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Carrie Gibson manages to weave 500 years of complex history into a brilliantly coherent and thematic narrative in Empire's Crossroads, her first book, motivated by a "nagging disquiet" that so much atrocity underpinned the cultivation and sale of a commodity as inessential as sugar.
Her satirical presence digs up the dirt of a Tongva landscape, the nagging disquiet of those "Old San Gabriel Mission Days," and an unreconciled story between mother and daughter.
But despite the pain and fear, the hangings and the beatings, there is always a nagging disquiet that what Polanski thinks he is giving us is basically a much-loved children's classic.
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Then, at the turn of a page, in "The Bridge in the Mirror" – set among the deceased reflections of a bathroom in a posh hotel – the nagging disquiets and pressures of the personal life are shown as continuous with the larger historical and political dimension that seems both inescapable and nearly impossible to get a purchase on.
He also has that "nag of disquiet" that was Osborne's defining quality.
Osborne quoted by WJ Weatherby "The nag of disquiet and all the inescapable forebodings with which I had been born were so rooted that they couldn't be dismissed by the pleasure, the luxuries, the companionships and liberations that I felt I should have been enjoying at this point in my life".
Nagging choruses?
Am I nagging you?
Still, something is nagging.
Miliband kept nagging.
Does nagging work?
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com