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Robert B. Silvers, Editor of The New York Review of Books: 1929-2017

Robert Silvers
Robert Silvers in 2012. Photo: Wikimedia Commons

I believe in the writer—the writer, above all. That’s how we started off: admiring the writer. We organized the New York Review according to the writers we admired most: Edmund Wilson, Wystan Auden, Fred Dupee, Norman, Bill, Lizzie, Mary among them. Each of them had a confident sense of their own prose, and it meant a great deal to them—the matter of a comma, a semicolon, a word—and it does to our writers today. And so, when it comes to making a change, we should not do it without their permission. If a moment comes at some point where we see something should be improved, we don’t just scribble it in but call them up wherever they are. And that is, I think, crucial.

—Robert Silvers, co-founding editor of The New York Review of Books with Barbara Epstein, speaking with New York magazine’s Mark Danner in 2013, on the publication’s 50th anniversary. Silvers died March 20 after an illness. He was 87 years old.

NYRB announced the news on their Twitter feed today:

Shortly after I started Longreads, I was invited to visit the offices of the NYRB to meet their digital editor Matthew Howard. A man was walking toward the front of the office so I stopped him and asked if he knew where Matthew might be. He politely responded that he did know, then turned and walked back through the office to track him down. Matthew met me with a handshake, laughed, and then asked me, “You realize you just sent Robert Silvers to fetch me, right?”

From a grateful reader, thank you, Robert.

See more stories from The New York Review of Books in the Longreads archive.

Back in the Kitchen: A Reading List About Gender and Food

I’m notoriously grumpy while grocery shopping. Once, my partner and I got into a fight in the Aldi parking lot because one of the eggs in our carton broke. He does his best to keep us supplied in soups and noodles–simple things I can heat up when I’m anxious and depressed — but I find myself yearning for expensive, fresh produce. As much as cooking intimidates me, I eat constantly — popcorn, apples, Toblerone, peanut butter and crackers — whatever I can find. I scry for news of the downtown market that was promised two years ago. I grow hungry and impatient. The world of food seems impenetrable, a place for people with money and time, and I never feel as though I have either. Read more…

On Happiness: A Reading List

March 20 is recognized and celebrated around the world as the International Day of Happiness. From a profile of “the happiest man in the world” to a Brit’s account of mindfulness-obsessed Americans, here are seven reads about happiness.

1. “The Happiness Index.” (Gretchen Legler, Orion Magazine, January 2014)

“Can a country that claims in its brand-new constitution that happiness is more important than money survive, let alone thrive, in a global economy that measures everything by the dollar?” Legler considers the tiny, landlocked Kingdom of Bhutan as a model for change for the rest of the world.

2. “The World’s Happiest Man Wishes You Wouldn’t Call Him That.” (Michael Paterniti, GQ, October 2016)

“When you meet a monk on his mountaintop, it’s like taking a drug called Tonsured Tangerine Euphoria or Rainbow Saffron Dreams. When you see the world through his eyes, everything turns lovely colors, and you suddenly find yourself un-encrusted—free of your baggage—suddenly loving everyone and everything. It’s a self-manufactured rave in your head.” Paterniti travels to Nepal to meet Matthieu Ricard—named the “Happiest Man in the World”—to learn the keys of ultimate happiness. Read more…

Why We Still Can’t Quit F. Scott Fitzgerald

AP Photo

It’s been almost a century since a 23-year-old F. Scott Fitzgerald penned “The I.O.U.,” a short story that pokes fun at the publishing industry’s obsession with sensation over substance. But until now, you couldn’t read it; it was among Fitzgerald’s still-unpublished papers. Last week, the long-lost story appeared in The New Yorker, another chapter in what the magazine calls its “imperfect romance” with the author. In 1925, Fitzgerald was “was a little too famous to appear often in its upstart pages,” though they were able to snag two poems and three “humorous short stories” before he died in 1940. Read more…

A Small Town Crushed By a Big Weight — the Military-Industrial Complex

a water tower in kentucky painted like the american flag
Oak Grove, Kentucky's very patriotic water tower. (Photo by Carol VanHook via Flickr, CC BY-SA 2.0)

In a meticulously-reported piece for Oxford American, Nick Tabor explores the bungled investigation into an unsolved 1994 double murder in Oak Grove, Kentucky — a small town next to a big army base that exemplifies the military-industrial complex’s depressing effects on small-town economic development, governance, and policing.

In an alternate history, the Army’s presence could have spurred rapid economic development in Hopkinsville. The city might have extended its borders down to the state line, annexing all of that empty farmland, and business leaders could have built new neighborhoods, stores, and a movie theater. This is exactly what happened in Clarksville, Tennessee, on the other side of the post. But it was not to be in Christian County, because the people of Hopkinsville considered the soldiers an “inferior social group,” as Turner put it to me. Parents didn’t want the troopers mingling with their daughters, which they did anyway, and fights were always breaking out at bars. In 1952, a federal grand jury determined that soldiers had been “brutally beaten or killed” by Hopkinsville police, and an Army general threatened to declare the whole city temporarily off-limits for military personnel. The space in between remained a no-man’s-land, with development limited to a few stray trailer parks.

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The Midwestern Birthplace of March Madness

(AP Photo/David J. Phillip)

They say imitation is the greatest form of flattery, but the NCAA wasn’t trying to be coy when it first used the phrase “March Madness” to describe the organization’s annual postseason tournament.

We now associate “madness” with all things brackets and Cinderellas, but for much of the tournament’s early years, it was already seen as the unworthy cousin to the NIT, the postseason tournament which draws more teams and has a larger national profile.

When the NCAA tournament first launched at the end of the 1938-39 season, it flopped, losing more than $2,000 despite the promotional draw of Oregon’s Tall Firs, the nickname for the squad’s front court. (The team won the first-ever title.) At this point, the nation’s only March Madness was the Illinois High School Association’s tournament. The association had hosted the state’s high school tourney since 1908, and its directors liked to tout a 1939 article in the Illinois Interscholastic magazine that read, “A little March madness may complement and contribute to sanity and help keep society on an even keel.”

The NCAA tourney grew, supplanting the NIT. Unfortunately for the IHSA, trademark proceedings for “March Madness” didn’t begin until 1991, more than a decade after the NCAA first began to see the phrase’s true marketing potential. Legendary announcer Brent Musburger began to use it on-air, and by 1989, when CBS and the NCAA signed a $1 billion deal to broadcast the tournament, March Madness had become big business. The NCAA and IHSA met in court in the mid-90s to hash out their disagreement, and the phrase became a “dual-use term.”

While the NCAA was late to adopt the language by which its tournament is known worldwide, it didn’t make the same mistake with the phrases, “Elite Eight,” “Final Four,” and “And Then There Were Four,” which were all trademarked. Interestingly, the term “Sweet Sixteen,” which applies to the tournament’s last sixteen remaining teams, also didn’t originate with the NCAA, starting with the Kentucky High School Athletic Association (which licenses it to the NCAA).

This season’s tournament will be its 78th, and it’s interesting to look back when the NCAA tournament was a still growing tournament instead of a multi-billion juggernaut.

In some circles, the NCAA championship game was a big deal very early on. Horace “Bones” McKinney, who played for a UNC team that lost in the final, 43-40 to Oklahoma State in 1946 at Madison Square Garden, said, “Maybe the final four hadn’t come of age back then, but it couldn’t have been bigger for us. That old Garden was packed with 19,000, and the smoke was so thick I couldn’t even see the upper deck. It was New York, and we were big stuff.”

Big stuff, indeed. That 1946 game was the first title game televised, broadcast to about 500,000 viewers in the New York area over CBS. The first nationally televised final came in 1954—the broadcast rights sold for $7,500—gathered a respectable audience, and the championship game remained a reliable high-ratings Saturday staple for almost two decades.

On January 20, 1968, the sports world was startled to learn just how popular college basketball could be. All of the sudden, it seemed, college basketball was an Event that would fill huge arenas.

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Rachel Cusk on Eschewing her ‘Cuskness’ For Her Alter-Ego in ‘Outline’ and ‘Transit’

Heidi Julavits profiles memoirist and novelist Rachel Cusk for New York Magazine’s The Cut. Julavits focuses on various aspects of Cusk’s writing, including the ways in which her approach to “autofiction” is somewhat different from that of some compatriots in the land of blurred lines between memoir and fiction. Those include Sheila Heti, Ben Learner and Karl Ove Knausgaard, all of whom tend to infuse their protagonists with recognizable strains of their personalities.

Both Outline, which came out in the U.S. in 2015, and Transit are narrated by a woman named Faye, who, like Cusk, is divorced, has two children, and is a writer. Faye describes, or really more accurately transcribes, her encounters with other people. In Outline, she travels to Greece and meets a man on a plane; she goes to a restaurant with a friend; she teaches a writing workshop. She is less an interlocutor than a recording device or a processing machine. She receives. Faye, in literary terms, is a cipher. She is a zero, a naught, a nothing.

In Transit, Faye becomes slightly more “visible” (and audible) via her involvement in a home-renovation project; she converses with contractors and pacifies angry neighbors. Nothing happens, really, but these books are nonetheless gripping self-portraits of multiple humans. They are like eavesdropping on strangers, or watching a secret video feed of strangers, if those strangers were also casual philosophers. The conversations vacillate between the mundane and the lofty, as if the characters — enabled by Faye’s ­presence — are always grasping at bigger life questions. Outline and Transit both are welcome breaches of privacy that emphasize the intensely shapeless loneliness of people. They are books about middles.

Faye, while she shares biographical data with Cusk and appears to present and process events from Cusk’s actual life, is quite different from the characters devised by other autofiction writers of late — Sheila Heti, Ben Lerner, Karl Ove Knausgaard — with whom Cusk is frequently grouped. The books of these writers, though distinct from one another, more centrally feature an authorial self; about Heti, for example, Cusk says, “She uses herself, her Sheila-ness, much, much, much more than I do.” Cusk does not, in these novels, use her Cuskness. And yet she’s filtering through a narrator that does not by accident resemble her.

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I’d Gladly Pay You Tomorrow For a Hamburger Today, If Only My Debit Card Weren’t Frozen

US dollars and euros, paper bills
Photo by Mark Hodson via Flickr (CC BY 2.0)

Brett Scott explores the emerging cashless economy in Aeon magazine. Is ubiquitous digital payment the harbinger of a glorious future, or a smokescreen for powerful interests that want to control (and undermine) choice and capitalism?

This is no longer a deal between me and the seller. I am now dealing with a complex of unknown third parties, profit-seeking money-passers who stand between us to act as facilitators of the money flow, but also as potential gatekeepers. If a gatekeeper doesn’t want to do business with me, I can’t do business with the seller. They have the ability to jam, monitor or place conditions upon that glorious core ritual of capitalism – the transfer of money for the transfer of goods. This innocuous device exudes mechanical indifference, reporting only to invisible bosses far away, running invisible algorithms in invisible black boxes that don’t like me.

If we are going to refer to bank payments as ‘cashless’, we should then refer to cash payments as ‘bankless’. Because that’s what cash is, and right now it is the only thing standing between us and a completely privatised money system.

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‘We Love Europa But Europa No Love Us.’

Refugee camp graffiti
Refugee camp graffiti, photo by David Farley (with permission).

Travel writer David Farley spent a month volunteering in a refugee camp in Greece. He wrote about it for Afar. It was not exactly an introduction to the world of good will towards refugees.

Souda briefly gained prominence in November 2016, when it was reported that a right-wing mob stood atop the old city walls and launched large stones and Molotov cocktails down into the camp, setting tents ablaze. Tensions were such that one of the rules of the NGO I was volunteering for stated that once I left the camp, I had to remove my fluorescent green vest and volunteer badge for fear locals would attack me for helping the refugees.

Farley’s piece includes the voices of people we perceive as a generic mass with unified motives.

One day while serving lunch—a tomato and chickpea stew made by a Basque NGO—I met a Syrian named Dallal. He was a new arrival and was aware he might be at Souda for a while. “I don’t understand why we have to wait so long. Some people have been here for nearly a year,” he said. “Our collective goal is that we want a new future, a good future, a safe life. I have a degree in mechanical engineering. My friend here,” he pulled over a 25-year-old from Iraq, “he’s a veterinarian. We’re not poor. We just want a normal life. We are here for survival.”

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Enormous Changes… Arrived at Slowly, Over a the Course of a Politically Engaged Lifetime

Author Grace Paley sits beside a pile of books in her home in Thetford, Vt., April 9, 2003. Paley, a critically acclaimed writer of poetry and short fiction, was named Vermont's state poet in March. (AP Photo/Toby Talbot)

For the April edition of The Atlantic, Nicholas Dames profiles late author and activist Grace Paley. In particular, Dames focuses on Paley’s persistence in the face of political obstacles, as an activist, and as a writer — often through a stalwart recurring character, Faith Darwin Asbury.

Through Faith, Paley discovered her great subject: the evolving political engagement of the generation of women who came of age in the shadow of World War II. The stories Paley wrote after The Little Disturbances are ever more plotless. They are snapshots of female community—in particular, the group of Greenwich Village women early to the postwar quest for feminist consciousness—or, in Faith’s own words, “a report on … the condition of our lifelong attachments.” Paley borrowed the method of linking characters across a story series from Isaac Babel, one of her lodestars. But unlike Babel’s Odessa stories—–or, for that matter, Sherwood Anderson’s Winesburg, Ohio—–Paley’s stories about Faith extend the timescale well into adulthood. Faith and her friends age, shedding lovers and children and parents, and finding new objects for their political passions. It turns out that rather than voice, Paley’s true subject was time.

Put another way, her theme was how the ethical aspirations of political life extend over time: how they survive inevitable disappointment; how they steel themselves into endurance.

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