“What is grief?” I recently asked psychologist Steven Stosny, posing the obvious question I’d avoided for so long.
“It’s an expression of love,” he told me. “When you grieve, you allow yourself to love again.”
“How do you grieve?” I asked him.
“You celebrate a person’s life by living your life fully.”
• • •
Khalid Sheikh Mohammed never said a word to the court in Guantánamo that day. When the last words of the 88-page charge sheet were finally read at 10:28 pm, 13 hours and 5 minutes after the proceeding began, the judge cracked his gavel and just like that the arraignment came to a swift, odd end.
KSM stood up and smiled, and I watched as he picked up a stack of books draped with his tazbi, his prayer beads. A minute later, he was gone. And what was I left with?
Relief. Relief that I could finally feel sad that Danny would never come back.
That night, as darkness enveloped the family’s three-story mud-brick compound, Wasil’s uncles shuffled Hamidullah’s bloodied corpse inside. The boy drew close, his cheeks wet with tears. In the low light, he could see the blood that stained his father’s clothes. He was a child, yes, but he knew enough of his world to realize, without even asking, who had killed his father. And he knew what it meant for him.
In the weeks that followed, Wasil’s anger hardened into a grim and brutal ambition—one that would launch him toward fame and then toward tragedy. “Teach me how to shoot,” Wasil said to his uncle Samad when he had resolved himself to retribution. “I want to kill my father’s killer.”
Yitang “Tom” Zhang spent the seven years following the completion of his Ph.D. in mathematics floating between Kentucky and Queens, working for a chain of Subway restaurants, and doing odd accounting work. Now he is on a lecture tour that includes stops at Harvard, Columbia, Caltech, and Princeton, is fielding multiple professorship offers, and spends two hours a day dealing with the press. That’s because, in April, Zhang proved a theorem that had eluded mathematicians for a century or more. When we called Zhang to see what he thought of being thrust into the spotlight, we found a shy, modest man, genuinely disinterested in all the fuss.
Long life to The Outline, Joshua Topolsky’s new venture :
The pattern is by now familiar: a famous person makes a comment that inspires controversy and, in turn, sets off a public discussion about a number of serious issues. By the end, nothing is illuminated and someone has probably haphazardly apologized, publicly. It’s part of a broader flattening of the worlds of entertainment and news. In the online ecosystem where the two reside — more than 60 percent of adults in the US get their news on social media — everyone competes for attention by appealing to the same core emotions.
With contemporary art having become an important investment vehicle for the superwealthy—a profitable and fun place for the rich to park their money—collectors are no longer necessarily connoisseurs. Gouzer is disdainful of the novice client who shows no interest in an artist’s catalogue raisonné, and who wants to know only if the piece he is buying is considered to be in the top ten of the artist’s works. “It’s very much an Instagram way of buying,” he grumbled to me this spring. “You see an image, and you make a decision.” Yet his approach could not be better calculated to appeal to such consumers. Last November, a colleague at Christie’s brought to auction a Modigliani painting of a voluptuous woman, “Reclining Nude,” which had a presale estimate of a hundred million dollars. Gouzer posted an image of the painting on Instagram and offered this unscholarly observation: “Difficult to say which you would want more, the painting for a lifetime or the model for a night?”