The 60s: The Story of a Decade PDF
Preview The 60s: The Story of a Decade
Cover Title Page Copyright Introduction · David Remnick PART ONE · RECKONINGS A Note by George Packer Silent Spring · RACHEL CARSON Letter from a Region in My Mind · JAMES BALDWIN Eichmann in Jerusalem · HANNAH ARENDT In Cold Blood: The Corner · TRUMAN CAPOTE The Village of Ben Suc · JONATHAN SCHELL Reflections: Half Out of Our Tree · RICHARD H. ROVERE PART TWO · CONFRONTATION A Note by Kelefa Sanneh It Doesn’t Seem Quick to Me (Desegregating Durham) · KATHERINE T. KINKEAD An Education in Georgia (Integrating a Public University) · CALVIN TRILLIN March on Washington · CALVIN TRILLIN Letter from Berkeley (The Free Speech Movement) · CALVIN TRILLIN The Price of Peace Is Confusion · RENATA ADLER The Put-On · JACOB BRACKMAN Letter from Chicago · RICHARD H. ROVERE Harvard Yard · E. J. KAHN, JR. PART THREE · AMERICAN SCENES A Note by Jill Lepore Letter from Washington (The Cuba Crisis) · RICHARD H. ROVERE An Inquiry into Enoughness (Visiting a Missile Silo) · DANIEL LANG Letter from Washington (The Great Society) · RICHARD H. ROVERE Lull (Walking Through Harlem) · CHARLAYNE HUNTER Demonstration (A Biafra Rally) · JONATHAN SCHELL Hearing (Feminists on Abortion) · ELLEN WILLIS Notes and Comment (Woodstock) · JAMES STEVENSON AND FAITH MCNULTY Notes and Comment (The Assassination of John F. Kennedy) · DONALD MALCOLM, LILLIAN ROSS, AND E. B. WHITE Views of a Death (J.F.K.'s Televised Funeral) · JONATHAN MILLER Notes and Comment (The Assassination of Martin Luther King, Jr.) · JACOB BRACKMAN AND TERRENCE MALICK Life and Death in the Global Village · MICHAEL J. ARLEN Letter from Washington (The Assassination of Robert F. Kennedy) · RICHARD H. ROVERE PART FOUR · FARTHER SHORES A Note by Evan Osnos Though Tribe and Tongue May Differ (Nigerian Independence) · EMILY HAHN Letter from Havana · HANS KONINGSBERGER Letter from Vatican City · XAVIER RYNNE On the Seventh Day They Stopped (Six Day War) · FLORA LEWIS Letter from Prague · JOSEPH WECHSBERG The Events in May: A Paris Notebook · MAVIS GALLANT PART FIVE · NEW ARRIVALS A Note by Malcolm Gladwell Portable Robot · F. S. NORMAN, BRENDAN GILL, AND THOMAS MEEHAN Telstar · LILLIAN ROSS AND THOMAS WHITESIDE The Big Bang · JOHN UPDIKE Touch-Tone · GEORGE W. S. TROW Sgt. Pepper · LILLIAN ROSS Apollo 11 · HENRY S. F. COOPER, JR. Ornette Coleman · DONALD STEWARD AND WHITNEY BALLIETT Cassius Clay · A. J. LIEBLING Glenn Gould · LILLIAN ROSS Brian Epstein · D. LOWE AND THOMAS WHITESIDE Roy Wilkins · ANDY LOGAN Marshall McLuhan · LILLIAN ROSS AND JANE KRAMER Joan Baez · KEVIN WALLACE Twiggy · THOMAS WHITESIDE Ronald Reagan · JAMES STEVENSON Tom Stoppard · GEOFFREY T. HELLMAN Simon & Garfunkel · JAMES STEVENSON Maharishi Mahesh Yogi · VED MEHTA The Who · HENDRIK HERTZBERG PART SIX · ARTISTS & ATHLETES A Note by Larissa MacFarquhar A Tilted Insight (Mike Nichols & Elaine May) · ROBERT RICE The Crackin’, Shakin’, Breakin’ Sounds (Bob Dylan) · NAT HENTOFF Paterfamilias (Allen Ginsberg) · JANE KRAMER Levels of the Game (Arthur Ashe, Clark Graebner) · JOHN MCPHEE Days and Nights with the Unbored (World Series 1969) · ROGER ANGELL PART SEVEN · CRITICS A Note by Adam Gopnik All Homage (Breathless) · ROGER ANGELL After Man (2001: A Space Odyssey) · PENELOPE GILLIATT The Bottom of the Pit (Butch Cassidy and the Sundance Kid) · PAULINE KAEL False Front or Cold-War Concept · LEWIS MUMFORD The Nineteen-Sixties: Time in the Museum · HAROLD ROSENBERG Television’s War · MICHAEL J. ARLEN The Bombs Below Go Pop-Pop-Pop · MICHAEL J. ARLEN Sweet Birdie of Youth (Bye Bye Birdie) · KENNETH TYNAN The Theatre Abroad: London · KENNETH TYNAN Off Broadway (Oh! Calcutta!) · BRENDAN GILL Newport Notes · WHITNEY BALLIETT Rock, Etc. (Packaging Rock and Post-rock) · ELLEN WILLIS Rock, Etc. (Woodstock) · ELLEN WILLIS Whither? · WINTHROP SARGEANT Our Invisible Poor (Michael Harrington's The Other America) · DWIGHT MACDONALD Polemic and the New Reviewers · RENATA ADLER The Author as Librarian (J. L. Borges) · JOHN UPDIKE The Fire Last Time (William Styron's Confessions of Nat Turner) · GEORGE STEINER The Unfinished Man (Philip Roth's Portnoy's Complaint) · BRENDAN GILL The Whole Truth (Joyce Carol Oates's them) · L. E. SISSMAN PART EIGHT · POETRY A Note by Dana Goodyear The Heaven of Animals · JAMES DICKEY Tulips · SYLVIA PLATH Next Day · RANDALL JARRELL The Broken Home · JAMES MERRILL The Asians Dying · W. S. MERWIN At the Airport · HOWARD NEMEROV Second Glance at a Jaguar · TED HUGHES Endless · MURIEL RUKEYSER Moon Song · ANNE SEXTON Feel Me · MAY SWENSON PART NINE · FICTION A Note by Jennifer Egan The Ormolu Clock · MURIEL SPARK A & P · JOHN UPDIKE The Hunter’s Waking Thoughts · MAVIS GALLANT The Swimmer · JOHN CHEEVER The Indian Uprising · DONALD BARTHELME The Key · ISAAC BASHEVIS SINGER Acknowledgments Contributors David Remnick IT’S DIFFICULT TO think of William Shawn, the reserved and courteous man who edited The New Yorker from 1952 to 1987, as a figure of the sixties. If he wore a tie-dyed T-shirt, he kept it well hidden. Most days, he wore a dark wool suit, a necktie of subdued color, and a starched white shirt, sometimes adding one or two sweater vests to the ensemble when it was chilly. He was soft-spoken and addressed his colleagues with the formality of an earlier time. Nearly everyone in the office referred to him, even when he was out of earshot, as “Mr. Shawn.” He was already well into middle age when that decisive decade came roiling in, and although there is no definitive way to fact-check this, I would bet the house that he did not partake of the hallucinogens that helped define the era. Yet this volume represents a magazine that, under his guidance, became more politically engaged, more formally daring, more vivid, and more intellectually exciting than it had ever been or wished to be. The world was changing, and Shawn was determined to change The New Yorker. In the early days of the magazine, Shawn’s predecessor, Harold Ross, had preferred to minimize politics in what he referred to as a “comic weekly.” When Dorothy Parker wanted to write a piece about the civil war in Spain that was sympathetic to the Loyalists, Ross told her wryly that he would print it, but only if she would come out in favor of Generalissimo Franco. “God damn it,” he told her, “why can’t you be funny again?” Shawn, who had been Ross’s longtime deputy, helped deepen the magazine with its coverage of the Second World War, but The New Yorker tended to steer clear of the most vexed of many political questions, including that of race. There were exceptions, including “Opera in Greenville,” Rebecca West’s 1947 account
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