Culture
How Merseyside became America’s 51st state
Beyond the dust of Liverpool’s dock road and the huge lorries rolling in and out of the city’s port, the glass panels of Everton’s new home at the Bramley-Moore Dock sparkle impressively, radiating ambition.
The site, expected to open next year, is a feat of engineering considering the narrow dimensions of the fresh land below it, where old waters have been drained to create a 52,888-capacity arena that has been earmarked to host matches at the 2028 European Championship.
The Everton Stadium, as it is currently known, has been nearly 30 years in the making and nothing about its construction has been straightforward. There were three other proposed sites — including one outside Liverpool’s city boundaries, in Kirkby — which never materialised; a sponsorship deal collapsing due to Russia’s invasion of Ukraine; three owners, Peter Johnson, Bill Kenwright and Farhad Moshiri, departing; and several flirtations with relegation.
Ultimately, Dan Friedkin, a Texan-based billionaire, will have the honour of being in post when it is inaugurated after his group’s long-awaited takeover was completed on Thursday.
Everton’s new waterfront home (Paul Ellis/AFP via Getty Images)
It has been a momentous week for Everton, and for the region as a whole. The Friedkin Group’s takeover means both of Merseyside’s Premier League clubs are now controlled by Americans. Meanwhile, a third, League Two side Tranmere Rovers, could join them if the English Football League (EFL) ratifies a takeover by a consortium led by Donald Trump’s former lawyer Joe Tacopina.
In football terms, Liverpool is on the verge of becoming the USA’s 51st state — the name of the 2001 movie starring Samuel L Jackson and Robert Carlyle, which was filmed in the city and used Anfield, the home of Liverpool FC, as a backdrop.
It is a huge cultural shift from the days — back when that film was released — when Liverpool and Everton had local owners and an American takeover of the city’s most celebrated sporting organisations seemed unthinkable.
And for all the excitement that Everton and Tranmere’s takeovers have generated, there remains an underlying caution — born of years of fear and frustration over the direction their clubs have taken — over what U.S. ownership will mean.
GO DEEPER
Inside Everton’s Friedkin takeover: From the precipice to fresh hope thanks to new U.S. owner
Everton is a club of contrasts.
Much of their mainly local support comes from some of the United Kingdom’s most economically challenged districts in the north end of Liverpool, near Walton where Goodison Park is located, and the ‘People’s Club’ — as former manager David Moyes christened them — has long taken pride in not being connected to big business, particularly in comparison to their near-neighbours Liverpool.
“One Evertonian is worth twenty Liverpudlians,” said former local captain Brian Labone, who led the team he supported as a boy in the 1960s.
Yet it hasn’t always been this way. At that time, it was Everton — not Liverpool — who were the city’s big spenders under their chairman John Moores, the founder of Littlewoods Pools. Then, their nickname was the ‘Mersey Millionaires’ and the club’s modus operandi was unapologetically ruthless: one manager, Johnny Carey, was sacked in the back of a taxi.
Moores would detail several innovations that would grow the sport, making it more attractive to business. They included the creation of a European Super League (sound familiar?), the rise of television, as well as the removal of the maximum wage, leaving a free market in which the best players would go to the richest clubs.
When Liverpool started to dominate English football and Goodison Park experienced a dip in gates, Moores tried to raise more cash. One of his solutions was to bring corporate hospitality to Goodison, as well as more advertising boards around the pitch but the move experienced pushback.
“Fans didn’t like it,” says Gavin Buckland, who recently published a book entitled The End, which looks at some of the longer-term causes of Everton’s struggles. “They felt the boards intruded on their match day routine — an in-your-face commercialism.”
Attitudes haven’t changed much since, in part because successive Everton owners haven’t been able to expand Goodison which is hemmed into Walton’s warren of terraced streets. Under Kenwright, Everton played on that reputation of the plucky underdog punching above its weight; it was only when Moshiri, a Monaco-based British-Iranian steel magnate, arrived as co-owner in 2016 that the waters were muddied.
Goodison Park – with Anfield visible at the top of the picture – is sandwiched into terraced streets (Michael Regan/Getty Images)
Under Moshiri, Everton became two clubs in one. Like Kenwright, Moshiri operated from London but unlike the theatre impresario, he had no natural connection with Merseyside. While Moshiri aimed for the stars, spending big on players and managers, Kenwright — who remained chairman and still had influence until his death last year — had a more corner-shop mentality. There was a lack of clarity over decision-making.
Enter Friedkin. Perversely, Everton’s fallen state is a major reason they represent such an attractive proposition to the San Diego-born businessman, who identified them as one of, if not the last, purchasable English football club where there is room for significant growth.
On Merseyside, there is some concern about what this might mean: Americans have tended to develop dubious reputations as owners of English football clubs due to their appetite for driving non-football revenues and seeing their investments as content providers.
Will the new stadium, for example, become a shopping mall experience, complete with hiked-up ticket prices? Buckland speaks of a “cliff edge”, where Everton are moving into a new home, necessitating new routines for matchgoing fans, while a new foreign owner with a reputation for keeping his distance gets his feet under the table. For some, all of this at once might be too much.
Given that Friedkin cannot claim to have played a leading role in the stadium move, he is likely to be judged quickly on the team that he delivers. Any new revenue-driving schemes will only float if fortunes improve on the pitch, otherwise his priorities will be questioned.
For proof, simply look across Stanley Park. In 2016, thousands of Liverpool fans walked out of Anfield in the 77th minute of a Premier League game against Sunderland after FSG announced that some ticket prices in the stadium’s new Main Stand would be priced at £77.
Liverpool had won just one trophy in six years of FSG ownership at that point and local fans, especially, felt like their loyalty was being exploited, given the organisation’s policy of investing its own money in infrastructure but not the team. The protest led to an embarrassing climbdown.
Liverpool was once described by the Guardian newspaper as the “Bermuda Triangle of capitalism”. It has since been framed absolutely as a left-wing city even though voting patterns suggest it should be described as a dissenting one. Its football supporters, whether blue or red, tend to confront perceived injustices, especially if it involves outsiders making money at the expense of locals, and even more so if they are not delivering on the pitch.
Liverpool have retained their working-class feel (Simon Hughes/The Athletic)
FSG were only able to buy Liverpool at a knockdown price, which its former American owner Tom Hicks described as an “epic swindle”, due to the response of the supporters who unionised themselves in an attempt to drive both Hicks and his partner George Gillett out following a series of broken promises, as the club veered dangerously towards deep financial problems from 2008.
“The missteps of Hicks and Gillett put power in the hands of the fans,” reminds Gareth Roberts from Spirit of Shankly, the fans group which is still active 16 years after its formation and which now has members on the club’s official supporters board. The latter became enshrined in Liverpool’s articles of association after FSG apologised for its leading role in the attempt to create a European Super League in 2021.
This came after several other high-profile PR blunders that eroded trust. It remains to be seen whether figures like John W. Henry, FSG and Liverpool’s principle owner, will listen to the board rather than pay lip service and carry on regardless with his own plans. Roberts says the ongoing challenge is “getting them to understand the culture”, and it does not help the relationship when Henry’s business partner, Tom Werner (Liverpool’s chairman), speaks so enthusiastically about taking Premier League fixtures away from Anfield and potentially hosting them in other parts of the world.
There was a time when either Everton or Liverpool’s local owner not showing at a match would dominate conversations in pubs and get reported in the local paper. Now, that only happens if they actually turn up.
Leading FSG figures usually fly in from Boston, Massachusetts, attending a couple of games a season — Werner was at Liverpool’s recent game against Real Madrid, while Henry was in the stands for the first home game of the season against Brentford. They appoint executives and dispatch them to Merseyside, or London, where the club has long had an office, to run the business on their behalf. Such individuals are under pressure to drive revenues as far as they can, in theory improving the economic possibilities of the team.
John W. Henry visits Anfield for the Brentford game in August (Michael Regan/Getty Images)
Roberts says ticketing is an especially thorny issue at Liverpool due to the popularity of the club. It feels like locals are under attack: that there is a race to get the richest person’s bum onto a seat.
As far as Roberts is concerned, a club that markets its image from the energy that Anfield occasionally creates is treading on dangerous ground. “The Kop still has power,” he insists. “But if you squeeze the fans and they drop off, there is a risk that the place gets filled with spectators rather than supporters and with that, you kill the golden goose.”
This, he adds, should act as a warning to Evertonians as they embark on their own American adventure.
Like Roberts, Liverpool metro mayor Steve Rotheram is a season ticket holder at Anfield and he understands such anxieties. In October, he spent a fortnight in North America exploring trade opportunities and the experience made him realise how powerful a brand Liverpool has abroad due to its connections with football and music, as well as its central role as a port in the movement of the Irish diaspora that spread across the Atlantic in the 19th century.
He says such history helps start conversations with American businesses from sectors like bioscience and digital innovation, which are now interested in investing in Merseyside due to the availability of land near the waterfront on both sides of the Mersey river, a hangover from the harsh economic measures of the 1980s and the decline that followed.
Rotheram says football, especially, plays a significant role in the visitor economy to the region, which in 2018 was worth £6.2billion. A thriving Everton playing at a stadium that does a lot more than host football matches every fortnight has the potential to add to that pot. The site at Bramley-Moore promises to regenerate the area around it and, currently, there are small signs of that change. Now Everton’s immediate financial concerns have gone away, perhaps businesses hoping to move in can proceed with more confidence.
GO DEEPER
How Liverpool 2.01 was built – and FSG abandoned any plans to sell
To reach the third professional football club on Merseyside attracting American investment, you have to cross the river.
If Rotheram gets his way, a walkable bridge will connect Liverpool to Wirral, the home of Tranmere Rovers, and potentially boost the peninsula’s economy. But for the time being, there are just two transport options: a tunnel under the Mersey or, more pleasurably, a ferry which takes less than seven minutes to sail from the Pier Head, beneath the famous Liver Buildings, to Seacombe.
In the middle of this journey, as the ferry juts north, there is a different view of Everton’s new stadium, positioned between a scrapyard and a wind farm, both of which are in the shadow of a brooding tobacco warehouse that is the biggest brick building in the world. Everton’s new home is much closer to the city and might seem enormous from the land, glistening from whichever angle you look at it, but it does not dominate the skyline from the brown, scudding channels of the Mersey.
Everton’s new stadium, as viewed from Birkenhead across the Mersey (Christopher Furlong/Getty Images)
When the novelist Nathaniel Hawthorne sailed across the same stretch of water in 1854, he recalled a scene that he thought neatly captured the personality of the Liverpudlians he’d encountered over the previous six months, having been sent to the city as American consul.
There, on the ferry, was a labourer eating oysters using a jack knife taken from his pocket, tossing shell after shell overboard. Once satisfied, the labourer pulled out a clay pipe and started puffing away contentedly.
According to Hawthorne, the labourer’s “perfect coolness and independence” was mirrored by some of the other passengers. “Here,” Hawthorne wrote, “a man does not seem to consider what other people will think of his conduct but whether it suits his convenience to do so.”
Hawthorne did not specify whether the labourer was from Liverpool or the piece of land to the west now known as Wirral. To any outsider, the places and their residents tend to be viewed as one of the same.
On Merseyside, however, distinctions are made: Liverpudlians tend to identify themselves as tougher and sharper, while those from “over the water”, tend to have softer accents and are once removed from the struggles of the city.
In truth, both areas suffered in the late 1970s and 80s when unemployment ripped through its docks and shipyards. Whereas Liverpool’s city centre has been transformed in the decades since, the Wirral’s waterfront feels less promising. Whereas Liverpool has the Albert Dock, museums and a business district punctuated by glassy high rises, Wirral has very few distinguishable features from the river beyond its scaly, grey sea wall.
Three miles or so from the terminal in Seacombe lies Prenton, the home of Tranmere, a football club that returned to the Football League in 2018, having fallen on hard times since the early 1990s when it threatened to reach the Premier League.
Tranmere’s homely but ageing Prenton Park ground (Simon Hughes/The Athletic)
That history is one of the reasons why an American consortium led by Tacopina has an application with the EFL to try and buy the club from former player, Mark Palios, who later acted as the chief executive of the English Football Association.
The Athletic reported in September that Tacopina was attempting to “harness the power of his celebrity contacts” to try to propel Tranmere up the divisions from League Two. In a report the following month, it was revealed on these pages that rapper A$AP Rocky and Las Vegas Raiders defensive end Maxx Crosby were two of the investors.
According to a source involved in the deal, who would like to remain anonymous to protect working relationships, there is a belief the takeover will be completed in early 2025. While the source suggests it has taken longer than expected to reach this point after an unnamed investor dropped out, The Athletic has been told separately that an unnamed investor’s application was rejected by the EFL. This led to the buying group trying to source a replacement. The EFL declined to comment.
Tacopina has been involved in Italian football for a decade, with mixed success. He knows Tranmere is not a sexy name but neither was Wrexham before they were taken over by the Hollywood actors Ryan Reynolds and Rob McElhenney in 2021. While Tranmere has a fight this season to retain its Football League status, Tacopina would be taking on a club that more or less breaks even.
Palios is naturally cautious. For years, he’s wanted to find a minority partner but interested parties have tended to find there isn’t much up-side for such investment. Palios has since been able to convince Tacopina that Tranmere has significant potential with a full takeover, that the club has geography on its side and could become the region’s third wheel.
Joe Tacopina, sat next to former U.S. President Donald Trump, wants to buy Tranmere (Andrew Kelly-Pool/Getty Images)
More than 500,000 people live on the Wirral but the majority cannot get tickets for Liverpool or Everton. There is an interest in Tranmere but many Wirral residents are only would-be fans. That would surely change with an upwardly mobile team, as Tranmere were in the 1990s when it tried to reach the top flight and a packed Prenton Park witnessed a series of exciting cup runs.
Tranmere is worth around £20million in assets. Even if the club reached the Championship, the gateway to the Premier League, the value would increase significantly, potentially leaving Tacopina with a profit if he decided to sell. Importantly, the stadium is owned by the club and Tacopina would be inheriting that. Tacopina takes confidence from the stories of clubs like Bournemouth and Brentford, who are now established in the Premier League despite playing in similar-sized stadiums to Prenton Park (Bournemouth’s is actually considerably smaller) and with little history of success at the top level.
Prenton Park, however, does not have the facilities to generate much revenue outside of matchdays. In the boom of the early 90s, the venue was rebuilt on three sides but that did not include the main stand, which remains a relic of corrugated iron and brick. Lorraine Rogers, the chairperson before Palios, suggested the stand was costing Tranmere £500,000 a year to maintain. In 2021, a League Two game with Stevenage was postponed after a part of the roof flew off during a storm.
Palios has explored other stadium options. From the Mersey, the West float slipway leads to Bidston, where a site has been discussed but diehard fans are not enthusiastic about a move three miles away which would take the club away from its roots and potentially position it next to a waste plant, and where there are few pubs and transport links are limited.
Last summer, Palios suggested the zone was ripe for redevelopment in an interview with Liverpool Business News. “I advise my children, if ever they invest in property, invest in the south bank of the river,” he said. “As sure as apples fall from trees, this place is going to get developed.”
Any relocation, however, would need assistance from Wirral Waters as well as a council that for a decade has carefully been trying to manage its budgets due to cuts from central government. At the start of December, the Liverpool Echo reported that the council will be asking the government for a £20million bailout to prevent it from having to declare bankruptcy.
Tranmere’s ground rises out of the streets in Birkenhead (Lewis Storey/Getty Images)
While it is generally accepted the Palios era is near an end and Tranmere needs to find a way to move forward, there is a wariness and some Tranmere supporters are questioning whether they want someone who has represented Trump in a rape trial running their club.
Matt Jones, the presenter of the Trip to the Moon podcast, speaks of “excitement, curiosity and fear”. Two years ago, he tracked down Bruce Osterman, Tranmere’s previous American owner (and the first in English football), to San Francisco.
Osterman told Jones that in 1984, he was able to complete a takeover because Tranmere were “days away from shutting its doors”. Yet Osterman was humble enough to admit that he was ill-prepared for the challenges that followed, despite investing £500,000 in cash. “I didn’t know what the hell I was doing,” he admitted. “I had no experience in this area. I was a trial lawyer… I had no understanding of the history, or where we were going.”
Osterman says that if he had his time again, he “would probably have paid more attention to the team’s relationship with the community”. Over the next three and a half years, Tranmere’s financial position became bleaker and he ended up selling the club at a loss to Palios’ predecessor Peter Johnson, the son of a butcher who became a millionaire businessman in the food industry.
Johnson ended up buying Everton where he was much less popular. His story is a reminder that it is not just American owners who move around clubs, as Friedkin has. Johnson grew up a Liverpool fan, an inconvenient factoid which put him on the back foot at Goodison, where he encountered suspicious minds and hardened attitudes.
Cynicism is deeply embedded among Everton fans, who might wonder how long it will take for their club to see the benefits of being at a new stadium and under new ownership.
Yet Friedkin’s arrival potentially draws a line under much of the uncertainty. Simon Hart, a journalist and author who has written extensively about the club, speaks about the last few years being battered by “existential concerns relating to the club’s future to the extent you are largely numb, hoping just to survive. The impression that Friedkin seems reasonably sensible and hasn’t destroyed Roma is something to grasp and be grateful for.
“At the moment, the thing that needs answering is whether Everton can go into the new stadium as a Premier League club that is secure. There is a sense that anything that keeps the club alive is acceptable.”
Excitement is not the right word but relief might be. Hart thinks Goodison is irreplaceable, a venue where the terraces hang over the pitch and some of the timberwork dates back to the Victorian era. It is as much a part of the club’s identity as the Liver Buildings are to Liverpool. A departure inspires mixed emotions that swirl around the freezing reality that Everton has not won a trophy of any kind since 1995.
As the years pass and the record extends, it becomes harder to escape. Hart describes Goodison as his “special place”, but it feels like “disappointment is soaked into every brick now”. He attended the 0-0 draw with Brentford in November when the visiting team were down to 10 men and it felt as though Goodison was weighed down by negative emotion.
Perhaps their new home allows the club to embrace a fresh start and, as he puts it, “allow Evertonians to look forward rather than back.”
(Top image: Getty Images/Design: Eamonn Dalton)
Culture
Historical Fiction Books That Illustrate the Bonds Between Mother and Child
We often think of the past as if it were another world — and in some ways, it is. The politics, religion and social customs of other eras can be vastly different from our own. But one thing historians and historical fiction writers alike often notice is the constancy of human emotion. The righteous anger of a customer complaining about a Mesopotamian copper merchant in 1750 B.C. feels familiar. Tributes to beloved household pets from ancient Romans and Egyptians make us smile. And we are captivated by stories of love, betrayal and sacrifice from Homer to Shakespeare and beyond.
In literature, letters, tablets and even on coins, we find overwhelming evidence that people in the past felt the same emotions we do. Love, hate, fear, grief, joy: These feelings were as much a part of their lives as they are of our own. And they resonate especially acutely in the bond between mother and child. Here are eight historical novels that explore the meaning of motherhood across the centuries.
Culture
How ‘The Sheep Detectives’ Brought its Ovine Sleuths to Life
Sometime in the 2000s, the producer Lindsay Doran asked her doctor for a book recommendation. “I’m reading that book everybody’s reading,” the doctor replied. “You know, the one about the shepherd who’s murdered and the sheep solve the crime.”
Doran had not heard of the book, “Three Bags Full,” a best-selling novel by a German graduate student (“No one’s reading it,” she recalls responding, inaccurately), but she was struck by what sounded like an irresistible elevator pitch. “Everything came together for me in that one sentence,” she said. “The fact that it was sheep rather than some other animal felt so resonant.”
Doran spent years trying to extricate the book from a complicated rights situation, and years more turning it into a movie. The result, opening Friday, is “The Sheep Detectives,” which features Nicholas Braun and Emma Thompson as humans, and Julia Louis-Dreyfus, Patrick Stewart and others giving voice to C.G.I. sheep stirred from their customary ruminations by the death of their shepherd, George (Hugh Jackman).
The film, rated PG, is an Agatha Christie-lite mystery with eccentric suspects, a comically bumbling cop (Braun) and a passel of ovine investigators. It’s also a coming-of-age story about growing up and losing your innocence that might have a “Bambi”-like resonance for children. The movie’s sheep have a way of erasing unpleasant things from their minds — they believe, for instance, that instead of dying, they just turn into clouds — but learn that death is an inextricable part of life.
“In some ways, the most important character is Mopple, the sheep played by Chris O’Dowd,” the screenwriter, Craig Mazin, said in a video interview. “He has a defect — he does not know how to forget — and he’s been carrying his memories all alone.”
“Three Bags Full” is an adult novel that includes grown-up themes like drugs and suicide. In adapting it for a younger audience, Mazin toned down its darker elements, changed its ending, and — for help in writing about death — consulted a book by Fred Rogers, TV’s Mister Rogers, about how to talk to children about difficult subjects.
The journey from book to film has been long and circuitous. “Three Bags Full” was written by Leonie Swann, then a 20-something German doctoral student studying English literature. Distracting herself from her unwritten dissertation, on the topic of “the animal point of view in fiction,” she began a short story “playing around with the idea of sheep detectives,” she said. “And I realized it was more like a novel, and it wasn’t the worst novel I’d ever seen.”
Why sheep? “I wasn’t someone who was thinking about sheep all the time,” Swann, who lives in the English countryside and has a dog named Ezra Hound, said in a video interview. Yet they have always hovered on the periphery of her life.
There was a friendly sheep that she used to see on her way to school. There was an irate ram that once chased her through the streets of a Bavarian village. And there were thousands and thousands of sheep in the fields of Ireland, where she lived for a time. “There were so many of them, and you could tell there was a lot of personality behind them,” she said.
A book in which sheep are stirred to action had to be a mystery, she said, to motivate the main characters. “In a lot of other stories, you would have trouble making a sheep realize there’s a story there,” she said. “They would just keep grazing. But murder is an existential problem that speaks to sheep as well as humans.”
Swann (the name is a pseudonym; she has never publicly disclosed her real name) found a literary agent, Astrid Poppenhusen, who brought her manuscript to market. Published in 2005, the book was translated into 30 languages and ended up spending three and a half years on German best-seller lists. (The German title is “Glennkill,” after the village in which it takes place.) Other novels followed, including a sheep-centric sequel, “Big Bad Wool,” but Swann never finished her dissertation.
Doran, the producer, read the book — now published in the United States by Soho Press, along with four other Swann novels — soon after hearing about it. She was determined to make it into a movie. Whenever she told anyone about the idea, she said, she had them at “sheep.”
The director, Kyle Balda (whose credits include “Minions”), was so excited when he first read the script, in 2022, that “I immediately drove out to a sheep farm” near his house in Oregon, he said in a video interview. “Very instantly I could see the behavior of the sheep, their different personalities. I learned very quickly that there are more varieties of sheep than dogs.”
How to make the sheep look realistic, and how to strike the proper balance between their inherent sheep-iness and their human-esque emotions were important questions the filmmakers grappled with.
It was essential that “the sheep in this world are sheep” rather than humans in sheep’s clothing, Balda said. “It’s not the kind of story where they are partnered with humans and talking to each other.”
That means that like real sheep, the movie sheep have short attention spans. They’re afraid to cross the road. “They don’t drive cars; they don’t wear pants; they’re not joke characters saying things like, ‘This grass would taste better with a little ranch dressing,’” Doran said.
And whenever they speak, their words register to humans as bleating, the way the adult speech in “Peanuts” cartoons sounds like trombone-y gibberish to Charlie Brown and his friends.
Lily, the leader of the flock, is played by Julia Louis-Dreyfus. It is not her first time voicing an animal in a movie: She has played, among other creatures, an ant in “A Bug’s Life” and a horse in “Animal Farm.” “When I read the script, I thought, ‘Wow, this is so weird,’” she said in a video interview. “It’s not derivative of anything else.”
Lily is unquestionably not a person; among other things, like a real sheep, she has a relatively immobile face set off by lively ears. “But her journey is a human journey where she realizes certain things about life she didn’t understand,” Louis-Dreyfus said. “There’s also the question of being a leader, and how to do that when you’re questioning your own point of view.”
Nicholas Braun took easily to the role of Officer Tim, the inept constable charged with solving the shepherd’s murder.
“The part was a little Greg-adjacent in the beginning, and I don’t really want to play too many Gregs,” Braun said via video, referring to Cousin Greg, his hapless punching bag of a character in the TV drama “Succession.”
“I’m post-Greg,” he said.
It takes Officer Tim some time to notice that the neighborhood sheep might be actively helping him tackle the case. But Braun said that unlike Greg, who is stuck in perpetual ineptitude, Tim gets to grow into a braver and more assertive person, a take-charge romantic hero — much the way the sheep are forced into action from their default position of “just forgetting about it and moving on and going back to eating grass,” he said.
Braun mused for a bit about other potential animal detectives — horses, say, or cows — but concluded that the sheep in the film were just right for the job. He predicted that the movie would change people’s perception of sheep, much the way “Toy Story” made them “look at their toys, or their kids’ toys, differently.”
“I don’t think people are going to be eating as much lamb after this,” he said.,
Culture
In Her New Memoir, Siri Hustvedt Captures Life With, And Without, Paul Auster
Siri Hustvedt was halfway through a new novel, about a writer tasked with completing his father’s unfinished manuscript, when her husband, the novelist Paul Auster, died from lung cancer.
Continuing that story in his absence felt impossible. They were together for 43 years, the length of her career. She’d never published a book without his reading a draft of it first.
Two weeks later, in the Brooklyn townhouse they shared, she sat down and wrote the first two sentences of a new book: “I am alive. My husband, Paul Auster, is dead.”
“It was the only thing I could write about,” she said.
She wrote about her feelings of dislocation: how she vividly smelled cigar smoke, even though Auster had quit smoking nine years before; how she woke up disoriented on his side of the bed and got into the bath with her socks still on; how she felt a kind of “cognitive splintering” that bordered on derangement. She had lost not only her husband, but also the person she had been with him. She felt faded and washed-out, like an overexposed photograph.
Those reflections grew into “Ghost Stories,” Hustvedt’s memoir about her life with and without Auster. Partly a book about grief and its psychological and physiological side effects, it’s also a revealing and intimate glimpse into a literary marriage — the buoyant moments of their early courtship, their deep involvement in each other’s work, their inside jokes (“I’ll have the lamb for two for one”).
She also writes publicly for the first time about the tragedies the family endured several years ago, when Auster’s son, Daniel, who struggled with addiction, took heroin while his infant daughter Ruby was in his care, and woke up to find she wasn’t breathing. He was later charged with criminally negligent homicide, after an examination found that her death was caused by acute intoxication from opioids. Soon after he was released on bail, Daniel, 44, died of a drug overdose.
A few months later, Auster started to come down with fevers, and doctors later discovered he had cancer. He reacted to the news as perhaps only a novelist would — lamenting that dying from cancer would be such an obvious, unsatisfying ending to a life marked by so much tragedy.
“He said so many times, it would make for a bad story,” Hustvedt said. “It was so predetermined, almost, and he hated predictable stories.”
Tall and lanky with short blond hair, Hustvedt, who is 71, met me on an April afternoon at the elegant, art and book-filled townhouse in Park Slope where the couple lived for 30 years. She took me to the sunlit second floor library, where Auster spent his final days, surrounded by his family and books. “He loved this room,” Hustvedt said.
“I’ll show you his now quiet typewriter,” she said, leading me down to Auster’s office on the ground floor, which felt as tranquil and carefully preserved as a shrine. A desk held a small travel typewriter, an Olivetti, and next to it, his larger Olympia. “Click clack, it really made noise,” Hustvedt said.
Auster rose to fame in the 1980s thanks to postmodern novels like “City of Glass” and “Moon Palace,” which explore the mysteries and unreliability of memory and perception. Hustvedt gained renown for heady and cerebral literary novels that include “The Blazing World,” “What I Loved” and “The Summer Without Men.”
They were each other’s first readers, sharpest editors and biggest fans. They even shared characters — Auster borrowed Iris Vegan, the heroine of Hustvedt’s 1992 novel “The Blindfold,” and extended her story in his novel “Leviathan,” published the same year. (Critics and readers assumed she had used his character, not the other way around.)
“We were very different writers and always were, and that was part of the pleasure in the other’s work,” Hustvedt said.
Friends of the couple who have read “Ghost Stories” said they were moved by Hustvedt’s loving but not hagiographic portrait of her husband.
Salman Rushdie, who visited Auster just a few days before he died, said Hustvedt’s vivid portrayal of Auster — who was witty, warm and expansive, always ready with a joke — captured a side of him that was rarely reflected in his public image as a celebrated literary figure.
“He’s very present on the page,” Rushdie said. “They were so tightly knit, and Paul was Siri’s greatest champion. They were deeply engaged in each other’s work.”
Hustvedt was 26, a budding writer who had just published a poem in the Paris Review, when she met Auster, 34, after a reading at the 92nd Street Y. He was wearing a black leather jacket, smoking, and she was instantly smitten.
They went downtown to a party, then to a bar in Tribeca, and talked all night. He was married to the writer Lydia Davis, but they had separated. He showed her a photo of his and Davis’s 3-year-old son, Daniel. They kissed as she was about to get into a taxi, and he went home with her to her apartment on 109th Street.
Shortly after they began seeing each other, Auster broke it off and told her that he had to return to his wife and son. She won him back with ardent, unabashed love letters that she quotes in “Ghost Stories”: “I love you. I’m not leaving yet, not until I am banished.”
In 1982, a few days after Auster’s divorce, they got married. They were so broke that guests had to pay for their own dinners.
Their writing careers evolved in parallel, but Auster’s fame eclipsed Hustvedt’s. She often found herself belittled by interviewers who asked her what it was like to be married to a literary genius, and whether her husband wrote her books.
“People used to ask me what my favorite book of Paul’s was; no one would ever ask him that,” Hustvedt recalled.
When Hustvedt complained about the disparity, Auster joked that the next time a journalist asked what it was like to be married to him, she should brag about his skills as a lover.
The slights persisted even after Hustvedt had established herself as a formidable literary talent. “One imagines that will go away, but it didn’t,” she said. She’s sometimes felt reduced to “Paul Auster’s wife” even after his death: At a recent reading, a fan of his work asked if she took comfort in reading his books in his absence, as if the real loss was the death of the literary eminence, not the man she loved.
She felt the weight of his reputation acutely when Auster died, and news of his death spread online just moments after he stopped breathing, before the family had time to tell people close to him.
The shadow Auster’s fame cast over the family became especially pronounced when scandal and tragedy struck.
In “Ghost Stories,” Hustvedt details a side of Auster’s personal life that he closely guarded: his relationship with Daniel, whose drug use and shiftiness was a constant source of worry. As a teenager, he stole more than $13,000 from her bank account, her German royalties. In 2000, Auster and Hustvedt learned that Daniel had forged his transcripts from SUNY Purchase after he had promised to re-enroll; he hadn’t, and kept the tuition money.
After each breach of trust, she and Auster forgave him.
“I have to leave the door open, just a crack,” Paul said about Daniel, Hustvedt recalls in “Ghost Stories.”
She writes about rushing to the hospital in Park Slope, where Daniel’s daughter was pronounced dead: “It’s the image of her small, perfect dead body in the hospital on Nov. 1, 2021, that forces itself on me.”
The shock of Ruby’s death, followed by Daniel’s arrest and overdose, was made even more unbearable by the media frenzy. Auster and Hustvedt were hounded by reporters, and made no comment.
“We were not in a position to speak about it when it happened, it was all so shocking and overwhelming and trying to deal with your feelings was more than enough,” Hustvedt told me.
But she felt she had to write about Daniel and Ruby in “Ghost Stories” because their lives and deaths were a crucial part of the family’s story, yet had been reduced to lurid tabloid fodder, she said.
“It would not have been possible to write this book and pretend that these horrible things didn’t happen,” she said. “I also didn’t want the horrible things to overwhelm the book, and that’s a tricky thing, because it’s so horrible, you feel it has to be there, but it isn’t the whole story.”
Before he died, Auster told Hustvedt he wanted that story to be told.
“I didn’t feel that I was betraying him,” she said.
Auster and Hustvedt’s daughter, Sophie Auster, a musician who lives in Brooklyn, said reading her mother’s memoir was painful, but she also felt her father’s voice and presence in its pages.
“Opening the book was extremely difficult for me, but you just sink in,” she said. “She doesn’t let you sit in the sorrow for too long. There’s a lot of life and a lot of joy.”
Hustvedt found it strange to write “Ghost Stories” without sharing drafts with Auster, her habit throughout her career. But often, his voice popped into her head.
“I kind of heard him in my ear, saying things like, ‘That’s a wavy sentence, straighten that thing out,’” she said.
After finishing the memoir, Hustvedt went back to the novel she’d been working on when Auster died. She realized she had to rewrite the first half entirely.
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