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    Artforum Selects Tina Rivers Ryan as New Top Editor

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    The curator and essayist will become the magazine’s next leader after a period of turmoil.Artforum named Tina Rivers Ryan its next top editor on Thursday, selecting the curator to lead the prestigious magazine after a tumultuous year.“For decades, the editors at Artforum have ensured that this historic magazine has remained a trusted and indispensable resource for conversations about contemporary art and its role in the broader culture,” Ryan, who specialized in digital art as a curator at the Buffalo AKG Art Museum, said in a statement.Five months ago, the magazine fired David Velasco, its editor in chief, after he signed and published a letter calling for Palestinian liberation shortly after the Israel-Hamas war began. Some staff members were upset with his termination; longtime editors resigned in protest and artists declared a boycott. Some writers pulled their essays and some advertisers pulled their spots in the publication, resulting in a noticeably slimmer issue after the events unfolded.Penske Media Corporation, which owns the publication, has spent the past several months attempting to rebuild.Ryan, who has contributed to Artforum over the years, gained notice for a popular essay criticizing the NFT boom. She later softened her stance and helped the Buffalo museum cash in on the craze by organizing an online exhibition and fund-raiser.“We could not be more excited for this next chapter of Artforum with Tina at the editorial helm,” the magazine’s publishers, Danielle McConnell and Kate Koza, said in a statement. “Tina is a brilliant writer and uniquely positioned to uphold the magazine’s reputation for publishing the highest quality long-form criticism, while also contributing to a dynamic vision of audience expansion via continued digital growth and live events.” More

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      William Whitworth, Revered Writer and Editor, Is Dead at 87

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      After writing memorable character sketches and fine-tuning others’ copy at The New Yorker, he spent two decades as editor in chief of The Atlantic Monthly.William Whitworth, who wrote revealing profiles in The New Yorker giving voice to his idiomatic subjects and polished the prose of some of the nation’s celebrated writers as its associate editor before transplanting that magazine’s painstaking standards to The Atlantic, where he was editor in chief for 20 years, died on Friday in Conway, Ark., near Little Rock. He was 87.His daughter, Katherine Whitworth Stewart, announced the death. She said he was being treated after several falls and operations in a hospital.As a young college graduate, Mr. Whitworth forsook a promising career as a jazz trumpeter to do a different kind of improvisation as a journalist.He covered breaking news for The Arkansas Gazette and later for The New York Herald Tribune, where his colleagues eventually included some of the most exhilarating voices in American journalism, among them Dick Schaap, Jimmy Breslin and Tom Wolfe.In 1966, William Shawn, The New Yorker’s decorous but dictatorial editor, wooed Mr. Whitworth to the venerated weekly. He took the job although he had already accepted one at The New York Times.At The New Yorker, he injected wit into pensive “Talk of the Town” vignettes. He also profiled the famous and the not so famous, including the jazz greats Dizzy Gillespie and Charles Mingus (accompanied by photos from his former Herald Tribune colleague Jill Krementz) and the foreign policy adviser Eugene V. Rostow. He expanded his profile of Mr. Rostow into a 1970 book, “Naïve Questions About War and Peace.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Connector,’ a Show That Asks: Should News Feel True or Be True?

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      A new musical from Jason Robert Brown, Daisy Prince and Jonathan Marc Sherman explores the diverging trajectories of two young writers in the late 1990s.The director Daisy Prince had a flash of inspiration for a new show nearly 20 years ago: She wanted to explore the fallout from a string of partially or entirely fabricated news articles (by writers like Stephen Glass and Jayson Blair). The show would be set at a New York City magazine with a storied history — a publication much like The New Yorker. Also, it would be a musical.“I had become somewhat fixated on all these falsified news stories — these larger questions about fact, truth and story,” said Prince, who directed Jason Robert Brown’s “The Last Five Years” and “Songs for a New World.”She jotted the thought down in her great big notebook of ideas. But by the time she finally returned to it, around 2010, she was certain she had missed out.“I thought by the time we were going to be able to tell this story, it would no longer be relevant,” she said.But then the Trump presidency arrived, along with his strategy of labeling unfavorable coverage as fake news — and the premise only became more timely. Now the show, titled “The Connector,” conceived and directed by Prince with music and lyrics by Brown and a book by Jonathan Marc Sherman, is premiering Off Broadway at MCC Theater, where it is set to open Feb. 6.Ben Levi Ross, left, as Ethan Dobson and Hannah Cruz as Robin Martinez in the musical.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Struggling to Understand TV Dialogue? Join the Club.

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      More from our inbox:Airbrushing Older ModelsHaley’s Raised HandSea Life in CaptivityDerek AbellaTo the Editor: Re “Huh? What? There Are Ways to Improve the Sound on Your TV?” (Business, Aug. 18):As an American expat, I got a good chuckle out of Brian X. Chen’s article about poor dialogue sound quality in streaming. The premise, that using subtitles is a terrible inconvenience that diminishes one’s enjoyment of video entertainment, is one of those peculiarly American complaints that seem bizarre to many people overseas.In Chinese-speaking areas and other parts of East Asia, the wide variety of languages, accents and usages can make it tough to comprehend dialogue regardless of sound quality, so video nearly always comes with subtitles, whether it’s on TV, in a movie theater or online. Nobody here seems to mind.Indeed, the people in Malaysia who build the Sonos equipment that Mr. Chen praised must be thrilled that Americans will spend $900 on soundbars to avoid those irritating subtitles.Michael P. ClarkeTaoyuan City, TaiwanTo the Editor:We do not have to bring speakers to a movie theater to watch a movie and we should not have to put speakers on our TV sets to enjoy a television show. Modern television sets should come with high-resolution pictures and high-quality, audible sound. The quality of the sound is as important as the quality of the picture. We should not have to buy soundbars.Bill ChastainNew YorkTo the Editor:I’ve used closed captioning for a while now, not only because the sound quality on streaming services is far from as good as it should be but also because programs produced in England — many of the shows on PBS, which I like — use a lot of slang and hard-to-understand dialects.But a major problem is that some of the streaming services, like Netflix, have closed captions that are far from helpful. They come on well before or well after the spoken words, and too often they flash on so fast that it is impossible to read the entire line of dialogue.Michael SpielmanWellfleet, Mass.To the Editor:Brian X. Chen suggests that we can hear the dialogue in movies and television shows better by installing new equipment. Along with the attempts at improvements made by directors and sound mixers, producers might insist upon better diction from the actors.I’ve noticed this slurring and breathy quality in stage performers, too. Perhaps Broadway shows need closed captioning?Lawrence RaikenQueensAirbrushing Older ModelsRafael Pavarotti/VogueTo the Editor: Re “Do Supermodels Age, or Get Airbrushed Instead?” (Sunday Styles, Aug. 20):The timing couldn’t be more prescient. Just as Greta Gerwig’s irreverent blockbuster “Barbie” is sweeping theaters around the world, Vogue has released its iconic September issue featuring the likes of America’s supermodels — Linda Evangelista, 58, Cindy Crawford, 57, Christy Turlington, 54, and Naomi Campbell, 53 — on its cover.As Vanessa Friedman aptly remarks, they are “paragons of mature beauty whose years have seemingly been smoothed from their faces,” which “look so retouched that they seem more like A.I.-generated bots than actual people.” A Vogue spokeswoman claimed there was only “minimal retouching.” We know better.Although we can surely applaud Vogue’s decision to feature 50-something models on its cover, “retouching” them is perpetuating a big lie. It is, in effect, “Barbiefying” them. Barbie was the icon that fed upon young girls’ feelings of inadequacy. Now older women can gaze at Vogue’s cover and feel inadequate too. Thank you, Vogue.If Vogue, “the fashion Bible,” had elected not to retouch these mature beauties, it would have been a truly groundbreaking event. Certainly a missed opportunity.Thank you, Vanessa Friedman, for speaking truth to Vogue. As Ms. Gerwig’s Barbie comes to realize, “It’s time to change the Constitution.”Elizabeth LangerNew YorkThe writer is a co-founder of the Women’s Rights Law Reporter, the first U.S. journal devoted to women and the law.To the Editor:I laughed this morning reading Vanessa Friedman’s column at the silliness of an article criticizing the airbrushing of aging models. The fashion industry runs on unrealistic representations of beauty. Why should those standards be different for older models?I’ve attended fashion shoots where young models had terrible acne that was ultimately airbrushed out. It seems that, no matter how young or beautiful a model is, there’s almost always flattering lighting and image manipulation. The industry runs on fantasy.So, whether or not older models have their wrinkles airbrushed seems irrelevant if everything is unrealistic. This is commerce. They aren’t profiling women curing cancer. At least now they’re democratizing fashion to allow older women to put their best selves forward, too.I hope they can continue to do that without being criticized for tricks of the trade. I think focusing on airbrushing undermines how great it is that Vogue is keeping women over 50 relevant.Jenifer VogtDobbs Ferry, N.Y.Haley’s Raised HandJoe Buglewicz for The New York TimesTo the Editor: Re “Nikki Haley Is the Best Alternative to Trump,” by David Brooks (column, Aug. 25):Wednesday night’s Republican debate persuaded Mr. Brooks that Nikki Haley is the best alternative to Donald Trump. Yet while Mr. Brooks makes a convincing case that Ms. Haley is a preferable candidate to Mike Pence, Ron DeSantis and especially Vivek Ramaswamy, he fails to address the fact that Ms. Haley, along with every other candidate on the stage except Chris Christie and Asa Hutchinson, raised her hand when asked if she would support Mr. Trump if he is convicted of one or more felonies and is the Republican nominee.I would ask Mr. Brooks how Ms. Haley’s raised hand shows that she is “one of the few candidates who understands that to run against Trump you have to run against Trump”? And should that not, by itself, render her unfit to become the next president of the United States?David A. BarryCambridge, Mass.Sea Life in CaptivityLolita during a performance at the Miami Seaquarium in 1995. She has been in captivity since 1970.Nuri Vallbona/Miami Herald, via Associated PressTo the Editor: Re “Lolita the Orca, Mainstay of Miami Seaquarium for 50 Years, Dies,” by Jesus Jiménez (news article, nytimes.com, Aug. 18):I know I am not alone in grieving the tragedy of the kidnapping of this orca, also known as Tokitae, her decades spent in captivity, and her untimely death just when freedom and the possibility of being reunited with her family in the Salish Sea were close enough to touch. Her sorrowful life story hurts all the more because our human collective doesn’t seem to have learned a thing from it.Orcas remain endangered and continue to struggle to hear each other and catch dwindling salmon in polluted waters that are choking with boat noise from unceasing human commercial and recreational activity. Worse, the captive industry carries on, including in Seattle, which is intent upon building a shiny new shark tank to imprison even more animals.My hope is that Tokitae’s death will galvanize support against the captivity industry locally and beyond, and serve as a beacon of hope for other beings languishing in tanks simply so that they can be ogled by humans. Let’s honor Tokitae and her bereaved family by ensuring that nobody else has to suffer similarly.Stephanie C. BellSeaTac, Wash. More

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      Christopher Ogden obituary

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      Christopher Ogden obituary My friend Chris Ogden, who has died aged 77 after a fall, was one of the most distinguished American journalists of his generation. He reported frontline politics for more than two decades from London, Moscow and Washington DC, and became an acclaimed biographer. He had all of the most important attributes for success in journalism: he was whip-smart, his prose was as elegant as his manners, and he had a charm that could open doors anywhere in the world.We met in 1985 under a palm tree outside the presidential palace in Cairo, where the then British prime minister, Margaret Thatcher, was engaged in talks. Ogden had recently been appointed the London bureau chief of Time magazine, a post he held for the next four years and which would lead in 1990 to the publication of his authoritative biography, curated for an American readership, Maggie: An Intimate Portrait of a Woman in Power. The access he managed to secure as a foreign journalist to informative sources across Westminster and Whitehall was a considerable tribute to his professionalism.Chris was born in Providence, Rhode Island, the son of Michael J Ogden, the longtime editor-in-chief of the Providence Journal, and his wife, Agnes. He went to Portsmouth Abbey school, RI, and after graduating from Yale with a history degree in 1966 served as an army intelligence officer during the Vietnam war. He joined the international news agency UPI (United Press International) as a London correspondent in 1970, moving to report on the cold war from Moscow two years later.His long career at Time began in 1974. He reported for a year from Los Angeles, then spent five years in Washington, covering the White House and the state department, and travelling widely with successive secretaries of state. He returned to DC after four years as bureau chief in Chicago from 1981 and his posting to London, and resumed writing astute columns and commentary on US and international affairs.Ogden’s celebrated biography of Pamela Churchill Harriman, the British-born former wife of Randolph Churchill who was US ambassador to France from 1993 until her death in 1997, was published in 1994. The book was made into a TV film in 1998. Legacy, a biography of father and son publishers and philanthropists, Moses and Walter Annenberg, which followed in 1999, was the book of which Ogden was most proud.He was also a gifted photographer and his 1974 image of Alexander Solzhenitsyn for a Time magazine cover hangs in the National Portrait Gallery in Washington DC.His first marriage to Deedy (Diana) May in 1967 ended in divorce in 2000. Later that year he met Linda Fuselier, a public relations executive, and they married in 2010. For the last four years they had been living on Kauai, a small island in the Hawaiian archipelago.Chris is survived by Linda, by his children, Michael and Margaret, from his first marriage, and by his grandson, Jack.TopicsTime magazineOther livesMagazinesBiography booksUS politicsobituariesReuse this content More

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      How Molly Jong-Fast Tweeted Her Way to Liberal Media Stardom

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      Molly Jong-Fast had just finished interviewing Vice President Kamala Harris for her podcast when she hopped in an Uber S.U.V. headed to the Century, the Manhattan literary club where she was throwing a book party for the media critic Margaret Sullivan, a friend. The editors of Rolling Stone and Vanity Fair greeted her with hugs. The owner of The New Republic, Win McCormack, stopped to say hello.“I just interviewed the vice president!” Ms. Jong-Fast gushed.“The vice president?” Mr. McCormack replied, brow furrowing. “ … Of the United States?”For much of her life, Ms. Jong-Fast, 44, was known for being the daughter of her mother, Erica Jong, whose novel “Fear of Flying” is a feminist classic. Ms. Jong-Fast went to rehab at 19, married at 23, and wrote a couple of novels and a book of essays about her bohemia-by-way-of-Park-Avenue upbringing.Now, within a certain rarefied slice of American political life, she is a star. On Wednesday, she joined Vanity Fair as a special correspondent. One million people follow her on Twitter. The first guest on her new podcast, distributed by the mega network iHeartMedia, was President Biden’s chief of staff. In the run-up to Tuesday’s midterm elections, she has interviewed Senators Bernie Sanders and Chuck Schumer, Julia Louis-Dreyfus, John Fetterman and Ms. Harris — a lineup rivaling MSNBC.In Woody Allen’s “Purple Rose of Cairo,” a moviegoer steps into the screen and enters the world of her favorite film. From her Upper East Side living room, Ms. Jong-Fast marshaled a weapons-grade Twitter habit and a penchant for sliding into journalists’ DMs to catapult herself into the beating heart of left-wing media: the MSNBC Mom who starts actually appearing on MSNBC.Her rise is a testament to the power of social media, the increasingly blurred lines between armchair pundits and professional commentators, and the opportunism of writers, on the right and the left, who used Donald Trump’s presidency to reinvent themselves. It’s about the flight to ideological comfort among news consumers in a partisan era. But it’s also about Ms. Jong-Fast and her ability to win friends, wear her privilege lightly and help anxious liberals cope with a chaotic moment.“She speaks and writes in a way that is incredibly relatable to a group of people that don’t ordinarily have a columnist that speaks to them,” said Noah Shachtman, the editor of Rolling Stone, who praised her “lack of harrumph.” One superfan, the artist Diana Weymar, stitched enough needlepoints of Ms. Jong-Fast’s aphoristic tweets (“What if killing your constituents is bad for your re-election?”) to fill an exhibit at a Chelsea gallery. Ms. Jong-Fast is not an adversarial interviewer — “Do you think, personally, that democracy can survive a second Trump term?” she asked Ms. Harris — but her progressive fans don’t seem to mind. “I think she’s found her sense of purpose,” Ms. Sullivan said at the book party, as Ms. Jong-Fast, in periwinkle glasses and a Thom Browne cardigan, darted among guests. “There are very few people that meet Molly that don’t wind up rooting for Molly.”‘I’m so grateful I got sober before social media.’ — @mollyjongfastMs. Jong-Fast with her mother, Erica Jong, in New York, in July.Jutharat Pinyodoonyachet for The New York TimesLast month, Ms. Jong-Fast sat barefoot in her spacious but homey Upper East Side co-op, surrounded by the bric-a-brac of uptown literary life: Fornasetti candles, her grandfather’s Emmy, a pillow needlepointed with the cover of The New York Post. As one dog was groomed in the dining room, another nestled in her lap. In her makeshift home podcast studio, Ms. Jong-Fast had just wrapped a Zoom interview with Gisele Barreto Fetterman, wife of the Pennsylvania Senate candidate. (“You look a-mazing,” Ms. Jong-Fast cooed, as Ms. Fetterman asked after her pets.)The State of the 2022 Midterm ElectionsElection Day is Tuesday, Nov. 8.House Democrats: Several moderates elected in 2018 in conservative-leaning districts are at risk of being swept out. That could cost the Democrats their House majority.A Key Constituency: A caricature of the suburban female voter looms large in American politics. But in battleground regions, many voters don’t fit the stereotype.Crime: In the final stretch of the campaigns, politicians are vowing to crack down on crime. But the offices they are running for generally have little power to make a difference.Abortion: The fall of Roe v. Wade seemed to offer Democrats a way of energizing voters and holding ground. Now, many worry that focusing on abortion won’t be enough to carry them to victory.“I was a drug addict, I nearly died, I got sober; I’ve had this incredible run,” Ms. Jong-Fast said. “A lot of kids who grew up like I grew up are not high functioning. I feel very grateful.”Her parents split up when she was 3. Her mother, busy being a cultural icon, often left Ms. Jong-Fast with her grandparents, including Howard Fast, the “Spartacus” novelist and Communist activist who served prison time in the McCarthy era and introduced Molly to left-wing politics.Her mother, Ms. Jong-Fast notes, was an early adopter of oversharing. In 1985, Erica moved 6-year-old Molly from New York to the Beverly Hilton for a month because she was developing a sitcom based on her daughter’s experience with divorce. A pilot aired, but not before Ms. Jong-Fast’s father, Jonathan Fast, sued and demanded that his ex-wife change the character’s name from Molly to Megan. (A review in The New York Times praised the show’s “appealing breeziness.”)Ms. Jong-Fast is dyslexic and did poorly in school; her ejection from Dalton, she said, was a “seismic” shock for her ur-intellectual family. She got into alcohol and drugs. After spending time at Hazelden, the A-list rehab center, Ms. Jong-Fast, at 21, published a roman à clef about her struggles. “That was what my mother did,” she said, referring to the act of novelizing one’s life. “So I just thought that was what you’re supposed to do.” The reviews were vicious.She married her husband, an English professor turned venture capitalist, had three children, and wrote another book. But she felt at a loss. “I was like, ‘My life has no meaning,’” she recalled. “I was not put on this earth to write chick-lit novels.” Her writing on politics, at The Forward, drew little notice.Then Mr. Trump came down the escalator. “At some point I realized this guy was gonna win and I was like, ‘Why isn’t everyone hysterical?’” she recalled. “That’s when I really started tweeting.”She tweeted her angst five, 10, 15 times a day. (Sometimes she would merely reply to Mr. Trump’s tweets, scoring likes and retweets for her punchy responses.) She replied to journalists and posted links to their stories. The conservative commentator Bill Kristol hired her to write for his site The Bulwark. She traveled, on her own dime, to cover Trump rallies and conservative conferences, mingling with the network of reporters she was cultivating online.She turned her lack of reportorial expertise into an asset, forsaking complex political analysis for a “can you believe this?” astonishment. (When she started a newsletter at The Atlantic, she called it “Wait, What?”) For anguished liberals in the Trump era seeking a voice in the media, simply underlining the preposterousness of events was enough. “Sometimes everyone will say something and I’ll be like, ‘How’?” Ms. Jong-Fast said. “I just feel like a lot of times I’m like, this doesn’t smell right, and I think that has been really helpful in my life.”‘Democrats continue to bring a stuffed animal to a knife fight.’ — @mollyjongfastOne evening in 2019, I arrived at Ms. Jong-Fast’s building for a party she was throwing in honor of the actress Kathy Griffin. Inside the door was Resistance Twitter come to life.The writer E. Jean Carroll, who had recently accused Mr. Trump of sexual assault, was engrossed in conversation with George T. Conway III, husband of Kellyanne Conway, when Ms. Griffin, in an ecru Valentino dress, approached. “Who has Mrs. Mueller’s number?” she asked mischievously, laying out a “Lysistrata”-style scheme in which the wife of the special counsel, Robert S. Mueller III, would withhold physical relations from her husband until he divulged damning details about Mr. Trump.Her planning was interrupted by the arrival of the Momofuku catering. “This is the best party I’ve been to all year,” Ms. Carroll said as she glided toward the slow-roasted pork. (Later, when she sued Mr. Trump for defamation, she hired a lawyer that Mr. Conway recommended to her that evening.)Philippe Reines, a former senior aide to Hillary Clinton, surveyed the room of liberal writers, comedians and cable news green room habitués, and compared the gathering to the TV show “Lost”: shellshocked survivors wandering a beach. “If we all went down on the plane, who would get the obit?” he asked. The consensus: Ms. Griffin.Washington has its famed political hostesses — Sally Quinn, Pamela Harriman — but latter-day New York has lacked for gatherers. Ms. Jong-Fast, with her ample personality (and ample apartment), filled the void. “I walked in and the first sight I see is Erica Jong talking with Joyce Carol Oates,” said Ms. Sullivan, a former public editor of The Times. “I felt like I was in literary heaven.”These gatherings — which extend to a semiregular Washington party at the home of the NBC reporter Jonathan Allen — have doubled as another prong of Ms. Jong-Fast’s path to media success. Many attendees are people Ms. Jong-Fast has met online. (“It’s just one of those friendships that develops through direct messages,” Mr. Conway recalled.) When she started a podcast in 2020 at The Daily Beast, “The New Abnormal,” Ms. Jong-Fast leaned on those connections to secure guests like Ben Stiller, Sharon Stone, and Mary Trump. The podcast, co-hosted with the former Republican consultant Rick Wilson, sailed toward the top of the charts.Noah Shachtman, the editor of Rolling Stone, with Ms. Jong-Fast at a book party for Margaret Sullivan, right, in New York, last month.Krista Schlueter for The New York Times“I was sort of like, ‘Meh, OK, does the world really need another podcast?’” recalled Mr. Shachtman, the Rolling Stone editor who ran The Daily Beast at the time. “And it became hugely important to us — hugely.”Ms. Jong-Fast left for The Atlantic in late 2021, where she remained until joining Vanity Fair. In September, she moved her podcast to iHeartMedia, which advertises the show across its radio stations. So far, “Fast Politics” — a two-person operation consisting of Ms. Jong-Fast and a producer who previously recorded songs for The Misfits — is hovering around the Top 50 of Apple’s news category.The Trump era produced no shortage of wannabe pundits. Ms. Jong-Fast credits some of her success to a tenacity honed by years as a freelancer; to secure Ron Klain, Mr. Biden’s chief of staff, for her podcast, she pestered his staff for months. “I’m used to so much rejection,” she said. “I’m like, ‘Do you have five minutes for me? You could do it in your car!’”A high-end Rolodex helps. Her first MSNBC appearance was with Lawrence O’Donnell, who, she admits, once went on a date with her mother. “There are people I am more connected to than others,” she said. When Ms. Jong-Fast, on Oct. 20, tweeted about the death of her dog, Cerberus, she received condolences from Aimee Mann, Padma Lakshmi, Daryl Hannah, and Megyn Kelly.She is particularly close with Ms. Griffin, who said in an interview that when she met Ms. Jong-Fast, “about 75 percent of my friends had dumped me permanently.” (Ms. Griffin had been widely castigated for posting a photo of herself with a facsimile of Mr. Trump’s decapitated head.) When Ms. Griffin had surgery in 2021 to remove a tumor in her lung, Ms. Jong-Fast stayed with her in Malibu, Calif.“We’d watch the news or she’d be online the whole time,” Ms. Griffin recalled.‘My life may not turn out how I want it but at least I won’t be buried on my second husband’s golf course.’ — @mollyjongfastPhilip Vukelich for The New York TimesMs. Jong-Fast says she wants to fill a perceived void in the political podcast space, arguing that conservative megastars like Ben Shapiro and Dan Bongino need more liberal rivals. (Mr. Shapiro is not exactly a fan, once tweeting that the fact Ms. Jong-Fast is paid “to say and write words” proves that “in a big, beautiful, capitalistic democracy like ours, literally anyone can make a living.”) Ms. Jong-Fast acknowledges a debt to “Pod Save America,” the lefty podcast started by Barack Obama alumni, and expressed some jealousy that they booked Representative Alexandria Ocasio-Cortez, who has repeatedly turned her down.Her podcast is unlikely to move the needle with purple-state voters, so why do boldface politicians like Ms. Harris even bother? The audience, said one Democratic operative, is not voters so much as elite liberals with money; for Democrats, accessing the donor class is as much a part of the left-wing media game as swaying hearts and minds. Ms. Jong-Fast is a relatively friendly conduit.Ms. Jong-Fast, after years of struggling to break into top-tier magazines, marvels at Twitter’s ability to bypass media gatekeepers. But her million-strong Twitter account is a powerful megaphone in its own right: Several journalists confided to me they often text their stories to Ms. Jong-Fast as a surefire path to clicks.In recent days, she has been heckling Elon Musk on Twitter, although she is relatively sanguine about the medium’s future under its new owner. “We’re still gonna need a place to push content,” she said.There are downsides. Ms. Jong-Fast has received death threats. (“I told the doormen and they were like, ‘Again?’”) She shrugged them off. “One thing that was helpful — or made me pathological, depending on your viewpoint — is that my mother wrote about me my whole life, so I never had this assumption of privacy,” she said.Erica Jong is suffering from memory issues, but her daughter said she enjoys seeing her appearances on cable news. “It makes her feel good about her parenting choices,” Ms. Jong-Fast said, wryly.In the age of Trump, partisan punditry is a kind of modern therapy: How many liberals attribute their sanity to nightly sessions with Rachel Maddow? Some of Ms. Jong-Fast’s fans feel the same: “I get emails that are like, ‘I live in Montana, I’m 88 years old, you make me feel like it’s going to be OK.’”For Ms. Jong-Fast, who on Wednesday celebrated 25 years sober, the treatment might go both ways. “My husband is like, ‘Oh my god, democracy is dying in front of us,’” Ms. Jong-Fast said as a dog hopped off her lap. “And I’m like, ‘I’m just going to write another piece.’” More

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      PJ O’Rourke obituary

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      PJ O’Rourke obituaryConservative American humorist, political satirist and writer who took aim at his own generation – the baby boomers The American humorist PJ O’Rourke, who has died aged 74 of lung cancer, was a writer of sharp wit that ranged from dry to lusciously over the top, but was always leavened by a measure of self deprecation that stopped it from being cruel or harsh. In the political satire that dominated his later writing, he became that rarest of things, a funny conservative.His political writing was based on his early change of tack from 1960s lefty to what he could call the libertarian right, libertarian being the escape hatch for those trapped within the Republican party. His changing stance mirrored the course of his career, from the satire of the National Lampoon and hipness of Rolling Stone to more earnest outlets such as the Atlantic Monthly and the rightwing Cato Institute.He had been instrumental in making the Atlantic Monthly Press a success; its editor Morgan Entrekin called him “one of the major voices of his generation”.The recurrent theme in his writing was his place in his generation – the baby boomers. “My generation spoiled everything for you,” he told younger readers. “It has always been the prerogative of young people to look and act weird and shock grownups. But my generation exhausted the earth’s resources of the weird … all you had left was to tattoo your faces and pierce your tongues. Ouch. That must have hurt. I apologise.”He was born in Toledo, Ohio, to Delfine (nee Loy), a housewife and later a school administrator, and Clifford O’Rourke, a car salesman. He went to Miami University in Oxford, Ohio – “the one where you can’t major in windsurfing” – and took a master’s in English (1970) at Johns Hopkins University, Baltimore, where he began writing for a local underground paper, Harry, and the Rip-Off Review of Western Culture, which got him a gig with the National Lampoon magazine in 1973.He made his mark quickly, working on the stage show Lemmings, which made stars of John Belushi, Chevy Chase and Christopher Guest, and co-writing with the Lampoon founder Doug Kenney The National Lampoon High School Yearbook, based on a piece by Michael O’Donoghue. There was a strong Irish-American wise-guys at the back of the class vibe at the Lampoon.Kenney also hailed from Ohio, but had attended a private school; the record of the fictional class of 1964 at a high school in Dacron (the name a cross between Ohio cities Dayton and Akron, but also a popular brand of cheap polyester cloth) was based squarely on O’Rourke’s days at Toledo’s DeVilbiss high. The yearbook itself was purportedly the property of one Larry Kroger, who would reappear in 1978 as the naive protagonist of the film National Lampoon’s Animal House.By the time Animal House became a hit, O’Rourke was the editor-in-chief of the Lampoon, charged with “the Squaresville task of making the magazine show a profit”. In the 2018 biopic of Kenney, A Futile and Stupid Gesture, O’Rourke is portrayed in just that light – but his empathy with squares was crucial to the yearbook’s success.Now he found himself out of place in a “clubby and snitty” atmosphere which remained as the creative core of the Lampoon moved on to Hollywood and Saturday Night Live. He turned the magazine, according to one critic, into “comedy you can jack off to”.In 1981 he went freelance, writing for the top-payers such as Vanity Fair and Playboy. His key Lampoon essay “How To Drive Fast on Drugs While Getting Your Wing-Wang Squeezed and Not Spill Your Drink”, was reprinted in his first book, Republican Party Reptile (1987), a homage to Hunter Thompson, the chief exponent of gonzo journalism, that saw him appointed “foreign desk chief” at Rolling Stone, the ultimate hip boomer journal.His writing moved from social satire to politics and he reported from war zones, where his knack for satirising the absurd found its true metier. His 1988 collection, Holidays in Hell, is perhaps the best of his 20 books. He became a celebrity, without slowing down in the least, but as I can attest after surviving a London evening with him and my then ABC television colleague Charles Glass, O’Rourke was one of those rare people who was nicer in private, going beyond his public affability, which often surprised those expecting combative wit.In 1991 O’Rourke interviewed Bill Clinton, along with his Rolling Stone colleagues Thompson and William Greider, and its publisher, Jann Wenner. He quickly slid Clinton into identity politics via the Lampoon yearbook template. Clinton’s favourite Beatle was Paul McCartney: Clinton was the “band geek” who paid attention in class.For a short time O’Rourke held down the right side of Point/Counterpoint on CBS’s flagship news show 60 Minutes, opposite the equally funny and acerbic Molly Ivins, but they were too brilliant a mix to last on network TV. As he once wrote, “no humorist is under any obligation to provide answers”.That voice could lose its affability when writing for the Cato Institute, but the new millennium presented new problems, which his work for the Atlantic laid out clearly. A 2004 essay on listening to the radio host Rush Limbaugh shouting to his echo chamber of “ditto heads” led him to search for a leftwing equivalent, but when he could not find one he wound up blaming the entire media landscape. He complained in another essay you could not tell the “liberals who once led Vietnam protests in clown pants from the car ads”, ironically putting his young self and his father into the same boat.His libertarian conservatism reached its apotheosis with Donald Trump’s taking over the Republican party, reflected in his 2016 book of election coverage How the Hell Did This Happen? He endorsed Hillary Clinton, because “she’s wrong about absolutely everything, but she’s wrong within normal parameters”. Although he claimed in 1992 he had “given up” the 60s, Trump was exactly the sort of spoiled preppy boomer O’Rourke could despise. But he might have looked back to his childhood, and Walt Kelly’s comic strip Pogo. It was Pogo who said: “We have met the enemy and he is us.”In 1990 O’Rourke married Amy Lumet, daughter of the film director Sidney and granddaughter of the entertainer Lena Horne.They divorced three years later, and in 1995 he married Tina Mallon. She and their children, Olivia, Clifford and Elizabeth, survive him.TopicsMediaUS politicsComedyMagazinesUS televisionobituariesReuse this content More

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      in US Politics

      Profusely Illustrated review: Edward Sorel and all the golden ages of New York magazines

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      Profusely Illustrated review: Edward Sorel and all the golden ages of New York magazines A memoir by a man who has drawn caricatures for the greatest editors is a treasure trove of the American mid-century modernAt 92, Edward Sorel is the grand old man of New York magazines. For 60 years, his blistering caricatures have lit up the pages of Harper’s, the Atlantic, Esquire, Time, Rolling Stone and the Nation. He is especially revered for his work in Clay Felker’s New York in the late 60s and for work in the New Yorker under Tina Brown and David Remnick.A life in cartoons: Edward SorelRead moreHe has also worked for slightly less august titles, like Penthouse, Screw and Ramparts.He is one of the foundational New Yorkers. Like Leonard Bernstein or E B White, Sorel absorbs the rhythms of the rambunctious city, using them to create an exaggerated, beguiling mirror of all he has experienced.A very abbreviated list of his memories includes the Great Depression, Hitler and Mussolini, the Red Scare, Joe McCarthy, Lee Harvey Oswald, both Bushes, Clinton, Obama and Trump.His memoir begins with a political frame. Like the unreconstructed lefty he is – he voted for Ralph Nader twice – he announces that he will show how the crimes of the previous 12 presidents made possible the catastrophe of Donald Trump.He gives the CIA and the military industrial complex all the shame they deserve for an unending parade of coups and wars – from Iran, Guatemala and Chile to Korea, Vietnam, Afghanistan and Iraq. But he promises “these exposés will be brief”, so “it will only hurt for a few minutes”. On that he keeps his word.What gives Profusely Illustrated its charm and its power – besides 177 spectacular illustrations – are Sorel’s tales of New York, beginning with a childhood spent in a fifth-floor walk-up in the Bronx with a father he despised and a mother he adored.Sorel spares no one, especially his “stupid, insensitive, grouchy, mean-spirited, fault-finding, racist” father, who he dreamed of pushing in front of a subway train when he was only eight or nine.“When I grew older, I realized how wrong that would have been,” Sorel writes.“The motorman would have seen me.”The first riddle that tortured him was why his amazing mother married his revolting father. She explained that a few months after her arrival in New York from Romania, at 16, she started work in a factory that made women’s hats. When one of the hat blockers noticed on her first day that she hadn’t left for lunch, he loaned her the nickel she needed. Later, the same blocker told her he would kill himself if she didn’t marry him. So that was that.During a prolonged childhood illness that confined him to his bed, Ed started making drawings on cardboard that came back with shirts from a Chinese laundry. When he went back to school, the drawings were admired by his teacher at PS90, who told his mother young Ed had talent. She enrolled him in a Saturday art class at the other end of the city, the Pratt Institute in Brooklyn and then another at the Little Red School House, at the bottom of Manhattan.At Little Red, thanks to the generosity of one Gertrude Vanderbilt Whitney, all the students were given a wooden box containing oil paints, brushes, turpentine and an enamel palette.It was Ed’s “to keep so I could paint at home” – and it changed his life.He gained admission to the highly competitive High School of Music and Art, and then to tuition-free art school at Cooper Union. But his teachers did nothing but delay his success: the fashion for abstraction was so intense, he wasn’t allowed to do the realistic work he loved.The Bronx boy who had been Eddie Schwartz was transformed after he discovered Julien Sorel, hero of Stendhal’s novel The Red and the Black. Julien was “a sensitive young peasant who hated his father, was appalled by the corruption of the clergy in 19th-century France, and was catnip to every woman he encountered”.Five years later, Eddie changed his name to Sorel.With Seymour Chast he founded Push Pin Studios, which after Milton Glaser joined, became the hottest design studio in New York. Sorel didn’t last long but when Glaser founded New York magazine with Felker a few years later, Sorel got the perfect outlet for his increasingly powerful caricatures.His book’s pleasures include interactions with all the most important magazine editors of the second half of the last century, including George Lois, art director of Esquire in its heyday under Harold Hayes.Gay Talese had written what would become a very famous profile, Frank Sinatra Has a Cold. The crooner had refused to pose for the cover, after Lois told him he wanted a close up with a cigarette in his mouth and a gaggle of sycophants eagerly trying to light it.Lois asked Sorel for an illustration. It was an assignment that would give him “more visibility than I had ever had before”. He panicked and his first effort was a failure. But with only one night left, his “adrenalin somehow made my hand turn out a terrific drawing of Frank Sinatra”. It launched Sorel’s career. The original now hangs in the National Portrait Gallery.Gay Talese: ‘Most journalists are voyeurs. Of course they are’Read moreThe Village Voice, New York’s original counterculture newspaper, gave him a weekly spot. Sorel inked a memorable portrait of the New York Times editor Abe Rosenthal as a tank shooting a too-liberal columnist, Sydney Schanberg, after Schanberg was fired for attacking the news department from the op-ed page.Tina Brown chose Sorel to do her first New Yorker cover. When Woody Allen and Mia Farrow split up, Sorel imagined a Woody & Mia Analysts Convention.If you’re looking for a bird’s eye view of the glory days of magazine journalism, illustrated with drawings guaranteed to make you nostalgic for great battles of years gone by, Profusely Illustrated is perfect. When you’re done, you’ll be ready to rewatch Mad Men all over again.
      Profusely Illustrated is published in the US by Knopf
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      in Elections

      The Trump Prophets Regroup

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      When you are in the business of prophecy, what do you do when prophecy fails?This spring, the media mogul Stephen E. Strang made an unusual apology to readers in the pages of his glossy magazine.Mr. Strang presides over a multimillion-dollar Pentecostal publishing empire, Charisma Media, which includes a daily news site, podcasts, a mobile app and blockbuster books. At 70, he is a C.E.O., publisher and seasoned author in his own right. Despite all that, Mr. Strang worried something had gone awry.“I’ve never been a prophet,” he wrote in a pleading March editor’s note. “But there were a number of prophets who were very certain that Trump would be elected.”This had not come to pass. Mr. Strang continued, “I hope that you’ll give me the grace — and Charisma Media the grace — of missing this, in a manner of speaking.”Over the past five years, he had hitched his professional fate to the Trump presidency, in a particularly cosmic way: promoting, almost daily, the claim that Trump’s rise to power was predestined by God. Interviewed in Mr. Strang’s various platforms, a rotating cast of religious leaders spoke with mystic authority on this subject.Where secular pundits were blindsided by Mr. Trump’s 2016 victory, the prophets of Charisma had been right. And they predicted another sweeping victory for Mr. Trump in 2020. For Mr. Strang, the last year presented the following question: When you are in the business of prophecy, what do you do when prophecy fails?Mr. Strang reflected on this question in a series of interviews last month.He mused, “God has plans and purposes we don’t understand.”This month, Mr. Strang will release his first post-election book, titled “God and Cancel Culture.” The text does not dwell long on questions of prophecy, failed or otherwise. Instead, it skips into the pandemic political zeitgeist, approvingly featuring vaccine skeptics like Stella Immanuel and megachurch pastors who defied lockdowns. The election conspiracist and pillow salesman Mike Lindell does the introduction.Mr. Strang seems to have discovered that one way to handle being publicly wrong is to change the subject and to pray readers stick around.Beyond the spiritual test of unrealized prophecies, there are very earthly stakes here: Under Mr. Strang’s stewardship, Charisma had grown from a church magazine to a multipronged institution with a slew of New York Times best sellers, millions of podcast downloads and a remaining foothold in print media, with a circulation of 75,000 for its top magazine. It is widely regarded as the flagship publication of the fast-growing Pentecostal world, which numbers over 10 million in the United States. With its mash-up of political and prophetic themes, Charisma had tapped a sizable market and electoral force. In 2019, one poll found that more than half of white Pentecostals believed Mr. Trump to be divinely anointed, with additional research pointing to the importance of so-called prophecy voters in the 2016 election.In his new book, Mr. Strang mentions the former president only in passing, with far more attention going to topics such as the coming Antichrist and loathed government overlords seeking to stamp out religion wholesale.Mr. Strang summed it up, “The fact is there are people who want to cancel Christianity.”“Christians and other conservatives need to wake up and stand up,” Mr. Strang said in an interview. “It says that right on the cover of the book.”The supernatural and mass media have long been fused in the story of Pentecostalism. In 1900s Los Angeles, Aimee Semple McPherson broadcast news-style reports of miracles and prophetic words over her own radio station in Echo Park. Oral Roberts conducted healing crusades through the TV screen. The duo Jim and Tammy Faye Bakker mastered the flashy style of prime time talk shows.Mr. Strang’s journalism career began in Florida as a rookie reporter at The Sentinel Star, where he covered more mundane topics like police and town hall meetings. In 1975, Mr. Strang founded Charisma, then a small periodical put out by Calvary Assembly of God, a congregation in the Orlando area that he attended with his wife. Mr. Strang bought the magazine from the parent church in 1981 and dove into religious publishing.In time, Charisma prospered. The editorial voice had the sunny boosterism of a hometown newspaper, covering the personalities of the Pentecostal world, an audience that Mr. Strang believed was woefully underserved. While competitors such as Christianity Today courted the buttoned-up elite of American evangelicalism, Charisma cornered a niche market of what are called charismatic Christians, set apart by their interest in gifts of the spirit, including things like healings, speaking in tongues and modern-day prophecy. Mr. Strang eschewed matters of stuffy dogma for eye-popping tales about the Holy Spirit moving through current events. Editorial meetings would focus on looking for what one former employee called “the spiritual heat” behind the headlines of the day.“We didn’t want to become the kind of boring publications many ‘religious’ journals are,” Mr. Strang wrote in an early editor’s note. “That is why we went first class with this publication.”In time, he surpassed competing publications. With a slick and dependable product, Mr. Strang unified diverse groups who might otherwise squabble over doctrine or not attend the same kinds of churches at all.“Strang became the ultimate Pentecostal businessman,” said John Fea, a historian of evangelicalism at Messiah University. “At Charisma, he fused the marketplace, faith and entrepreneurship.”Mr. Strang’s project stretched to include a book imprint, several spinoff magazines and educational materials for religious schools. By 2000, the company had expanded to a plush $7.5 million, 67,000-square foot headquarters outside Orlando. At the time, The Orlando Sentinel reported that the company employed about 200 people and expected revenue that year of $30 million.Yet the internet upended the world of publishing. By 2015, when Mr. Trump began his quest for the White House, Charisma, like much of the media industry, was dealing with declines in print advertising, revenue and circulation.Mr. Strang did not initially support Mr. Trump’s candidacy, but once the nomination had been clinched, a new theme rippled through the pages of Charisma: Mr. Trump was not just some ally of political convenience, he was anointed by God.In the months to come, the pages and airwaves of Charisma featured a range of religious leaders and lay people telling of a Trump victory. Each claimed that God had revealed — in dreams, visions or ethereal signs — that Mr. Trump would take the presidency. There was, for example: Jeremiah Johnson, a youthful seer from Florida (“a relatively young man but has remarkably accurate prophetic gifts”); Kim Clement, a onetime heroin user from South Africa (“he reveals the heartbeat of God”); and Frank Amedia, a Jew-turned-evangelical preacher with a penchant for spiritual warfare (“known for his bold and accurate prophetic words”).At this time, Charisma’s staff was producing 15 stories a day, many related to the election. (Typical headlines read: “Prophecy: God Sent Donald Trump to Wage War Against Destructive Spirits” or “Prophecy: Donald Trump Is Unstoppable Because the Lord Is Unstoppable.”)“Running stories about politics got clicks. And stories about prophetic words also got clicks,” Taylor Berglund, a former editor at Charisma, said. “So you combine these two and you had the most popular articles on the site.”Monthly readership of the Charisma website rose to somewhere between two and three million, Mr. Berglund said. “There was a real incentive to keep posting like that,” he said.Leah Payne, a scholar of religion at Portland Seminary, said there has long been “a real appetite in the Pentecostal community” for the kinds of prophecies that took off at Charisma during those months, delivered by people “who believe that the Holy Spirit can and does give anyone special insight into the future.”As the polls closed in November 2016, most mainstream news outlets scrambled to explain how projections for a big Hillary Clinton victory had been so off. But Mr. Strang felt vindicated.“Those prophecies may have sounded ridiculous,” he wrote later, “but Trump was elected, just as the prophets had said.”In the next months, the Trump administration brought a cohort of Pentecostal leaders closer to the halls of power than ever before. Mr. Strang’s longtime acquaintance Paula White, a televangelist from Florida, became a spiritual adviser to Mr. Trump. At one point, the president was pictured smiling and holding Mr. Strang’s 2017 book, “God and Donald Trump.”Advocacy groups that monitor the religious right tracked Charisma’s influence with alarm, concerned about the combination of divisive politics with divine prophecy. Peter Montgomery, a senior fellow at Right Wing Watch, called Mr. Strang’s work harmful “pro-Trump propagandizing” because it cast political battles as holy wars. “This extreme demonization of one’s political opponents is toxic to our political culture,” Mr. Montgomery said.Mr. Strang’s boosters and critics often portray the company as a large and influential entity, and by most available metrics it does command a relatively large audience for a religious publisher. But Charisma’s staff appears to have shrunk since the early 2000s, when The Sentinel reported that the company employed 200. According to former staff members, in 2020 there were about 60 employees, with fewer than 10 in editorial. Charisma disputed those figures but declined to provide any information about its finances or number of employees.And for all of his hagiographic overtures, Mr. Strang’s love for Mr. Trump appears to always have been lopsidedly unrequited. The two met only once, for a brief interview in Florida.“I was never on the inside circle,” Mr. Strang said. “I went to the White House zero times.”Still, he remained a dutiful fan. Mr. Strang wrote three more glowing books about the president, including “God, Donald Trump and the 2020 Election.” In one chapter, the book explored the possibility that Mr. Trump could lose, but it came down squarely on the side of a preordained victory.And so, on Election Day 2020, Mr. Strang flew to Texas to appear on the livestream of one of his friends, the televangelist Kenneth Copeland.As exit polls were trickling in, Mr. Strang donned a red MAGA hat and beamed at the camera. “I believe Trump is going to win,” he told viewers. “The prophets have been saying that.”The next morning, Mr. Strang was surprised to find that, though ballots were still being tallied, a Biden victory seemed likely, and he would not accept the outcome for some time. He instructed his readers to ignore the mainstream media and fortify themselves in prayer.“I was feeling we were in a fairly serious place,” Mr. Strang said. “The Christian community I serve was actually kind of depressed.”Charisma did not recognize Mr. Biden as president-elect until after the Jan. 6 riot at the Capitol and the congressional certification of Mr. Biden’s victory.In the interim, Charisma gave a platform both to people who questioned the results and those who accepted that Mr. Biden was the president-elect. It also waded through a related challenge: the prickly question of what to do with all the failed divine predictions Charisma had published.Mr. Strang interviewed repentant prophets, such as Mr. Johnson, who shut his ministry after Mr. Trump was not re-elected. Mr. Strang also highlighted prophets who refused to budge, and he parroted Mr. Trump’s howls on Twitter about a stolen election. (“I personally do believe the election was stolen,” Mr. Strang said.)After the events of Jan. 6, Mr. Strang did condemn the violence in Washington in forthright language. At the same time he featured leaders who attended and heralded the gathering as a “prophetic breakthrough.”When a Charisma contributor named Michael Brown organized an open letter calling for firmer standards on prophecies (“We really had egg on our faces,” Mr. Brown recalled in a phone interview), Mr. Strang endorsed and published the plea at Charisma. But Mr. Strang also said his overall editorial approach wouldn’t change much at all. “No,” he said. “We won’t back off from the prophets.”His oft-repeated defense, in discussing the election fallout, is that he was simply doing his job, presenting alternate views.“We quoted other people,” Mr. Strang said. “I’m not a preacher. I’m a journalist.”Mr. Strang built Charisma from the ground up, he also likes to say, and will run it as he pleases. “I don’t have to answer to anybody. I don’t have a boss. I answer to God,” he said. “And I answer to Uncle Sam, you know, with the I.R.S.”Yet with division still lingering in the prophecy crowd, Mr. Strang ultimately seems to have decided to sidestep the question of 2020 and what was stolen or divinely ordained and simply to move on to boogeymen the whole family can agree on: the new administration, virus health mandates, what he has cast as liberal cultural censorship of conservative views and, most broadly, society’s diabolical scheme against Christianity.Mr. Strang’s new book was given a fitting debut at a megachurch rally in Michigan in late August, which was in part sponsored by Charisma and featured a lineup of conservative personalities who decried state health mandates over the course of the weekend.Trump flags billowed outside next to QAnon merchandise, and top billing went to MAGA stalwarts like Michael Flynn and Roger Stone. Mr. Strang plugged his book onstage, speaking to an audience of several thousand, and sold copies in the foyer.In an email exchange afterward, Mr. Strang ventured a cheery, if tentative, prediction of his own: He might have another hit.“I signed books all afternoon,” he typed. “People tell me I’ve hit a chord.” More