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Songs of Innocence, Experience and a Galaxy Far, Far Away

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Songs of Innocence, Experience and a Galaxy Far, Far Away

WILLIAM BLAKE VS. THE WORLD
By John Higgs

Simply as sure non secular believers privilege the cultivation of a private relationship with the divine, these of us with the chutzpah to name ourselves Blakeans typically make of the poet-artist-visionary a William Blake of our personal. One scholar I knew speculated that, like herself, the poet should have had excessive histamine ranges — and this would possibly assist to elucidate his extraordinary creativity. Yeats admired Blake a lot that he tried to say him for the Irish. The Blake who first fired me up was the political Blake, in whom I noticed a kinship with different, later thinkers I already admired. The telling-off I obtained in an undergraduate seminar nonetheless stings: If I may recover from my “junior Marxist coaching,” the instructor stated, I would truly come to know Blake’s poems.

That is John Higgs’s second guide in regards to the poet, following 2019’s manifesto, “William Blake Now: Why He Issues Extra Than Ever,” from which this undertaking was spawned. That the English writer, journalist and cultural historian has beforehand written about Timothy Leary, Robert Anton Wilson, the experimental, digital band the KLF and an entire host of each old- and newfangled strangeness provided some advance notion of who his Blake is perhaps. I used to be ready for the far-out, whoa-dude model of Blake. Thankfully, Higgs dismisses the concept that Blake “took psychedelic medication, and this was an evidence for his work,” however my expectations weren’t solely misdirected.

Higgs’s Blake just isn’t the tripped-out proto-hippie of some renderings, neither is he a Blake for everybody — though Higgs, regardless of his guide’s pugilistic title and his shut examination of most of the main quarrels in Blake’s life, typically presents a suspiciously conciliatory portrait of a poet who, he says, “accepts all sides.” A look at Blake’s annotations to Sir Joshua Reynolds’s discourses reveals how scathingly he may reject concepts he knew to be appalling; a fast studying of his damning poem “London” would do the job, too. Higgs’s Blake is, as a substitute, a Blake for anybody whose sensibilities harmonize with Higgs’s pursuits in neuroscience and quantum mechanics, “Star Wars” analogies, and discussions of Carl Jung and Eckhart Tolle.

The guide is organized alongside unconventional traces. Loosely chronological, additionally it is typically biographical (there may be a lot about Blake’s marriage). Essential figures in Blake’s life and thought, like Swedenborg, get appreciable consideration. And, ceaselessly, Higgs veers into lengthy philosophical and scientific larks.

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I repeatedly made recourse to the Blakean framework of “Innocence” and “Expertise” whereas studying and occupied with “William Blake vs. the World.” How others will obtain the guide could properly rely on the place they sit on the innocent-to-experienced continuum. To me, Higgs typically comes throughout as a bewilderingly harmless reader of Blake, his ear untuned to the poet’s frequencies of irony and humor and to the interpretive and emotional potentialities they lengthen. However Higgs’s writing is constantly clear and assured, even when he’s improper. Of Blake’s “Songs of Innocence,” he notes, “It’s fascinating that he selected to put in writing a set of songs for youngsters quite than for grownup gatherings.” As some students have famous, Blake by no means made this specific.

It’s not laborious to see why Higgs assumed that they had been written for youngsters. Within the introduction to “Songs of Innocence,” Blake describes the poems that observe as “comfortable songs / Each baby could pleasure to listen to,” however Higgs misses the ambiguities right here. Each baby (however not grownup) could (but additionally could not) get pleasure from the songs. Higgs writes that “Blake described a world of play and delight, infused with the message that religious beings had been watching over all youngsters, so they’d nothing to concern” — which will probably be information to the various readers who’ve perceived sinister undercurrents and intimations in these verses. (George Orwell, who tailored the title of his harrowing boarding-school essay “Such, Such Had been the Joys” from a line in “The Echoing Inexperienced,” clocked the irony.)

Higgs’s sunny tackle “Songs of Innocence” can even shock anybody who detects from the wood diction and reductive moralizing on the finish of the poem “The Chimney Sweeper” — So if all do their obligation, they needn’t concern hurt” — that one thing isn’t proper. However Higgs writes:

“The final line was in line with a normal theme in ‘Songs of Innocence,’ the concept that a loving paternal God would defend all who had been good. This was each naïve and unfaithful, as the truth of kid sweeps’ lives demonstrated. When Blake got here to put in writing a companion verse for ‘Songs of Expertise’ 5 years later, he had clearly realized his mistake.”

Blake made no mistake; he would have been conscious of the dismal actuality of the lives of the younger sweeps. The companion piece he wrote later is neither a mea culpa nor a correction; the poems are written from views that differ—or are, as Blake may need it, “contraries.”” At any stage, Blake would have questioned the traditional piety that “a loving paternal God would defend all who had been good.””

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All through, Higgs rightly and persuasively emphasizes the primacy and energy of the creativeness in Blake’s work — “I query not my Corporeal or Vegetative Eye any greater than I’d Query a Window regarding a Sight I look thro it & not with it” — which makes his insistently literal readings of lots of Blake’s writings perplexing. His evaluation of “The Proverbs of Hell” in “The Marriage of Heaven and Hell” reveals the identical resistance to irony seen in his readings of “Songs of Innocence.” Blake learn Milton deeply, if idiosyncratically, and gleaned from “Paradise Misplaced,” amongst different issues, that Devil can actually be a hoot. Blake “just isn’t saying that there isn’t any distinction between heaven and hell,” Higgs tells us, nor “is he arguing that they’re each as unhealthy as one another. He writes very clearly that: ‘Good is Heaven. Evil is Hell.’” Once more, the clipped diction — and blunt, declarative cheek — of these traces would possibly lead different readers to a different conclusion.

Higgs is extra convincing when writing about Blake’s knotty and paradoxical views on the pure world, and when he underscores the important, pervasive sexuality in Blake’s output. His personal undertaking is Blakean in not less than one respect: It’s the manufacturing of a busy and open thoughts. At instances, his protracted ruminations on sciences and philosophies took me farther from Blake quite than nearer to him, and his profusion of pop-culture pings (the Beatles, David Bowie, Pharrell Williams, Kanye West, even Billy Joel all present up) felt superfluous. (“Sufficient! or An excessive amount of,” goes the top of the “Proverbs of Hell.”)

At different instances, it was enjoyable to witness Higgs’s cogs turning, to listen to his ideas ricocheting towards the partitions of his inside archive of affinities, allusions and absorptions. His tone is measured, however Higgs doesn’t stop from psychological struggle in his earnest quest to grasp and clarify a thoughts that, he writes, is maybe “too huge a thoughts for us to ever correctly grasp.” Possibly that’s why, once I got here to the top of his guide, I felt I’d realized extra in regards to the thoughts of John Higgs than that of William Blake.

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The Books We’re Excited About in Early 2025

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The Books We’re Excited About in Early 2025

A new year means new books to look forward to, and 2025 already promises a bounty — from the first volume of Bill Gates’s memoirs to a new novel by the reigning Nobel laureate, Han Kang, to a biography of Rosemary Woodruff Leary, the wife and psychedelic collaborator of the counterculture pioneer Timothy Leary.

On this week’s episode, Gilbert Cruz and Joumana Khatib talk about some of the upcoming books they’re most anticipating over the next several months.

Books discussed:

“Stone Yard Devotional,” by Charlotte Wood

“Silence,” by Pico Iyer

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“Onyx Storm,” by Rebecca Yarros

“Gliff,” by Ali Smith

“The Dream Hotel,” by Laila Lalami

“The Colony,” by Annika Norlin

“We Do Not Part,” by Han Kang

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“Playworld,” by Adam Ross

“Death of the Author,” by Nnedi Okorafor

“The Acid Queen: The Psychedelic Life and Counterculture Rebellion of Rosemary Woodruff Leary,” by Susannah Cahalan

“Tilt,” by Emma Pattee

“Dream Count,” by Chimamanda Ngozi Adichie

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“Hope: The Autobiography,” by Pope Francis

“Jesus Wept: Seven Popes and the Battle for the Soul of the Catholic Church,” by Philip Shenon

“The Antidote,” by Karen Russell

“Source Code,” by Bill Gates

“Great Big Beautiful Life,” by Emily Henry

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“Sunrise on the Reaping,” by Suzanne Collins

We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to books@nytimes.com.

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Grand Slam prize money is enormous. The economics of tennis tournaments is complicated

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Grand Slam prize money is enormous. The economics of tennis tournaments is complicated

Four times a year, one of the biggest and most important tennis tournaments in the world sends out an announcement full of dollar signs and zeroes with the words “record prize money” scattered liberally.

The four Grand Slams, the first of which begins Sunday in Melbourne, are the high points of the tennis calendar. Players at the 2025 Australian Open will compete for $59million (£47m) this year — over $6.2m more than last year. In 2024, the four tournaments paid out over $250m between them, while their leaders spent the year aligning themselves with the players who make their events unmissable, whose gravity pulls in the broadcast deals and sponsorships, with their own dollar signs and zeroes.

Led by Australian Open chief Craig Tiley, the Grand Slams led the movement for a so-called premium tour which would pare down the overloaded tennis calendar and guarantee top players always being in the same events, let alone time zones. It would also lock swaths of the globe out of the worldwide spectacle that tennis represents.

The great irony is that despite the largesse and the cozy relationship, the players get a smaller cut of the money at the Grand Slams than they do in most of the rest of the rest of that hectic, endless season — and a fraction of what the best athletes in other sports collect from their events. The Australian Open’s prize pool amounts to about a 15-20 percent cut of the overall revenues of Tennis Australia, the organization that owns and stages the tournament, which accounts for nearly all of its annual revenue. The exact numbers at the French Open, Wimbledon and U.S. Open vary, but that essential split is roughly a constant. The 2023 U.S. Open had a prize pool of $65m against earned revenue from the tournament that came out at just over $514m, putting the cut at about 12 percent. The U.S. Open accounted for just under 90 percent of USTA revenues that year.

The explanations from the Grand Slams, which collectively generate over $1.5bn (£1.2bn) a year, run the gamut. They need to dedicate hundreds of millions of dollars each year to fund junior tennis development and other, less profitable tournaments in their respective nations — an obligation pro sports leagues don’t have. There is a constant need to upgrade their facilities, in the silent race for prestige and primacy of which the constant prize money one-upmanship is just one element.

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Aryna Sabalenka with her winner’s check at the 2024 U.S. Open. (Emaz / Corbis via Getty Images)

That dynamic is not lost on players — least of all Novak Djokovic, the top men’s player of the modern era and a co-founder of the five-year-old Professional Tennis Players Association (PTPA).

“I’m just going to state a fact,” Djokovic said during a post-match news conference in Brisbane last week.  “The pie split between the governing bodies in major sports, all major American sports, like NFL, NBA, baseball, NHL, is 50 percent. Maybe more, maybe less, but around 50 percent.

“Ours is way lower than that.”


Since 1968, the first year in which the four majors offered prize money as part of the Open Era’s embrace of professional tennis players, the purses have only grown. The 1968 French Open was the first to offer prize money, with Ken Rosewall earning just over $3,000 for beating Rod Laver in the final. The women’s singles champion, Nancy Richey, was still an amateur player, so could not claim her $1,000 prize. By 1973, lobbying from Billie Jean King helped convince the U.S. Open to make prize money equal for men and women through the draws; it took another 28 years for the Australian Open to do so year in, year out. Venus Williams’ intervention helped force the French Open and Wimbledon to follow suit in 2007.

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Fifty years after Rosewall’s triumph in Paris, the 2018 men’s champion Rafael Nadal took home $2.35million, an increase of over 73,000 percent. The year-on-year increases at each major are more modest, usually between 10 and 12 percent, but that percentage of tournament revenue remains steadfast, if not entirely immovable.

The Grand Slams argue that there are plenty of hungry mouths at their table, many more than just the 128 players that enter each singles draw each year.

Tennis Australia is a not-for-profit and a business model built on significant investment into delivering the event and promoting the sport to drive momentum on revenue and deliver consistently increasing prize money,” Darren Pearce, the organization’s chief spokesperson, said in a statement this week.

Money from the Australian Open also helps fund tournaments in Brisbane, Adelaide and Hobart, as well as the United Cup, the combined men’s and women’s event in Perth and Sydney. Pearce said the prize money increases outpace the revenue growth.

The Grand Slams also point to the millions of dollars they spend on player travel, housing, transportation and meals during tournaments, though team sport athletes receive those as well. Eloise Tyson, a spokesperson for the All England Lawn Tennis Club, which stages Wimbledon, noted that overall Grand Slam prize money had risen from $209million in 2022 to $254m last year, a 22 percent increase.

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“Alongside increasing our player compensation year-on-year, we continue to make significant investment into the facilities and services available for players and their teams at The Championships,” Tyson wrote in an email.

Officials with France’s tennis federation, the FFT, which owns the French Open, did not respond to a request for comment.

Brendan McIntyre, a spokesman for the United States Tennis Association, which owns the U.S. Open, released a statement this week touting the USTA’s pride in its leadership on player compensation, including offering equal prize money and the largest combined purse in tennis history at the 2024 US Open. A first-round exit earned $100,000, up 72 percent from 2019. Just making the qualifying draw was good for $25,000.

“As the national governing body for tennis in the U.S, we have a broader financial obligation to the sport as a whole,” the organization said.

“The USTA’s mission is to grow tennis at all levels, both in the U.S. and globally, and to make the sport accessible to all individuals in order to inspire healthier people and communities.”

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The infrastructure required to stage a Grand Slam tournament is vast — on and off the court. (Glen Davis / Getty Images)

None of the organizations outlined a specific formula for determining the amount of prize money they offered each year, which is roughly the same as a percentage of their parent organizations overall revenues. That may be a coincidence, though the Grand Slams also have the benefit of not facing any threat to their primacy.

The USTA’s statement gestures at how the structure of tennis contributes to this financial irony. In soccer, countries and cities bid to host the Champions League and World Cup finals; the Olympics changes every four years and even the Super Bowl in the NFL moves around the United States, with cities and franchises trying to one-up one another.

The four Grand Slams, though, are the four Grand Slams. There are good reasons for this beyond prestige: the infrastructure, both physical and learned, required to host a two- or three-week event at the scale of a major year in, year out is available to a vanishingly small number of tennis facilities around the world. There is no opportunity for another organization or event to bid to replace one of the Grand Slams by offering a richer purse or other amenities.

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This dynamic has been in place for years and has become more important in recent months. The PTPA has hired a group of antitrust lawyers to evaluate the structure of tennis. The lawyers are compiling a report on whether the the sport includes elements that are anti-competitive, preparing for a possible litigation with the potential to remake the sport.

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The ATP and WTA Tours, which sanction 250-, 500- and 1000-level events as well as the end-of-season Tour Finals, give players a larger share of revenue. There is some disagreement between players and officials over how much it is and the methods of accounting; some player estimates hover around 25 percent, while tour estimates can be in the range of 40 percent. Both remain short of the team equivalents in the United States.

On the ATP Tour, the nine 1000-level tournaments have a profit-sharing agreement that, in addition to prize money, gives players 50 percent of the profits under an agreed-upon accounting formula that sets aside certain revenues and subtracts certain costs, including investments the tournaments make in their facilities. The WTA does not have such an agreement. It outlines a complex prize money formula in its rule book with pages of exceptions, not based on a guaranteed share of overall tour revenues.

The tours have argued that because media rights payments constitute a lower percentage of revenues than at the Grand Slams, and because the costs of putting on tournaments are so high, a 50-50 revenue share would simply turn some tournaments into loss-making entities and make tennis unsustainable as a sport.

James Quinn, one of the antitrust lawyers hired by the PTPA, said he saw serious problems with the model, describing a structure that prevents competition from rival tournaments.

Some events outside the 52-week program of tournaments — which see players earn ranking points as well as money — have official status (the Laver Cup is sanctioned by the ATP). But the remainder, such as the Six Kings Slam in Riyadh, which debuted this year and offered record prize money of over $6million to the winner, are not sanctioned, for now providing only a peripheral form of competition to ruling bodies’ control of the sport.

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Jannik Sinner took home the money at the inaugural Six Kings Slam in Riyadh. (Richard Pelham / Getty Images)

The Grand Slams, ATP and WTA insist this is for the best. They see themselves as caretakers of global sport trying to bring some order where chaos might otherwise reign.

Djokovic doesn’t totally disagree. He understands tennis is different from the NBA. He’s led the Player Council at the ATP, which represents male professionals, and he has seen how the sausage gets made and how complicated it is with so many tournaments of all shapes and sizes in so many countries. At the end of the day, he still thinks players deserve more than a 20-percent cut, especially since the Grand Slams don’t make the kinds of contributions to player pension plans or end-of-the-year bonus pools that the ATP does, nor do they provide the year-round support of the WTA.

“It’s not easy to get everybody in the same room and say, ‘OK, let’s agree on a certain percentage,’” he said of the leaders of tournaments.

“We want more money, (but) they maybe don’t want to give us as much money when we talk about the prize money. There are so many different layers of the prize money that you have to look into. It’s not that simple.”

(Photos: Kelly Delfina / Getty Images, Steven / PA via Getty Images; design: Dan Goldfarb)

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6 New Books We Recommend This Week

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6 New Books We Recommend This Week

Our recommended books this week tilt heavily toward European culture and history, with a new history of the Vikings, a group biography of the Tudor queens’ ladies-in-waiting, a collection of letters from the Romanian-born French poet Paul Celan and a biography of the great German writer Johann Wolfgang von Goethe. We also recommend a fascinating true-crime memoir (written by the criminal in question) and, in fiction, Rebecca Kauffman’s warmhearted new novel about a complicated family. Happy reading. — Gregory Cowles

One of Europe’s most important postwar poets, Celan remains as intriguing as he is perplexing more than 50 years after his death. The autobiographical underpinnings of his work were beyond the reach of general readers until the 1990s, when the thousands of pages of Celan’s letters began to appear. The scholar Bertrand Badiou compiled the poet’s correspondence with his wife, the French graphic artist Gisèle Lestrange-Celan, and that collection is now available for the first time in English, translated by Jason Kavett.

NYRB Poets | Paperback, $28


Wilson’s biography of the German polymath Johann Wolfgang von Goethe (1749-1832) approaches its subject through his masterpiece and life’s work, the verse drama “Faust” — widely considered perhaps the single greatest work of German literature, stuffed to its limits with philosophical and earthy meditations on human existence.

Bloomsbury Continuum | $35

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Through a series of vignettes, Kauffman’s fifth novel centers on a woman determined to spend Christmas with her extended family, including her future grandchild and ex-husband, and swivels to take in the perspectives of each family member in turn.


People love the blood-soaked sagas that chronicle the deeds of Viking raiders. But Barraclough, a British historian and broadcaster, looks beyond those soap-opera stories to uncover lesser-known details of Old Norse civilization beginning in A.D. 750 or so.

Norton | $29


Fifteen years ago, Ferrell gained a dubious fame after The New York Observer identified her as the “hipster grifter” who had prowled the Brooklyn bar scene scamming unsuspecting men even as she was wanted in Utah on felony fraud charges. Now older, wiser and released from jail, Ferrell emerges in this captivating, sharp and very funny memoir to detail her path from internet notoriety to self-knowledge.

St. Martin’s | $29

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In her lively and vivid group biography of the women who served Henry VIII’s queens, Clarke, a British author and historian, finds a compelling side entrance into the Tudor industrial complex, showing that behind all the grandeur the royal court was human-size and small.

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