This one, for instance:
When we were living in Shukugawa (part of Nishinomiya City, in Hyogo Prefecture), one day we went to the beach to get rid of a cat. Not a kitten but an older female cat. Why we needed to get rid of it I can’t recall. The house we lived in was a single-family home with a garden and plenty of room for a cat. Maybe it was a stray we’d taken in that was now pregnant, and my parents felt they couldn’t care for it anymore. My memory isn’t clear on this point. Getting rid of cats back then was a common occurrence, not something that anyone would criticize you for. The idea of neutering cats never crossed anyone’s mind. I was in one of the lower grades in elementary school at the time, I believe, so it was probably around 1955, or a little later. Near our home were the ruins of a bank building that had been bombed by American planes—one of a few still visible scars of the war.
My father and I set off that summer afternoon to leave the cat by the shore. He pedalled his bicycle, while I sat on the back holding a box with the cat inside. We rode along the Shukugawa River, arrived at the beach at Koroen, set the box down among some trees there, and, without a backward glance, headed home. The beach must have been about two kilometres from our house.
Esta historia es de la edición October 7, 2019 de The New Yorker.
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Esta historia es de la edición October 7, 2019 de The New Yorker.
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The Puppet Masters - Compulsion, complicity, and the art of Bunraku.
The National Bunraku Theatre, in New York recently for the first time in more than thirty years, presented an evening of suicides. The performance, at the Japan Society, consisted of excerpts from two of the company’s most celebrated productions. In the Fire Watchtower scene from “The Greengrocer’s Daughter,” by Suga Sensuke and Matsuda Wakichi, from 1773, the titular character sacrifices herself to save a temple page boy she loves. In a scene from “The Love Suicides at Sonezaki,” by Chikamatsu Monzaemon, from 1703, two lovers are driven to take their own lives. Both plays were inspired by real events, and Chikamatsu’s was followed by a wave of double suicides that led to a ban on further performances. This mirroring of life and art is all the more astonishing given the fact that the actors are not people but puppets.
The Convert - The sudden rise of J. D. Vance has transfixed conservative élites. Is he the future of Trumpism?
Vance’s selection as Trump’s running mate had punctuated an astounding rise. Born in the small manufacturing city of Middletown, Ohio, he was raised by a drug-addicted mother and his beloved Appalachian-born grandmother, Mamaw. He worked his way up through storied American institutions: the Marine Corps, Yale Law School, Silicon Valley. “Hillbilly Elegy,” the best-selling memoir Vance published in 2016, made him famous, and his denunciations of Trump as “cultural heroin” for the white working class even more so. A few years later, he was a senator from Ohio, the Republican Party’s most effective spokesman for Trumpism as an ideology, and—both improbably and inevitably—the VicePresidential nominee. “If you think about where he came from and where he is, at forty years old,” the conservative analyst Yuval Levin, a Vance ally, said, “J.D. is the single most successful member of his generation in American politics.”
SONGS OF WAR
Early on in “Blitz,” Rita Hanway (Saoirse Ronan), a London factory worker, puts her nine-year-old son, George (Elliott Heffernan), aboard a train. Rather, George puts himself aboard; he twists angrily free of his mother’s grasp—“I hate you!” he cries—and tears off down the platform.
STAR-CROSSED
“Sunset Blud.” and Romeo Juliet,” on Broadway.
A PIECE OF HER MIND
Does the Enlightenment’s great female intellect need rescuing?
EACH MORTAL THING
What other creatures understand about death.
From the Wilderness
One morning in the rainy season, I went to bed at 6 a.m. after working all night and was on the verge of falling asleep when I was startled by the sound of my father’s voice coming through the air-conditioner next to my bed.
THE BIG DEAL
Joe Biden's economic policies are starting to transform America. Will anyone notice?
THE LAST MILE
The aid workers who risk their lives to bring relief to Gaza.
TAKE ME HOME
The filmmaker Mati Diop turns her gaze on plundered art.