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Tommy Hilfiger and F1: How a lifelong fan became its disruptive fashion pioneer

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Tommy Hilfiger and F1: How a lifelong fan became its disruptive fashion pioneer

AMSTERDAM — It was mid-afternoon on a Wednesday, but the halls buzzed within Tommy Hilfiger’s headquarters. Hardly anyone working in person was at their desks unless absolutely necessary. Instead, employees crowded into the Bel Bar inside the Hudson Building, standing room flowing out into the halls and snaking around corners. All in hopes of catching a glimpse of Lewis Hamilton and George Russell.

The Mercedes Formula One drivers are used to the fanfare, the iPhones popping up in the air and the thunderous applause. Only this time, the cheers for two F1 stars come from employees of one of the world’s leading fashion companies, whose founder has spent most of his life tied to their sport.

The Mercedes duo often wear ‘normal’ clothes around the paddock, sometimes sporting Tommy Hilfiger designs. Russell’s outfits usually reflect that of old money, choosing basics to mix and match, while Hamilton will choose bolder garments or pieces from collections. Their outfits that Wednesday were more classic and Tommy Hilfiger-forward.

Fashion and motorsports are influential global industries, but the driver wardrobes when trackside rarely extended beyond the standard F1 team kits until recent seasons.

“F1 is a sexy sport, and the two worlds have a lot in common,” Hamilton said during the panel at Tommy Hilfiger’s Amsterdam headquarters ahead of the Dutch GP weekend. “But for some reason, for a long time, particularly when I got into the sport, no one was into fashion. You couldn’t see it anywhere. People were just wearing mismatched stuff all the time.”

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That has begun to change. While Hamilton has long used fashion for self-expression, Russell is newer to the game. It’s the latest example of the convergence of F1 and fashion that allows drivers to express themselves in ways other athletes have done for years across other sports, like the NBA, NHL and soccer.

F1 and fashion have been associated for years, and Tommy Hilfiger — the well-known American designer who created the preppy fashion brand — has been a mainstay across different chapters as the industries drew closer. The New York native went from sneaking into races and going bankrupt to now being the clothing sponsor for Mercedes, an official partner of F1 Academy and sponsoring the upcoming F1 movie.

“I was always putting groundbreaking at the top of the list, and I wanted to be disruptive,” Hilfiger told The Athletic. “I wanted to think out of the box, and I wanted to be the first to do certain things because I’d rather be a leader than a follower — always.”


At around 12 years old, Hilfiger built his own go-karts, converting either four-wheeled carts people would use to carry their groceries or baby carriages. A friend of his had a proper go-kart, motor and all, and while Hilfiger dreamed of one day owning his own, his family did not have the financial means.

“I became creative and decided to figure out a way to build something that would look like a go-kart and give me the thrill of going down a hill,” Hilfiger recalled, “or having one of my friends push it from the back or having one of my younger brothers push it from the back.”

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His love grew into an obsession during his teenage years. Born and raised in Elmira, New York, Hilfiger was just a 30-minute drive from Watkins Glen, the home of the U.S. Grand Prix from 1961 until 1980. It was the only track F1 raced at during his teenage years.

“My friends and I would go and sneak into the races because we certainly couldn’t afford tickets, but the excitement and the energy was addicting,” Hilfiger said. “Over the years, we became attracted to a lot of the teams. I was really a John Player Special fan.”

That livery is one of Lotus’ most iconic from its F1 tenure, the gold and black color scheme entering the scene in 1972 and staying for 16 years. And Team Lotus was a powerhouse constructor in the 1960s and 70s, winning eight titles.


A young Tommy Hilfiger was taken with Team Lotus’ John Player Special liveries. (Getty Images)

“I loved the logo on the car, I loved the uniforms, and I loved the fact that they were also a winning team,” Hilfiger said. But his passion remained that of a fan for a number of years as he began pursuing his fashion career. He started practically from scratch — 20 pairs of jeans and $150.

Hilfiger’s love for fashion was inspired by musicians from the 1970s and their clothing. At 18, he opened People’s Place in Elmira, but it filed for bankruptcy when Hilfiger was in his 20s. He began studying the business and commerce side of the fashion industry and eventually moved in 1979 to New York City. Hilfiger remained focused on becoming a full-time designer, and a businessman named Mohan Murjani invested in the New York native so Hilfiger could launch his brand.

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Tommy Hilfiger, the preppy fashion brand, was born in 1985, and Hilfiger became an industry pioneer, particularly during the 1990s. The idea of “F.A.M.E.” (which stands for fashion, art, music and entertainment) constantly inspired him. “Pop culture moves the needle of society,” he told The New York Times. Hilfiger was one of the first fashion designers to merge celebrity and pop culture with fashion, such as how he sponsored tours for Britney Spears and The Rolling Stones. And then there was F1.

Silas Chou and Lawrence Stroll entered the picture in 1989 when their company acquired Tommy Hilfiger. The brand had been trying to break into women’s apparel but decided to keep the focus on menswear, which is where the brand started. Stroll, who many F1 fans know as the current executive chairman of Aston Martin’s F1 team, built much of his fortune in the fashion industry. His father, Leo Strulovitch, brought Ralph Lauren and Pierre Cardin to Canada, and Stroll later helped Ralph Lauren move to Europe.

It was Stroll who helped bring Tommy Hilfiger to F1, telling the fashion designer about an opportunity to sponsor Team Lotus. They jumped at the chance. Starting in 1991, the familiar red, white and blue and the Tommy Hilfiger flag adorned Lotus’ F1 cars and uniforms alongside the team’s colors and other sponsors.

“We did all the uniforms and started going to the races all over the world. And it was, again, sort of addicting. And the energy and the noise and the excitement was so phenomenal,” Hilfiger said. “We thought, ‘Okay, we’re the only fashion brand in this arena, and we should be able to do the clothing, not only for the team, but also be able to sell the clothing.’

“So we started selling the clothing in our shops.”

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Hilfiger brought a modern touch to motorsports, blending functionality and style.

In the summer of 1994, a motorsports-inspired capsule collection and advertising campaign hit the market, merging Hilfiger’s love for motorsports and Team Lotus’ colors. Bright yellows, greens and red marked the collection and reflected the two worlds. His approach was to design “sportier-looking clothes” that were “authentically built.”


Hilfiger called the Ferrari opportunity “a dream come true.” (Clive Mason/Allsport)

The sponsorship with Team Lotus ended in 1994. However, Hilfiger didn’t fully leave motorsports. A few years later, Stroll and Hilfiger flew to Modena, Italy, to discuss becoming a Ferrari sponsor and kit provider. The opportunity, Hilfiger said, was “a dream come true.”

“We met with the whole Ferrari team, and it was one of the most exciting moments of my career,” Hilfiger said, “because I thought it would not only elevate the brand but to be part of such a historic brand was something that was actually beyond my dreams.”

Tommy Hilfiger became Ferrari’s clothing sponsor in 1998, designing the F1 team’s driver uniforms and team kits. Inspiration was drawn from the car’s elements, such as the chrome rims and carbon fiber, and performance-focused fabrics were used.

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During the four-year sponsorship, Tommy Hilfiger also designed custom clothing for Ferrari Challenge Series A and two global fan collections. The partnership ended in 2002, but the items are considered collectors’ items nowadays.

“We always like to do something special and unique, and at that moment in time, well, even from the Lotus days, what we were designing was very special and unique, and now it’s going to a whole new level because of the availability of technical fabrics that are also sustainable.”

Beyond the world of F1, Hilfiger’s brand had increased exposure throughout the 1990s and early 2000s through sponsoring music events and becoming popular in both the hip-hop and preppy worlds. At one point, R&B star Aaliyah became one of Tommy Hilfiger’s brand ambassadors.

Hamilton remembers watching her on television, sporting its clothing. The Mercedes driver says he’s “always loved fashion.” During childhood, he remembers “being very heavily influenced by music,” always turning on MTV once he got home.

“I remember just always watching and loving the colors. I remember watching videos of David Bowie and the different styles and how he presented himself,” Hamilton said to The Athletic. “And I remember feeling, through my school journey, I went to a school where you had to wear the same uniform everyone wore, and I felt so alien because it’s like, this is not me.”

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Lewis Hamilton says he’s “always loved fashion.” (Kym Illman/Getty Images)

So Hamilton “was always then exploring how I could express myself a bit more.” He did not grow up with a lot of money, and he’d go to secondhand stores. He remembers stumbling across clothing like he saw on television, such as Tommy Hilfiger. That’s where he bought his first pieces of clothing from the brand. At the time, he never imagined that one day he’d meet Hilfiger, let alone work with the American designer.


In the early days of his career, Hamilton recalls attending a fashion show for a sponsor, which further sparked his interest in fashion. He later visited the factory, where he “got to learn a little bit about what they did in the background, but still just scratching the surface.” However, the real turning point, when Hamilton went from being interested in fashion to wanting to be involved in the world, came when he attended what he calls “a proper fashion week.”

“I got to see one of the big shows and watched the designer come out at the end, and I just found it a real buzz,” Hamilton said to The Athletic, adding how “the world that I’d been in, from school, from karting and all racing, there was no fashion at all — not even an ounce of it.” He felt like he “didn’t fit in.”

“I was the only black kid in this space, and it was really an uncomfortable kind of space for a long time,” he continued. “And I go to a fashion show, and there’s just people from all different walks of life, all expressing themselves differently. And so then, when I came and expressed myself in the way I wanted to, as I was discovering, I just felt like there was no judgment. It’s like I fit in this space.”

Hamilton attended the Met Gala for the first time in 2015 and has been a frequent attendee since. And it was one year at the world’s most prestigious fashion event that the F1 star met Hilfiger, who hadn’t been a sponsor in the F1 world since the Ferrari deal ended in 2002. Hamilton remembers Hilfiger saying he loved his outfit.

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“I was like, ‘This is Tommy Hilfiger, and he’s complimenting me,’” Hamilton said. “At the time, I never thought I’d get to go to the Met Gala firstly, and then to have someone like him being so positive about my appearance, it really was firstly, one, a confidence boost and that’s how he is.”

Hilfiger remembers the moment as well. “I told him how I loved motorsports and F1 and that I would love to eventually get back into it.”


Lewis Hamilton has been a Tommy Hilfiger ambassador since 2018. (Photos via Tommy Hilfiger and Getty Images)

The conversations continued beyond the Met Gala, Hilfiger telling Hamilton they should work together. The F1 driver jokingly told The Athletic that he wasn’t sure if Hilfiger “wanted me to come and bring him coffee.” Hilfiger had bigger ideas — “collab and co-design a collection together, but he thought I was kidding. He didn’t think I was serious. And then I saw him again, and we talked again about it, and then we just decided to go for it and do it.”

In spring 2018, Hamilton was named a global ambassador for Tommy Hilfiger, and the same year, the brand became the clothing sponsor for Mercedes’ F1 team. Over the years, Hamilton got to work closely with Hilfiger and the team, learning more about the fashion industry. “I remember doing stylings and design work here with the team,” he said. “It was really like an internship for me that I didn’t get to do when I went to school.”

The two have done five collections over the years, all with a strong influence from the now-seven-time world champion, who has leaned on Hilfiger’s expertise and asked many questions.

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“Lewis has a very distinct point of view, and he didn’t want anyone else to design it. He wanted to do it, and he didn’t want anyone else to pick the colors. He wanted to,” Hilfiger said. “So we surrounded him with a team of our design experts, and he basically led the way, and we wanted him to bring his point of view because we think he’s got great taste and certainly a cool factor that is very special and unusual.”

Together, Hilfiger, Hamilton and Mercedes began paving the way for more fashion in motorsport. Not that it was easy.

“Honestly, to break this mold has been — it was such a challenge,” Hamilton said during the internal company panel. “The conversations I had to have. People wanted you to walk in just with team clothing from head to toe.”

George Russell chimed in: “Every day.”

“Every day, the same thing,” Hamilton continued. “There’s no way you can style it any different, apart from putting a jumper around your waist or something like that… Eventually, I just ended up doing it anyway. And, then afterwards, they’re like, ‘Oh, actually, this is working really well. Oh, can you do two looks? Three looks?’”

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“I didn’t realize the impact fashion can have on your own self-esteem,” Russell said during the panel at Tommy Hilfiger’s Amsterdam HQ. “I think if you look good, you feel good; if the clothes fit, if they work, it has such an impact for you psychologically, and that was the biggest lesson I learned from partnering with Tommy.”

He recalls walking into a store as a junior driver for Mercedes and being allowed to choose the clothing he wanted. But he had “no regard of what I was taking.”

“When I was wearing my clothes and I was sort of matching it together, I was like, ‘You know what, this looks pretty cool,’” Russell said to The Athletic. “And I never would have thought to myself, I would have bought this garment or whatever. But when you match it together with the right pieces, the right shoes, it really worked.”


“I didn’t realize the impact fashion can have on your own self-esteem,” Russell said. (Kym Illman/Getty Images)

People often determine their first impressions within seven seconds of meeting someone. And it’s likely simply from visual cues — how you dress, your stride and other body language. Russell listened to a podcast where the hosts discussed the topic and how first impressions are largely made before you speak.

“It sort of really made me think how true that is. The way you dress and the way you present yourself has such an impact on the way people portray you, and they have a perception of you before it’s even fair to do so,” Russell continued. “That’s why I started putting a lot more effort into the way I dress and take care of myself, because I knew the importance of it, and it made me feel good.”

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Russell’s spare room has essentially become a Tommy Hilfiger closet, continuing to expand over the years. The Briton admits he doesn’t “like to throw things away.” That being said, the Mercedes driver has given away garments to charity, and he knows he needs to determine what to do with his wardrobe.

The Briton discussed fashion and F1 with The Athletic while both parties visited Tommy Hilfiger’s headquarters in Amsterdam ahead of the Dutch GP. Sitting inside a conference room, Russell detailed how he wants to emulate a “timeless kind of look” by keeping basics in his closet and how he approaches re-wearing garments, such as owning several pairs of the white corduroys he wore that day.

It’s a stark contrast to the interviews he’d have with other sportswriters a day later when trackside for F1’s media day. A decade ago, this type of conversation likely wasn’t happening in F1. But the landscape is changing, and part of why they are taking place is thanks to Hamilton and Hilfiger.


The red, white and blue-clad car looks like a blur as it zips past spectators. But as it rolls to a stop, it’ll look familiar to nearly everyone watching.

Tommy Hilfiger’s motorsports presence expanded earlier this year when it became F1 Academy’s official partner, designing one of the five non-F1 team liveries on the all-women racing series’s grid. Hilfiger said, “I think it’s an incredible idea to have women racing, and Susie Wolff is proof in the pudding. She herself has had a great career, and with her involvement, we became very excited about it.”

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Considering the core pillars of the company and its commitment to diversity and inclusion, it doesn’t come as a complete surprise that Tommy Hilfiger joined the series that aims to provide a viable avenue for women to progress up the motorsports ladder.

“This sport, it’s disruptive in a way, when you look at women in sports, and we as a brand want to be disruptive, and that connects us with the female part of the sport,” said Lea Rytz Goldman, the global brand president for Tommy Hilfiger. “Always inspiring, always kind of pushing the boundaries, finding role models that can play a part in our community’s lives.”

Nerea Martí, who represents Tommy Hilfiger in F1 Academy this season, didn’t begin racing competitively until she was 13. Praga España Motorsport signed her two years later, in 2017, and her career took off. She joined F1 Academy’s grid in 2023, ending the year fourth in the standings.

Tommy Hilfiger came calling.

“She embodies the spirit of both the F1 Academy and our brand,” Hilfiger said in a written statement. “As a visionary with incredible grit, she never gave up. Even when others told her ‘no,’ she kept saying ‘yes’ and pushed forward, relentlessly pursuing her dream of becoming a driver until she achieved it.”

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While the presence of all 10 F1 teams on the F1 Academy grid this season is notable because of the resources and global platform, Tommy Hilfiger opens the door to a non-motorsports crowd as well, putting women in motorsport in the spotlight even though these drivers are still relatively early in their careers. F1 Academy falls at the lower end of the F1 pyramid, one of the early single-seater categories, and the drivers compete in a car similar to F4.

“Racing in the iconic red, white and blue colors of Tommy Hilfiger feels empowering,” Martí said. “The colors represent both the brand’s legacy and everything they stand for in the future.”


Hilfiger has always been a dreamer, from when he made a go-kart in the garage and “visualized the car in color, with an engine with big tires.” It has marked many different chapters of his career and brand.

“I think that I’ve dreamed a lot throughout my life,” Hilfiger said, “and I believe dreams do come true.”

His dreams have been part of industrial changes. As Russell said, “He’s a racer, he’s a visionist, and he’s a leader. He led the way with his bold ideas and the vision he had for his own brand.”

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As an athlete, Russell feels Hilfiger’s journey is relatable to sport. “You can never go through constant success, but with incredible hard work and great vision and belief in yourself, you can pull through those difficult times and come through to greatness again.”

Hilfiger believes that “timing is everything in life.” When looking back on his move to become clothing sponsors for different F1 teams, he feels it was an expected move. Given the glitz, glamour, and rise in celebrity status, fashion and F1 have long been associated, and the ties are growing closer with time.

“It was one of those moments in time when I think people didn’t know what they wanted until they saw it, but somewhere in the back of their minds, they might have wished for it.”


Between fashion runways and F1 Academy, Hilfiger remains close to his childhood racing passion. (Formula 1, Victor VIRGILE/Gamma-Rapho via Getty Images)

Other fashion brands and houses have flooded the F1 market over time, especially since the popularity boom after the COVID-19 pandemic, through sponsorships and selecting drivers as brand ambassadors, to name a few. The names range from H&M and Cherry to Dior and Prada. And it doesn’t appear that Tommy Hilfiger will leave any time soon, particularly within the F1 Academy space given how closely aligned the values are.

The intersection of F1 and fashion might seem well-paved, but Hilfiger feels “it hasn’t started yet. I think it is going to move forward in a very profound way momentarily.” When talking about the future of the industries, Rytz Goldman reckons “the Formula One aesthetic in all parts of it is a classic that will never run out of style, and also the inspiration around it. So I think it’s there to stay.”

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F1 as the next fashion runway? Hilfiger agrees. “I certainly would like to think of it as that.”

Top photo: Kym Illman, Beata Zawrzel, Pauline Ballet, Joe Portlock via Getty Images; Designs: Kelsea Petersen/The Athletic

Culture

6 Poems You Should Know by Heart

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6 Poems You Should Know by Heart

Literature

‘Prayer’ (1985) by Galway Kinnell

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Whatever happens. Whatever
what is is is what
I want. Only that. But that.

Galway Kinnell in 1970. Photo by LaVerne Harrell Clark, © 1970 Arizona Board of Regents. Courtesy of the University of Arizona Poetry Center

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“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”

“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”

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Lucille Clifton in 1995. Afro American Newspapers/Gado/Getty Images

“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”

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‘Sonnet 94’ (1609) by William Shakespeare

They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.

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“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”

“It trombones magnificent, unbearable sorrow,” says Seidel.

“It’s smartass and bitter and bright,” says Seidel.

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These interviews have been edited and condensed.

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Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil

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Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil

Literature

FRANCE

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According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).

Classic

‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)

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“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”

Contemporary

‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq

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“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”

JAPAN

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According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).

Classic

‘Man’yoshu’ (late eighth century)

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“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”

Contemporary

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‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata

“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”

INDIA

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According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).

Classic

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‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa

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“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”

Contemporary

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‘The Complex’ (2026) by Karan Mahajan

“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”

THE UNITED KINGDOM

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According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).

Classic

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‘Jane Eyre’ (1847) by Charlotte Brontë

“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”

Contemporary

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‘All That Man Is’ (2016) by David Szalay

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“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”

BRAZIL

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According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).

Classic

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‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis

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“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”

Contemporary

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‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron

“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”

These interviews have been edited and condensed.

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6 Myths That Endure

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6 Myths That Endure

Literature

The Myth of Meeting Oneself

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“This is evident in Virgil’s ‘Aeneid’ (circa 30-19 B.C.) when Aeneas witnesses his own heroic actions depicted in murals of the Trojan War in Juno’s temple, and again in Miguel de Cervantes’s ‘Don Quixote’ (1605-15) when Quixote enters a printer’s shop and finds a book that has been published with fake details about his quest even as he’s living it,” says Ben Okri, 67, the author of “The Famished Road” (1991) and “Madame Sosostris and the Festival for the Brokenhearted” (2025). “In both stories, individuals throw themselves into the world and think they encounter objects, personae, obstacles and antagonists, but what they actually encounter is themselves. In our time, where our actions meet us in the echo chamber of social media, the process is magnified and swifter. Now a deed doesn’t even have to take place for it to enter the realm of reality.”

The Myth of Utopia

“I’ve always had trouble with the idea of utopia, feeling it derives its energy more from what it wishes to dismantle than what it wishes to enact,” says the T writer at large Aatish Taseer, 45, the author of “Stranger to History: A Son’s Journey Through Islamic Lands” (2009). “Ram Rajya, or the mythical rule of the hero Ram in the Hindu epic ‘Ramayana’ (seventh century B.C.-third century A.D.), like all visions of perfection, contains a built-in violence.”

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The Myth of Invisibility

“Invisibility bears power and powerlessness at the same time,” says Okri. “In ancient cultures, it was a gift of the gods. Jesus, for example, walks unrecognized among his disciples, and in Greek myths, Scandinavian legends and ancient African tales, heroes are gifted invisibility in the form of cloaks, sandals or spells. Modern works like the two ‘Invisible Man’ novels, by H.G. Wells (1897) and Ralph Ellison (1952), and the ‘Harry Potter’ novels (1997-2007) by J.K. Rowling reach back to those ideas. But today, people talk about visibility as the highest form of social agency, while invisibility can render a whole class, race, caste or gender unseen.”

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The Myth of Steadiness vs. Speed

Charles Henry Bennett’s illustration “The Hare and the Tortoise” (1857). Alamy

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“‘The Tortoise and the Hare,’ one of Aesop’s fables (sixth century B.C.), doesn’t necessarily strike a younger person as promising — possibly it has a whiff of morality in it,” says Yiyun Li, 53, the author of “A Thousand Years of Good Prayers” (2005) and “Dear Friend, From My Life I Write to You in Your Life” (2017). “But the longer I live and work, the more I understand that it’s the tortoiseness in a person that carries one along, not the swiftness of the mind and body of the hare.”

The Myth of Magic

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William Etty’s “The Sirens and Ulysses” (1837). Bridgeman Images

“Ancient magical tales like Homer’s ‘Odyssey’ (late eighth to early seventh century B.C.) were allegories of transformation, of secret teachings,” says Okri, “whereas modern forms of magic are narrative devices and tropes of storytelling that continue the child’s wonder of life. I think of F. Scott Fitzgerald’s ‘The Great Gatsby’ (1925), Gabriel García Márquez’s ‘One Hundred Years of Solitude’ (1967) and, again, the ‘Harry Potter’ books. The intuition of magic persists even in these atheistic and science-infested times, where nothing is to be believed if it can’t be subjected to analysis. This is perhaps because the ultimate magic confronts us every day in the mystery of consciousness. That we can see anything is magical; that we experience love is magical; and perhaps the most magical thing of all is the imagination’s unending power to alter the contents and coordinates of reality. It hides tenaciously in the act of reading, which is the most generative act of magic.”

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The Myth of the Immortal Soul

“ ‘The soul is birthless and eternal, imperishable and timeless and is not destroyed when the body is destroyed,’ says Krishna in the ‘Bhagavad Gita’ (second century-first century B.C.). This belief in the immortality of the soul — what used to be called Pythagoreanism in ancient Greece — is still the most pervasive myth in India,” says Taseer, “and has more influence over behavior and how one lives one’s life than any other.”

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These interviews have been edited and condensed.

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