Siegfried then took out one of the gold coins that waited in his pocket. He had thousands of them made: look for the magic that is all around you, they read on one side. Then he performed a little magic—close-up magic, quiet and simple, the way he once did, before everything else.
Surrounded by the cats who reminded him so much of his lost partner—the same animals whose hulking presence had helped turn their first day together and every day after into the most extraordinary existence for everyone in their sprawling, magical family—Siegfried heard time and again the same five words his father once said to him: “How did you do that?” He never answered. Instead, Siegfried would smile, press the coin into the hands of one of his guests, and float away, leaving his visitors to stare at one another in silence, and the last of Roy’s tigers to exalt in their wonder.
I have a job to do. If I were constantly worried about death, I couldn’t function. After a while, if your life is more or less constantly in peril, you come to a point where you accept the possibility philosophically. I must face the fact, as all others in positions of leadership must do, that America today is an extremely sick nation, and that something could well happen to me at any time. I feel, though, that my cause is so right, so moral, that if I should lose my life, in some way it would aid the cause.
The recordings that burned up in the Universal fire — like the songs that are blasting from car windows on the street outside your home, like all the records that you or I or anyone else has ever heard — represent a wonderment that we have come to take for granted. For most of human history, every word spoken, every song sung, was by definition ephemeral: Air vibrated and sound traveled in and out of earshot, never to be heard again. But technology gave humanity the means to catch sounds, to transform a soprano’s warble, a violin’s trill, Chuck Berry’s blaring guitar, into something permanent and repeatable, a sonic artifact to which listeners can return again and again.
The new Jesko by Koenigsegg, named after the company founder’s father, is claimed to be the world’s first road-legal 300 mph car. That top speed translates to more than 480 kilometers per hour. To put it in more relatable terms, this car can travel fast enough to cover the length of a football field — doesn’t matter which version of football you prefer — in less than a second. When you think of it in those terms, you’ll probably also realize just how theoretical performance like that is: there aren’t many straight lines in the world long enough to let a person hit such ludicrous speeds.
Nostalgia, to me, is not the emotion that follows a longing for something you lost, or for something you never had to begin with, or that never really existed at all. It’s not even, not really, the feeling that arises when you realize that you missed out on a chance to see something, to know someone, to be a part of some adventure or enterprise or milieu that will never come again. Nostalgia, most truly and most meaningfully, is the emotional experience—always momentary, always fragile—of having what you lost or never had, of seeing what you missed seeing, of meeting the people you missed knowing, of sipping coffee in the storied cafés that are now hot-yoga studios. It’s the feeling that overcomes you when some minor vanished beauty of the world is momentarily restored, whether summoned by art or by the accidental enchantment of a painted advertisement for Sen-Sen, say, or Bromo-Seltzer, hidden for decades, then suddenly revealed on a brick wall when a neighboring building is torn down. In that moment, you are connected; you have placed a phone call directly into the past and heard an answering voice.