Family fun in KC. Thanks for joining us, @fourletter — and for the 📷!
Tim Carmody on Bill Callahan
Friday, November 3, 2017
With this terrific Kottke.org guest post — “Bill Callahan, the only sad man worth loving” — Carmody had me immediately returning to the handful of albums I own. (As Carmody points out, Callahan’s not on Spotify, my own daily streaming service: “This means his legacy risks being eclipsed for a whole cohort of fans. I find this unacceptable.")
George Saunders on Monocle 24: A does-the-heart-and-mind-good interview with Georgina Godwin.
When Lapham Played Beethoven for Monk
Tuesday, October 24, 2017
Thanks to a surprise purchase by my wife, I’ve been enjoying the new issue of Lapham’s Quarterly, which takes music as its cover-to-cover subject.
I’ve enjoyed reading Lapham for years, but hadn’t known that he’d studied piano as a youth, or that he’d spent time in New York City as a young writer waiting (and waiting and waiting) to write about Thelonious Monk. After several months of sharing late-night space in the Five Spot, this happened:
At four AM on a Thursday in late March [1965], the Five Spot’s waiters stacking chairs on tables, Monk stood up from the piano, snapped his fingers, thrust his palm in my direction. “Time to play, man,” he said, “time to hear what you know.” Out front in the back of a Rolls-Royce, the Baroness Pannonica de Koenigswarter was come to carry Monk home. She did so many mornings, but I never had been around at four AM to see Monk nod to the chauffeur holding open the door. A beautiful woman of uncertain age, wrapped in fur and wearing pearls, the baroness smiled, pointed me toward the seat in front. I can’t now remember if she spoke more than four words in my direction, either in the car or after we arrived at Monk’s apartment on West Sixty-Third Street at Eleventh Avenue.
Monk didn’t mess with preliminaries. Not bothering to remove his hat (that evening a fine English bowler), he pointed to the piano, opened and closed the wooden door of the bathroom directly behind it, seated himself on the toilet to listen to whatever came next. Nellie and the baroness sat upright and attentive on the small blue sofa they shared with a rag doll and a rocking horse. I played Beethoven’s Piano Sonata no. 27 in two movements (the first in E minor, the second in E major), run time fourteen minutes if taken at the indicated tempos. I don’t say I played it as well as Lipsky might have played it, but I’d been practicing it six days out of seven for two months, and to the best of my knowledge and recollection, I didn’t miss many notes, never once felt ill at ease or afraid. Monk stepped out of the bathroom, looked me square in the face, said simply, straight, no chaser, “I heard you.”
By then I knew enough to dig what he was saying. It wasn’t the personality of Lewis H. Lapham he heard playing Beethoven’s Piano Sonata no. 27. He didn’t care who or what I was, clubfooted and white or blue-eyed and black. It wasn’t me or my interpretation, it was the music itself, off the charts beyond good and evil that somehow and if only for the time being I’d managed to reach.
Karl Ove Knausgaard Walks Central Park
Tuesday, October 24, 2017
For The New Yorker Radio Hour, Joshua Rothman walks Central Park with one of my favorite living writers. I especially loved this bit, which comes after Knausgaard is asked about the differences between the way children and adults go through their days:
I have four children, and maybe when I spend a summer day with them, it is like nothing. Time is just passing. There’s nothing remarkable happening. It’s like the world is not attached to me, and I’m not attached to the world anymore. And then I remember the summers when I was a child myself — how important everything was, how attached I was to everything that happened, and how slowly those days evolved, somehow. I find it very easy to underestimate my own children. That I don’t see them — that they’re just little creatures, not realizing that they have an enormous, huge and independent inner life. Somehow, the task is apparently to be aware of that.
Nick Paumgarten Profiles St. Vincent
Monday, September 4, 2017
Following his exceptional profile of Father John Misty, Paumgarten goes deep with the intriguing, shrewd and self-aware St. Vincent:
When she listens to a playback, she often buries her head in her arms, as though she can hardly bear to hear herself, but, really, it’s just her way of listening hard. Once, during a mixing session, while she was at the board and I was behind her on a couch, surreptitiously reading a text message, she picked up her head, turned around, and said, “Did I lose you there, Nick? I can feel when attention is wandering.” Her cheery use of the name of the person she is addressing can seem to contain a faint note of mockery. There’d be times, in the following months, when I’d walk away from a conversation with Clark feeling like a character in a kung-fu movie who emerges from a sword skirmish apparently unscathed yet a moment later starts gushing blood or dropping limbs.
STL Public Radio Remembers Agnes Wilcox
Saturday, September 2, 2017
I was very sad to learn about the sudden death of a woman I was lucky enough to know while serving on the Prison Performing Arts Board. Agnes opened many eyes, including mine. She prized art, championed underdogs, fostered resilience, brought joy. Hers was a world-improving life.
Teju Cole in Words & Pictures
Sunday, August 6, 2017
I loved every minute I spent with this beautiful, poetic, searching, confident book.
Fascinating, entertaining profile of Father John Misty in The New Yorker.
Lethem on Knausgaard: "My Hero"
Tuesday, July 4, 2017
After discovering this short appreciation in a Jonathan Lethem essay collection on bookish things, I just read it aloud to my wife, who'd been curious about why I've been so utterly taken by this series and increasingly hungry for each subsequent volume. Lethem nailed it ("Knausgaard's approach is plain and scrupulous, sometimes casual, yet he never writes down. His subject is the beauty and terror of the fact that all life coexists with itself."), and he was only one volume in.
Gregory Crewdson:
Sunday, June 25, 2017
I can still remember encountering Crewdson’s work for the first time in The New York Times Magazine more than a decade ago. Original, absorbing and haunting. Today’s “Monocle Weekly” interview with him had me heading to his website, which alerted me to this documentary.
Demo of Low’s “Will the Night.". Among the most beautiful three minutes of music I know.
An inspiring New Yoker profile of Steidl by Rebecca Mead.
"A Father's Final Odyssey"
Tuesday, May 9, 2017
A special piece by Daniel Mendelsohn about Homer's epic, his father and a journey they took together.
Song Exploder
Saturday, April 8, 2017
Where have I been to miss this marvelous podcast for its first 101 episodes? Hrishikesh Hirway interviews musicians and asks them to break down a single song, which we hear in bits … and bits … and then in its entirety. It’s a fantastic idea executed with great polish, sensitivity and humility (Hirway is almost never heard from). I’ve so far enjoyed Jeff Tweedy/Wilco, Ghostface Killah and Bjork, with many more in the queue.
Remembering Robert Silvers
Friday, March 24, 2017
What a rich life to have lived, at the helm of the New York Review of Books, to have these warm, admiring, vivid remembrances follow your passing:
Jack White's World
Wednesday, March 15, 2017
Insightful and entertaining New Yorker profile by Alec Wilkinson. I can still vividly recall seeing the White Stripes at The Pageant in 2002, a blazing tricolor duo that owned that room from start to finish.
Exit West
Tuesday, March 14, 2017
What a time for this deeply affecting Mohsin Hamid novel to appear. Here’s Jia Tolentino on The New Yorker’s website:
The novel feels immediately canonical, so firm and unerring is Hamid’s understanding of our time and its most pressing questions. Whom are we prepared to leave behind in our own pursuit of happiness? Whom are we able to care for, whom are we willing to care for, and why are our answers to those questions so rarely the same? At one point, Saeed points out to Nadia that millions of refugees previously came to their own native country, “when there were wars nearby.” Nadia replies, “That was different. Our country was poor. We didn’t feel we had as much to lose.” Comfort, she knows, can anesthetize one against concern for others.
This is my first Hamid book, and I’m impressed. Looking forward to catching up with some recent interviews.
Hilton Als on “Moonlight”
Sunday, February 26, 2017
Finally saw this extraordinary movie, piercing and tender and unforgettable. Catching up on some interesting pieces about it, including this one.
Upcoming Talk: "Refreshing the Forest Park Forever Brand"
Sunday, February 12, 2017
I'm pleased to be speaking to the St. Louis chapter of the International Association of Business Communicators on February 23 about the refreshed messaging and identity platform my team introduced for Forest Park Forever in 2015.