We’re away until January 4, but we’re reposting some of our favorite pieces from 2020. Enjoy your holiday!

P. D. James. Photo: Ulla Montan.

“Death seems to provide the minds of the Anglo-Saxon race with a greater fund of innocent enjoyment than any other single subject.” So wrote Dorothy L. Sayers in 1934. She was, of course, thinking of murder; not the sordid, messy and occasionally pathetic murders of real life but the more elegantly contrived and mysterious concoctions of the detective novelist. To judge, too, from the universal popularity of the genre, it isn’t only the Anglo-Saxons who share this enthusiasm for murder most foul. From Greenland to Japan, millions of readers are perfectly at home in Sherlock Holmes’s claustrophobic sanctum at 221B Baker Street, Miss Marple’s charming cottage at St. Mary Mead, and Lord Peter Wimsey’s elegant apartment in Piccadilly. There is nothing like a potent amalgam of mystery and mayhem to make the whole world kin.

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We’re away until January 4, but we’re reposting some of our favorite pieces from 2020. Enjoy your holiday!

Original illustration by Jenny Kroik

This puzzling quest is almost at its end. —James Rorimer, 1942

Nobody knows who made the Unicorn Tapestries, a set of seven weavings that depict a unicorn hunt that has been described as “the greatest inheritance of the Middle Ages.”

Without evidence, the La Rochefoucauld family in France asserted that the tapestries originate with the marriage of a family ancestor in the fifteenth century. The tapestries did belong to the La Rochefoucauld in 1793, before they were stolen by rioters who set fire to their château at Verteuil. The family regained possession sixty years later, when the tapestries were recovered in a barn. The precious weavings of wool, silk, gold, and silver were in tatters at their edges and punched full of holes. They had been used to wrap barren fruit trees during the winter.

In late 1922, the Unicorn Tapestries disappeared again. They were sent to New York for an exhibition, which never opened. A rich American had bought them and transferred them to his bank vault before anyone else could see them. In February 1923, John D. Rockefeller Jr. confirmed from his vacation home in Florida that he was the American who had acquired the tapestries for the price of $1.1 million. The tapestries were transferred to Rockefeller’s private residence in Midtown Manhattan.

Fourteen years later, Rockefeller donated the tapestries to the Cloisters, a new medieval art museum he had funded as a branch of the Metropolitan Museum of Art. The mysterious works were to be on regular public display for the first time in their five-hundred-year history. James Rorimer, the first curator of the Cloisters, had the intimidating task of interpreting them.

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We’re away until January 4, but we’re reposting some of our favorite pieces from 2020. Enjoy your holiday!

© Jana Behr / Adobe Stock.

The deer drift in and out of the trees like breathing. They appear unexpectedly delicate and cold, as if chill air is pouring from them to the ground to pool into the mist that half obscures their legs and turning flanks. They aren’t tame: I can’t get closer than a hundred yards before they slip into the gloom. I’ve been told these particular beasts are fallow deer of the menil variety, which means their usual darker tones have been leached by genetics to soft cuttlefish and ivory, and they’re the descendants of a herd brought here in the sixteenth century as beasts of venery, creatures to be pursued and caught and cooked. The look of the estate hasn’t changed much since then. It’s still an extensive patchwork of pasture and forest—except now the M25 runs through it, six lanes of fast-moving traffic behind chain-link fence threaded with stripling trees. The mist thickens, the light falls, the deer appear and disappear, and the deep roar of the motorway burns inside my chest as I walk on to the bridge that spans it. This bridge is grassed along its length, and at dusk and dawn, I’ve been told, the deer use it as a thoroughfare from one side of the estate to the other. I know my presence will dissuade them from crossing so I don’t want to stay too long, but I linger a little while to watch the torrent of lights beneath me. For a while the road doesn’t seem real. Then it does, almost violently so, and at that moment the bridge and the woods behind me do not. I can’t hold both in the same world at once. Deer and forest, mist, speed, a drift of wet leaves, white noise, scrap-metal trucks, a convoy of eighteen-wheelers, beads of water on the toes of my boots, and the scald of my hands on the cold metal rail.

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We’re away until January 4, but we’re reposting some of our favorite pieces from 2020. Enjoy your holiday!

Seth Gilliam as James Hemings in Jefferson in Paris (1995)

Among his many claims to distinction, Thomas Jefferson can be regarded as America’s first connoisseur. The term and the concept emerged among the philosophes of eighteenth-century Paris, where Jefferson lived between 1784 and 1789. As minister to France he gorged on French culture. In five years, he bought more than sixty oil paintings, and many more objets d’art. He attended countless operas, plays, recitals, and masquerade balls. He researched the latest discoveries in botany, zoology and horticulture, and read inveterately—poetry, history, philosophy. In every inch of Paris he found something to stir his senses and cultivate his expertise. “Were I to proceed to tell you how much I enjoy their architecture, sculpture, painting, music,” he wrote a friend back in America, “I should want words.”

Ultimately, he poured all these influences into Monticello, the plantation he inherited from his father, which Jefferson redesigned into a palace of his own refined tastes. More than in its domed ceilings, its gardens, or its galleries, it was in Monticello’s dining room that Jefferson the connoisseur reigned. Here, he shared with his guests recipes, produce, and ideas that continue to have a sizable effect on how and what Americans eat.

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We’re away until January 4, but we’re reposting some of our favorite pieces from 2020. Enjoy your holiday!

ILLUSTRATIONS © JENNY KROIK

There is a sound made by a room full of people at a party. It’s a radio between stations with a stretch and pop and one voice coming into focus and certain stories turning up like bingo balls from the collective burble. I love this sound.

I throw parties for The Paris Review. That’s not what it says on my business card, and I certainly have other duties, but this is one of them. There are equations for judging provisions for a party. The average person drinks x number of drinks, times x number of people divided by glasses in a bottle, bottles in a case, et cetera, et cetera. I sometimes use these equations. I sometimes consult my old receipts, my faithful notes, but there is no keener pleasure or sharper anxiety than standing at the wine shop, bottles of merlot, burgundy, Côtes du Rhône, and Beaujolais in every direction, while trying to picture the crowd, the party, the temperature that day, and the humidity, what they will be wearing, the news that might buoy or sadden them—the mood of three hundred people who, not all at once, but over the course of the night, will be drinking this wine and think—no—feel, the two cases of white (the Sancerre), two of red (the Médoc), a half case of the crémant.

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We’re away until January 4, but we’re reposting some of our favorite pieces from 2020. Enjoy your holiday!

Like everyone on Twitter, I have been transfixed by the HBO documentary series The Vow, about the self-improvement cult/pyramid scheme/sex trafficking ring known collectively as NXIVM. The organization’s leader, Keith Raniere, was found guilty on seven counts of racketeering and sex trafficking in 2019, and this week, on October 27, he was sentenced to a hundred and twenty years in prison. The most sensational headlines of the case are about the former teen actress Allison Mack’s involvement in a secret sadomasochistic group within NXIVM known as DOS (“dominus obsequious sororum,” a phrase in a language that could at best be described as Latin-esque that supposedly meant “lord over the obedient female companions”) in which she and other “masters” recruited other women as “slaves,” some of whom were made to have sex with Raniere. Grotesque details abound in this story, particularly of slaves being branded with a soldering iron near their crotches with a symbol containing both Mack’s and Raniere’s initials.

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