, better than any other piece of fiction I’ve ever read, what college is really about and the people we bring with us in life.


For better or for worse, at times. 


“All these years, they’ve been like two little plants sharing the same plot of soil, growing around one another, contorting to make room, taking certain unlikely positions.”

Sally Rooney, Normal People

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