Posts Tagged ‘sports’
July 14, 2016 | by Rowan Ricardo Phillips
Once upon a time, not too long ago, we knew what the routine was when it came to the end of an NBA season: the playoffs would come, a champion would be crowned, and—in the scoreboard–über alles style embraced more by basketball than any other sport—the losers would be banished to oblivion. The typical NBA fan can tell you how many championships Kobe Bryant won and yet pauses when asked to name the opponents he faced. No league is dragged along by its front-runner like the NBA is. If the league is, at its best, majestic, it’s also, at its worst, pharaonic.
The end of the season was once an estival balm. Summer would arrive to wash the past season clean. The break was essential. The players need a breather, but so do we, if only to dream a little. In the nineties, I, like most New Yorkers, used to think year after year that the Knicks had a chance against the Bulls. We know now which teams were the dynasties, but in the heat of competition, the outcomes never felt inevitable. Plenty of teams were quite good, and as they licked their wounds in the summer haze, they could reasonably think to themselves: Next year, why not us? Read More »
July 12, 2016 | by Daniel Kunitz
When physical fitness meets the literary life.
Young people are a mess. They eat the crappiest fast food, make a point of drinking only to excess, barely sleep, indulge in all sorts of chemicals—and yet, given even a modicum of activity, their bodies bounce back with all the manic exuberance of a Super Ball in a many-angled room. Growing up, I made a thorough test of this proposition. Through high school and college, I neither participated in team sports (unless you count the bong-hit team) nor pursued any type of systematic exercise, and in fact I don’t recall anyone ever suggesting that doing so might be beneficial. What kept me from the obesity that has become epidemic among children today was a fast metabolism and sporadic bursts of movement: I was an avid skier, over the fifteen-odd days a year that skiing was possible for a kid growing up in Maryland; and on occasion I’d play tennis, go hiking, or ride my bicycle. Read More »
June 14, 2016 | by Rowan Ricardo Phillips
The finals get interesting.
And just like that, Monday evening blossomed into something both the rabid and the casual basketball fan will remember. The Cavaliers, down three games to one and facing elimination on the road—in the fortress that is the Oracle Arena, no less—rode their two superstars, who were both pulsing their brightest, to a dramatic 112–97 victory, dragging the resuscitated corpse of this NBA Finals back to the waiting arms of their fans in Cleveland.
Now a win at home—something they already managed in emphatic fashion in the third game of the series—would force a do-or-die game 7; the Cavs would have all of the momentum and every right to believe that the two best players in the building are dressed in Cavs colors. Just like that, this series has gone from the Coasters’ “Yakety Yak” to Donald Byrd’s “Emperor.” Read More »
June 3, 2016 | by The Paris Review
Weiner, man. You’re going to hear a lot of people telling you to see this, so let me offer a meta service and say that you should listen to each and every one of them. The documentary follows Anthony Weiner’s 2013 run for New York City mayor, which ended miserably thanks to an aftershock of the not-quite-sex scandal that had forced him from Congress two years earlier. The film makes a few diligent nods at the suggestion that the sexting scandal obscured more pressing concerns in the mayoral primary. But the real appeal here is characterological. Josh Kriegman, the former Weiner aide who shot the footage, was allowed such intimate access that he ends up, late in the film, incredulously asking Weiner why he granted it. Together with Elyse Steinberg, his codirector, Kriegman presents Weiner as a roiling tumble of contradictions: savvy and reckless, strident and insecure, charming and dickish, and never more serene, it seems, than when he’s watching himself whirl into a rage during a disastrous TV interview. Huma Abedin, Weiner’s wife and one of Hillary Clinton’s closest aides, is in every way her husband’s opposite, and there are moments in the film when her anguish is so obvious that you’re almost rooting for her to show Kriegman, not to mention Weiner, the door. But the camera stays, and so does she. It’s no small accomplishment of this film that you can almost imagine why. —Robert P. Baird
There are certain directors whose new movies you skip out of a kind of scared devotion, because the badness of their later work seems to reveal something that was essentially bad about their movies all along. Then there’s the opposite case of Whit Stillman, whose Love & Friendship surpasses his early movies but makes you (or at least me) like them even better. He has never seemed more at home than in the slightly threadbare gentility of these country houses—somehow the sets look less “period” than antique, in a comfortable way—and his characters have never seemed so at home in their skin. Tom Bennett’s first scene, playing the amiable idiot Sir James Martin, has brightened my whole week. —Lorin Stein Read More »
April 26, 2016 | by Dan Piepenbring
- To celebrate the reissue of George Plimpton’s sports oeuvre (Paper Lion, Out of My League, et cetera), you’ll probably want to see these pictures of him doing one of the things he did so well: getting in over his head with very athletic men.
- Crumb has a new exhibition at a London gallery—a surprisingly reputable turn for an artist who prides himself on his ill repute. But don’t worry: he’s the same old glorious pervert. “I was always a contrarian. My wife says sometimes I’m too much so—born weird. I always felt there’s something odd and off about my nervous system. If everybody’s walking forward, I want to walk backwards. During adolescence I couldn’t fit in, and it was very, very painful. But it fired me to develop my own aesthetic. I was very much in pain about being this outcast, but it freed me to drop that Hollywood ideal and pursue the people that I thought attractive … My work is full of anger toward women. I was sent to Catholic school with scary nuns and I was rejected by girls at high school. I sort of got it out of my system, but anger is normal between the sexes. Okay, it can go to the top and men can harm women, but if anyone says they are not angry I don’t believe it, especially while your libido is still going. The men who are most charming are often the most contemptuous.”
- In which Eileen Myles gets paid for—can you believe this?—writing poetry. “A poem is my money … My poem is my property. Like my lawn. I get a thousand dollars for a poem in Transparent … I think The New Yorker gave me something like $600 for the poem ‘Dissolution.’ It had been the most I had ever gotten for a poem I think. Sometimes now when I am asked to write a catalogue essay for an artist I realize I could do a poem and I propose that or simply send it. In those cases I have gotten $1500 for the poems which is the most. Yet it is low for an art catalogue so in a way writing a poem is a kind of complaint. Here take a fucking poem for that price. I mean it doesn’t literally feel that way but I’m always looking for the easiest way for language to pour. Especially in relationship to cash.”
- Thirty years after the Chernobyl accident, the Zone remains a strange kind of literary center: “the Zone has spawned a literary genre of its own. Indeed, it seemed instantly to pass into myth, even possessing its own poetic language. The soldiers and firefighters who cleaned up the site—many of whom died from exposure—are referred to as the liquidators. Reactor Four remains encased in a concrete-and-steel shell known as the sarcophagus. In the Zone, there is a Red Forest; there was black rain … Through three decades of literary response, Chernobyl has undermined the sort of authoritative depiction that might bring closure. But something closed can be forgotten. The finest works express profound doubts about the power of language to absorb a disaster of this magnitude, and so continually reopen it to new ways of being remembered.”
- Midcentury British boarding-school novels—sensible, stuffy, strict—wouldn’t seem to offer much in the way of contemporary ethical guidance. But Nakul Krishna, reading Edith Blyton’s school stories, begs to differ: “The schoolgirl’s hell is not, as a character in Jean-Paul Sartre’s play No Exit (1944) memorably puts it, other people; her hell is the isolated self, incapable of getting outside itself. Time and again, the girls must be brought to their lowest ebb (ostracism, betrayal, near-fatal illness or, worse, near-expulsion) before they are offered a glimpse of self-knowledge and the chance to get back on their moral feet. Sometimes an apology will do it, or an acknowledgement, or some gesture of recompense to those harmed. But Blyton, like life, can be brutal: not every character is redeemed by the end of the series, and no character is straightforwardly rid of her vices. There is only the lifelong challenge of acknowledging the reality of other people.”
April 18, 2016 | by James McWilliams
The loneliness of the long-distance runner.
In the early 1970s, John Tarrant, a British ultramarathoner who set world records in the forty- and hundred-mile distances, suffered a hemorrhaging stomach ulcer that occasionally sent him to the hospital for tests and blood transfusions. Tarrant despised the interruptions to his training schedule, and during at least one stay, he ducked into the bathroom, changed into running gear beneath his hospital gown, and snuck outside for a quick five-miler. As Bill Jones recounts in his book The Ghost Runner, Tarrant sacrificed everything for his sport—his work, his family, and, evidently, his better judgment. Read More »