Posts Tagged ‘The New York Times’
December 26, 2014 | by Alex Ronan
We’re out until January 5, but we’re re-posting some of our favorite pieces from 2014 while we’re away. We hope you enjoy—and have a happy New Year!
In nearly twenty years and twelve hundred obituaries, Margalit Fox, a senior writer at the New York Times, has chronicled the lives of such personages as the president of Estonia, an underwater cartographer, and the inventor of Stove Top Stuffing. An instrumental figure in pushing the obituary past Victorian-era formal constraints, Fox produces features-style write-ups of her subjects whether they’re ubiquitous public figures, comparatively unknown men and women whose inventions have changed the world, or suicidal poets. (More on those below.)
I caught up with Fox in the Upper West Side café where she’s written two books, Talking Hands: What Sign Language Reveals About the Mind and The Riddle of the Labyrinth: The Quest to Crack an Ancient Code, the latter of which was published in paperback earlier this year. She was remarkably jovial and eager to clarify what it’s like to write about the dead every day. We spoke about the history of the obituary, her love of English eccentrics, and how it feels to call a living person in preparation for his or her eventual death.
Does the work you do change the way you think about death?
This work does skew your worldview a bit. We all watch old movies with an eye toward who’s getting on in age. I watch the Oscars memorial presentation and sit there going, Did him, did her, didn’t do that one. For obit writers, the whole world is necessarily divided into the dead and the pre-dead. That’s all there is.
How did you end up in the obituaries department?
I’d never planned for a career in obits. The child has not yet been born that comes home from school clutching a composition that says, When I grow up, I want to be an obituary writer. I started as an editor at the Times Book Review. It was wonderful to be around books and people that love books, but the job itself was copyediting. I was afraid that all they’d be able to put on my tombstone was “She Changed Fifty-Thousand Commas into Semicolons.” I started contributing freelance to the obituary section and ended up getting pulled in as a full-time writer.
How is your section different from other news sections at the paper?
Ninety-five percent of our job is writing daily obits on deadline. It’s impossible to have an advance written for all the pre-dead who we hope to cover, so we usually have to phone someone up to ask about a person or a subject we don’t know much about. Recently, one of my colleagues was heard running around the office going, Does anyone know anything about exotic chickens?! It’s that sort of thing. Read More >>
December 12, 2014 | by Dan Piepenbring
- Isn’t it time for the New York Times to abandon its senselessly decorous policy on obscenity? “America’s newspaper of record has a habit of relying on euphemism to shield its subscribers’ delicate sensibilities, as if Times readers are all wealthy dowagers prone to fainting spells at the merest suggestion that human beings have sex or excrete waste … We’re all adults here. Reading a dirty word in the newspaper won’t scandalize anyone.”
- The Victorians invented the future as we know it, insofar as it was only in the nineteenth century that we began to imagine a future that could be radically different from our present. “As new attitudes towards progress, shaped by the relationship between technology and society, started coming together … people started thinking about the future as a different place, or an undiscovered country—an idea that seems so familiar to us now that we often forget how peculiar it actually is.”
- And the Victorians invented our concept of the biography, too; it could do with some shaking up. “Biography seems remarkably consistent. There is a deep similarity between those worthy (and often fascinating) nineteenth-century volumes … and the contemporary biographies … Why hasn’t biography been as daring as the novel?”
- Peter Funch’s stunning photographs of Mount Baker re-create decades-old postcards, illustrating how the landscape has changed: “Although imperceptible, each photograph has a narrative.”
- An interview with Laure Prouvost: “I know I’m never going to fully grasp life in my art. It’s never as good as having the sun on your face. Even if you film someone with the sun on their face it feels as if you’ve lost something.”
December 5, 2014 | by Dan Piepenbring
- “The kinds of books we’ve decided to ‘note’ have changed over time, and so have the books that loom largest in our imaginations or that we urge on our friends, even if similar books have been around all along. In other words, it may be the readers who have changed as much as (if not more than) the titles made available to us.” A history of the New York Times Notable Book list …
- … and a history of humankind’s antipathy for drunkards—specifically their drunk, decaying bodies. “To [Edward] Bury, the most comparable creature to the drunkard was the swine, as drunkards seemed to take great pleasure in wallowing in their own vomit, dung, and the dirt. Drunkards even came to resemble swine by crawling about, after losing control over their ability to walk; though, while beasts are serviceable in this manner, Bury remarked, ‘the Drunkard [is] good for nothing but to spend and consume.’ ”
- “There are Mayakovsky Streets in forty-five Russian cities and fourteen Ukrainian cities. There are three Mayakovsky Streets in St Petersburg, more than there are in the whole of Kazakhstan, which boasts only a couple, one in Almaty and one in Ust-Kamenogorsk. Triumph Square in Moscow was called Mayakovsky Square from 1935 to 1992; the metro station that serves it is still called Mayakovsky. Omsk seems particularly fond of the poet: as well as a street, it has a cinema and a nightclub (or rather a ‘youth relaxation complex,’ which I hope is a nightclub) blessed with the great man’s name.”
- Want a way of predicting if a new word will become a fixture of the language or simply fade away? Use the FUDGE system (Frequency of use; Unobtrusiveness; Diversity of users and uses; Generation of other forms and meanings; Endurance of the concept).
- Pantone’s color of the year is Marsala, “a reddish-brown shade that’s not quite as bright as Adobe clay but not as deep as brick … slightly more pink than your basic brown.”
December 1, 2014 | by Sadie Stein
If, by any chance, you read the print edition of the Sunday New York Times, as I did around two in the morning, perhaps you, too, were arrested by the full-page advertisement on A23. 11-YEAR-OLD, TWIN ROCKERS, VITTORIO AND VINCENZO OF V² SWEEP LOS ANGELES MUSIC AWARDS! blares the headline. There are seven accompanying photographs. “V² rocked the Avalon Theater, leaving no doubt that they owned the night and their 7 nomination categories,” reads one caption. “Standing ‘O’ for Vittorio and Vincenzo, 11-year-old superstars!” says another. The picture is of a bunch of grown-ups; one of them is sort of standing up.
The text is laid out like a news story:
Rock N Roll history was made by Santa Rosa, CA home grown rock sensations, Vittorio and Vincenzo of V² (pronounced V Squared). The boys, who only started playing music a few years ago at Rock Star University, Santa Rosa, became the youngest artists to ever perform at the Los Angeles Music Awards, thrilling the sold out crowd of Hollywood celebrities, music industry executives, and music fans lucky enough to secure a ticket to see these future Rock N Roll Hall of Famers perform. Vittorio and Vincenzo did not disappoint.
Who are these future rock-and-roll hall of famers? Who are their parents? What’s Rock Star University—and who had they beaten out for LA Music Award domination? Naturally, I switched on my phone to find out. After all, by this hour, I assumed, this weird vanity project would have at least put a dent in the Internet. Read More »
November 13, 2014 | by Elliott David
Forty years ago, The Dick Cavett Show was a place where luminaries sparred (e.g., Gore Vidal and Norman Mailer), where reclusive stars lowered their guard (Marlon Brando, Katharine Hepburn, Laurence Olivier), and where musicians were actually interviewed about their music (David Bowie, Janis Joplin, Jimi Hendrix, John Lennon). Cavett’s show put an early spotlight on the Watergate scandal, even taping a special episode with the senators in the very chambers where the hearings were taking place. It’s hard to imagine today’s major-network late-night shows doing anything similar.
The Nebraska-born Cavett began in New York as a broke Yale grad attempting an acting career while working as a copy boy at Time magazine. One afternoon, with a Time envelope in hand, he bluffed his way into The Tonight Show studios and handed said envelope, filled with jokes, to Jack Paar, who was then the show’s host. Paar used some of the material that night; Cavett was hired, and booked talent for Paar, briefly, until a writing staff slot opened up. Later, he wrote for fellow Nesbaskan Johnny Carson before going out on his own, so to speak.
Cavett, at seventy-seven, keeps busy—for the past several years he’s moonlighted as a columnist for the New York Times, and earlier this year he starred in Hellman v. McCarthy, a play off Broadway at the Abingdon Theater Company that explores the legal fallout from a time in ’79 when Cavett had the novelist and critic Mary McCarthy on his show. McCarthy lambasted Lillian Hellman: “She really belongs to the past. As I said in an interview, she’s such a dishonest writer that even her ands and thes are lies.” Cavett plays himself in the play. “The funny thing is,” he told the Times when it debuted, “I was the second choice for the role.”
In July, Cavett made a popular video with Dave Hill and Malcolm Gladwell about the Amazon-Hachette dispute; he followed this with an op-ed in Time about the prevalence of depression in show business (“Robin Williams Won’t Be the Last Suicidal Star”). That same week, PBS aired a special, “Dick Cavett’s Watergate,” about his role in having publicized the scandal.
Finally, last week saw the publication of Cavett’s new memoir, Brief Encounters: Conversations, Magic Moments, and Assorted Hijinks, with a foreword by Jimmy Fallon. To discuss the book, late-night television, and his writing process, I rang Cavett at his house in Montauk.
In Cavett, your book from 1974, you quite vehemently said you had no interest in being a cultural critic. But that’s an arguably accurate descriptor for you.
I would never think of that as a description of me. It has a nice sound, I like the alliteration, but other than that, it surprises me when I’m called that. Honestly, I don’t think it would have ever occurred to me to think of myself as a writer/commentator/ cultural critic /columnist. Especially for The New York Times. I’ve had op-ed pieces in the Times over the years when I was pissed off about something. But I always felt alien to friends who knew exactly what they wanted to be. I’m still wondering.
Anyway, the Times offer came over the transom—or out of the blue. (Is it National Cliché Week?) and I took the dive. (Another one.) I’ve been told I write well, maybe thanks to two English teacher parents who wrote well, so I took the job. It’s not for the money, I assure you. Someone said, do you want to try a column for the Times? And I thought, Sure, I guess. How much. And they said two days a week. Most writers would have meant how much money, I guess. And I said, that seems easy enough, and it was—for about three weeks when I was doing two a week. Then I started to get desperate, because I felt I had said everything I would ever be able to say in a column of any kind. It’s always nice when someone remembers a line correctly from something you’ve written. In a Sarah Palin column, I said, “She seems to have no first language.” And this is much remembered to this very day, I find. Strange.
November 12, 2014 | by Dan Piepenbring
Our current issue features Atticus Lish’s story “Jimmy,” an excerpt from his new novel, Preparation for the Next Life. The novel is out this week, and we’re elated to report that it’s just received a rave review from Dwight Garner in the New York Times:
This is an intense book with a low, flyspecked center of gravity. It’s about blinkered lives, scummy apartments, dismal food, bad options. At its knotty core, amazingly, is perhaps the finest and most unsentimental love story of the new decade … Atticus Lish has written a necessary novel, one with echoes of early Ken Kesey, of William T. Vollmann’s best writing and of Thom Jones’s pulverizing short stories.