Posts Tagged ‘Sports Illustrated’
May 2, 2014 | by The Paris Review
If I had to teach a class on the Framing Device, the first thing I’d make them read is Jeremias Gotthelf’s 1842 novella The Black Spider, recently published in a new and (to this non-German-reader) magical translation by Susan Bernofsky. The opening scene is a christening in the Swiss countryside: idyllic, sentimental, lovingly detailed. Then one of the guests notices a strange blackened post in the house where the festivities are held, an old man begins to tell the story of how it got there … and in no time things have gotten very weird indeed, and they continue weird even when the story ends, the idyll stained by the past. A fairytale for grownups, an early horror story, an allegory of the Black Death or of sin—however you read it, it has the deep logic of a dream. —Lorin Stein
Sometimes I’ll Google some nouns with a writer’s name, hoping to discover that said writer has miraculously published a piece about said nouns. This usually doesn’t work out for me—zero results for “Norman Rush + Botswana + heavy-metal leather subculture,” and zero more for “Jonathan Lethem + Larry Levan + Paradise Garage + disco”—but lightning can strike, as it did with “Richard Ben Cramer + baseball + Baltimore.” That led me to Cramer’s “A Native Son’s Thoughts (Many of Them Heretical) About Baltimore (Which Isn’t What It Used to Be), Baseball (Which Isn’t What It Used to Be) and the Steadfast Perfection of Cal Ripken Jr. (Which Is Ever Unchanging, Fairly Complicated and Truly Something to Behold),” published in Sports Illustrated circa 1995. Hot dog! As its forty-four-word title indicates, this piece has it all. There’s baseball, which, for reasons that remain unclear, I’ve begun to enjoy watching; there’s Baltimore, where I grew up; and there’s the vigorous prose from Cramer, whose masterpiece on the 1988 election, What It Takes, I’ve just finished, thus creating a void that can only be filled with more Cramer. When I read the first clause (“It’s a stinkin’-hot night at the ballpark”) I knew I was safe for a little while longer. —Dan Piepenbring
“The Space Between,” Marc Yankus’s show at Clamp Art, is on now through May 17; it reveals a new side of the artist. His earlier images explored his love of color washes and blurred shapes—photography that sometimes looked as though it had been printed on a wet surface. With this new body of work, Yankus has written a love letter to the stonemasons, bricklayers, and architects of an ever-evolving New York City landscape. The detail captured in these photographs is unreal and meditative; he’s shot these monumental buildings sometimes at great heights and always from their best angles. A master of minute detail, Yankus invites us to study the individual bricks right down to the fine cement layers that seal them together. Though people are ever-present in these works, there’s not a soul to be found. It lends a ghostly beauty to these prints, making it exceedingly difficult to pick a favorite. —Charlotte Strick
I’ve been reading Adam Shatz’s vivid remembrance of the journalist and historian Patrick Seale, who died last month. Seale wrote the two best books on modern Syrian politics, in English or any other language. The Ba’athists in Damascus trusted him and the Western spymasters learned from him. And what a time it was for foreign correspondents, especially if you lived in Beirut. As Shatz writes, “It was the Mad Men era of Middle East reporting, a time of high living and high-stakes intrigue … The correspondent’s calendar was marked by revolutionary conspiracies; many were first reported as rumors, sometimes overheard at the bar of the St. George Hotel, where spies, arms dealers, diplomats and other adventurers gathered at the end of the day.” —Robyn Creswell Read More »
April 1, 2014 | by Dan Piepenbring
Today’s been so chock full of hoaxes, shenanigans, pranks, put-ons, spoofs, tomfoolery, and good-natured hooliganism that we’ve almost forgotten to remind you of the hoaxes, shenanigans, pranks, put-ons, spoofs, tomfoolery, and good-natured hooliganism of yesteryear. One case in particular merits revisiting: we speak, of course, of a 1985 hoax executed in grand fashion by our late founder, George Plimpton. PBS’s American Masters tells the story with help from Jonathan Dee:
For the April 1, 1985, issue of Sports Illustrated, George Plimpton wrote “The Curious Case of Sidd Finch,” a profile on an incredible rookie baseball pitcher for the New York Mets. Sports fans took his April Fools’ Day joke seriously. Even other journalists were willing to believe a novice could throw a 168-mph fast ball, thanks to his Buddhist training (Sidd was short for Siddhartha, the title character of Herman Hesse’s novel). To keep the hoax going, a nervous George Plimpton relied on a young Jonathan Dee, now a famous fiction writer but then an associate editor and Plimpton’s personal assistant at The Paris Review. Dee describes Plimpton’s tense days surrounding the hoax in this film outtake.
American Masters’ Plimpton! Starring George Plimpton as Himself premieres nationally Friday, May 16, on PBS.