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Longtime New Yorker writer, editor Roger Angell has died

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Longtime New Yorker writer, editor Roger Angell has died

Roger Angell, a renown baseball author, has died at 101.

Brigitte Lacombe/Doubleday


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Roger Angell, a renown baseball author, has died at 101.

Brigitte Lacombe/Doubleday

Roger Angell, the celebrated baseball author and reigning man of letters who throughout an unfaltering 70-plus years helped outline The New Yorker’s urbane wit and elegance via his essays, humor items and enhancing, has died. He was 101.

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Angell died Friday of coronary heart failure, in keeping with The New Yorker.

“Nobody lives perpetually, however you would be forgiven for pondering that Roger had an excellent shot at it,” New Yorker Editor David Remnick wrote Friday. “Like the remainder of us, he suffered ache and loss and doubt, however he normally saved the blues at bay, at all times trying ahead; he saved writing, studying, memorizing new poems, forming new relationships.”

Inheritor to and upholder of The New Yorker’s earliest days, Angell was the son of founding fiction editor Katharine White and stepson of longtime workers author E.B. White. He was first printed within the journal in his 20s, throughout World Battle II, and was nonetheless contributing in his 90s, an improbably trim and youthful man who loved tennis and vodka martinis and regarded his life as “sheltered by privilege and engrossing work, and shot via with good luck.”

Angell properly lived as much as the requirements of his well-known household. He was a previous winner of the BBWAA Profession Excellence Award, previously the J. G. Taylor Spink Award, for meritorious contributions to baseball writing, an honor beforehand given to Crimson Smith, Ring Lardner and Damon Runyon amongst others. He was the primary winner of the prize who was not a member of the group that votes for it, the Baseball Writers’ Affiliation of America.

His enhancing alone was a lifetime achievement. Beginning within the Fifties, when he inherited his mom’s job (and workplace), writers he labored with included John Updike, Ann Beattie, Donald Barthelme and Bobbie Ann Mason, a few of whom endured quite a few rejections earlier than getting into the particular membership of New Yorker authors. Angell himself acknowledged, unhappily, that even his work did not at all times make the lower.

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“In contrast to his colleagues, he’s intensely aggressive,” Brendan Gill wrote of Angell in “Right here on the New Yorker,” a 1975 memoir. “Any problem, psychological or bodily, exhilarates him.”

Angell’s New Yorker writings had been compiled in a number of baseball books and in such publications as “The Stone Arbor and Different Tales” and “A Day within the Lifetime of Roger Angell,” a set of his humor items. He additionally edited “Nothing However You: Love Tales From The New Yorker” and for years wrote an annual Christmas poem for the journal. At age 93, he accomplished one among his most extremely praised essays, the deeply private “This Previous Man,” winner of a Nationwide Journal Award.

“I’ve endured a couple of knocks however missed worse,” he wrote. “The pains and insults are bearable. My dialog could also be filled with holes and pauses, however I’ve realized to dispatch a non-public Apache scout forward into the subsequent sentence, the one developing, to see if there are any vacant names or verbs within the panorama up there. If he sends again a warning, I will pause meaningfully, duh, till one thing else involves thoughts.”

Angell was married 3 times, most not too long ago to Margaret Moorman. He had three kids.

Angell was born in New York in 1920 to Katharine and Ernest Angell, an lawyer who grew to become head of the American Civil Liberties Union. The New Yorker was based 5 years later, with Katharine Angell as fiction editor and a younger wit named Andy White (as E.B. White was identified to his mates) contributing humor items.

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His dad and mom had been gifted and robust, apparently too sturdy. “What a wedding that will need to have been,” Roger Angell wrote in “Let Me End,” a ebook of essays printed in 2006, “full of intercourse and brilliance and psychic homicide, and imparting an enduring unease.” By 1929, his mom had married the gentler White and Angell would bear in mind weekend visits to the house of his mom and her new husband, a spot “filled with laughing, chain-smoking younger writers and artists from The New Yorker.”

In highschool, he was so absorbed in literature and the literary life that for Christmas one yr he requested for a ebook of A.E Housman’s poems, a high hat and a bottle of sherry. Stationed in Hawaii throughout World Battle II, Angell edited an Air Drive journal, and by 1944 had his first byline in The New Yorker. He was recognized as Cpl. Roger Angell, creator of the transient story “Three Women within the Morning,” and his first phrases to look within the journal had been “The midtown lodge restaurant was virtually empty at 11:30 within the morning,”

There have been no indicators, a minimum of open ones, of household rivalry. White inspired his stepson to write down for the journal and even advisable him to The New Yorker’s founder, Harold Ross, explaining that Angell “lacks sensible expertise however he has the products.” Angell, in the meantime, wrote lovingly of his stepfather. In a 2005 New Yorker essay, he famous that they had been shut for nearly 60 years and recalled that “the sense of residence and casual attachment” he received from White’s writings was “much more highly effective than it was for his different readers.”

Not everybody was charmed by Angell or by the White-Angell household connection at The New Yorker. Former workers author Renata Adler alleged that Angell “established an overt, superficially jocular state of struggle with the remainder of the journal.” Grumbling about nepotism was not unusual, and Tom Wolfe mocked his “cachet” at {a magazine} the place his mom and stepfather had been constitution members. “All of it locks, assured, into place,” Wolfe wrote.

In contrast to White, identified for the kids’s classics “Charlotte’s Net” and “Stuart Little,” Angell by no means wrote a serious novel. However he did take pleasure in a loyal following via his humor writing and his baseball essays, which positioned him within the pantheon with each skilled sports activities journalists and with Updike, James Thurber and different moonlighting literary writers. Like Updike, he did not alter his prose fashion for baseball, however demonstrated how properly the sport was fitted to a lifetime of the thoughts.

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“Baseball just isn’t life itself, though the resemblance retains developing,” Angell wrote in “La Vida,” a 1987 essay. “It is most likely a good suggestion to maintain the 2 sorted out, however previous followers, in the event that they’re something like me, can not help noticing how cunningly our sport replicates a bigger schedule, with its beguiling April optimism; the cheerful roughhouse of June; the grinding, severe, endless (certainly) enterprise of midsummer; the September settling of accounts … after which the abrupt running-down of autumn, after we want for — virtually demand — a chronic and glittering remaining journey simply earlier than the curtain.”

Angell started overlaying baseball within the early Nineteen Sixties, when The New Yorker was looking for to develop its readership. Over the next many years, he wrote definitive profiles of gamers starting from Corridor of Famer Bob Gibson to the fallen Pittsburgh Pirates star Steve Blass and had his say on the whole lot from the verbosity of supervisor Casey Stengel (“a strolling pantheon of evocations”) to the wonders of Derek Jeter (“imperturbably good”). He was born the yr earlier than the New York Yankees received their first World Sequence and his baseball recollections spanned from the prime of Babe Ruth to such twenty first century stars as Jeter, Mike Trout and Albert Pujols.

Whilst medicine and labor-management battles shared and even stole headlines, he thought the true story remained on the taking part in subject. Angell by no means had official credentials as a sportswriter: He was only a fan, a grateful onlooker, a former highschool pitcher who as soon as aspired to the massive leagues.

“In some unspecified time in the future in my higher 30s or early 40s, I used to be seeing a psychiatrist and I got here in with a dream,” Angell instructed The Related Press in a 1988 interview. “I dreamed that there have been some bushes and shrubbery, and there was a headstone with my title and my birthday on it and the yr I used to be in.

“I took this dream to my shrink with some trepidation and he requested how I felt and I stated I felt form of unhappy. He requested me what the headstone jogged my memory of and I stated it jogs my memory of these stones out in middle subject in Yankee Stadium.

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“Then I spotted it meant the tip of my baseball goals.”

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Dear Life Kit: My wife wants to use the last of our savings for a 4th round of IVF

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Dear Life Kit: My wife wants to use the last of our savings for a 4th round of IVF

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Have a question you want to ask Dear Life Kit anonymously? Share it here. For our next episode, we’re looking for your queries on crushes or drama in the workplace.

Dear Life Kit is NPR’s advice column, where experts answer tricky questions about relationships, social etiquette, work culture and more. 

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This question was answered by marriage and family therapist Moraya Seeger DeGeare. The conversation has been edited for length and clarity.

Dear Life Kit, 

My wife and I have tried and failed to have a child via in vitro fertilization three times, and we are now scraping the bottom of our savings. We’re both heartbroken. 

She wants to use the last of our savings to try one more time. But I want to move on and try to adopt a child. 

She focuses on how she may never have a child. She often cries or gets angry if someone plays a movie on TV with pregnancy or childbirth in the plot. Our daily conversations veer into crisis as our focus returns to babies. I don’t know how to help her. — Baby Blues 

Headshot of therapist Moraya Seeger DeGeare looking confidently at the camera, she wears a bright yellow sweater and there is a colorful abstract painting in the background.

Moraya Seeger DeGeare is a marriage and family therapist.

Photograph by Nick Di Giugno

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My heart truly goes out to both of you. I’ve worked with couples working through this, and there’s no right and wrong.

We’re looking at several questions: How do I support this person I love? Should we try IVF again? And how can I tend to my grief when my partner is weeping next to me?

The first thing to do is calm your bodies down. There is a lot of pain here. Come together as a couple to bring less stress to your life. Work out together, meditate, go to therapy.

Once you both get to a place of calm, have a conversation about your emotions regarding the decision to try IVF again. One partner may be driven by practicality or the fear of losing money. Another may be driven by the desire to experience pregnancy. You may find that you have the same fears, but are expressing your feelings very differently.

Ask yourself some hard questions. Is the clock ticking in terms of a potential pregnancy? If we spend the money on IVF, how are we going to recoup the savings? What fears does your partner have about fostering and adoption?

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Then talk about what a meaningful life looks like for the both of you. We often attach ourselves to what the future is going to look like. When we do that, we attach to so many factors outside our control, like having a baby. But there are some aspects of the future that you do have autonomy over, like financial stability and healthy relationships. How can you flourish and create a beautiful life together? Create a plan around that.

Don’t forget to allow yourself to grieve. It’s easier to hold onto hope for a pregnancy when we allow ourselves to accept the idea that it might not happen, but also say it’s OK to try.

This story was written by Malaka Gharib. It was edited by Beck Harlan and Andee Tagle. The visual editor is Beck Harlan.

We’d love to hear from you. Email us at LifeKit@npr.org. Listen to Life Kit on Apple Podcasts and Spotify, or sign up for our newsletter.

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Steelers Need To Formally Name Justin Fields Starting QB, Ryan Clark Says

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Steelers Need To Formally Name Justin Fields Starting QB, Ryan Clark Says

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Whatever you’ve heard about 'Megalopolis,' see this gutsy Coppola film for yourself

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Whatever you’ve heard about 'Megalopolis,' see this gutsy Coppola film for yourself

Nathalie Emmanuel and Adam Driver star as Julia and Cesar in Megalopolis.

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In the early 1980s, Francis Ford Coppola, with classics like The Godfather and Apocalypse Now under his belt, set his sights on his next magnum opus: an ambitious, fable-like drama that would draw parallels between the U.S. and ancient Rome.

But after the costly flop of his 1982 musical, One From the Heart, Coppola wasn’t able to get another big-budget labor of love off the ground, and Megalopolis languished for decades. It was only a few years ago that he returned to the project, selling off part of his wine business and putting up $120 million of his own money. Even after production wrapped, setbacks continued, from challenges finding theatrical distribution to reports that Coppola had behaved inappropriately with women on the set, which the director has denied.

Now, against considerable odds, Megalopolis has arrived, and whatever you have or haven’t heard about it, I urge you to see it for yourself. You might conclude, like some of the critics at this year’s Cannes Film Festival, that Megalopolis is an unholy mess, full of disjointed plot points, didactic ideas and muddled historical allusions — an epic folly from a once-great filmmaker who long ago lost his mojo and possibly his mind. To which I can only say that every folly should have as much guts and passion as Megalopolis. I’ve seen it twice now, and both times I’ve come away dazzled by its beauty, its conviction, and its moments of brilliance.

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The story takes place in a city called New Rome, which looks a lot like New York, but with Roman flourishes, from the classical architecture to the bacchanalian parties and even a Colosseum-style sports arena. The plot essentially updates a famous Roman power struggle from 63 B.C.

Adam Driver plays Cesar Catilina, an architect and designer who longs to transform New Rome into a dazzling futuristic utopia. But Cesar is challenged by the cynical mayor, Franklyn Cicero — that’s Giancarlo Esposito — who sees Cesar as a delusional dreamer. Furthering the conflict is Cicero’s daughter, Julia, a hard-partying medical-school dropout played by Nathalie Emmanuel, who asks Cesar for a job.

There’s a speechy stiffness to Coppola’s dialogue that takes some getting used to. But the story itself is a fairly straightforward mix of romance, sci-fi noir and political thriller. Cesar does hire Julia as an assistant, and they become lovers. But many complications ensue.

There’s the mystery of Cesar’s late wife, who died years ago under strange circumstances. There’s also much dysfunctional-family drama involving Cesar’s filthy-rich banker uncle, played by Jon Voight, and a ne’er-do-well cousin — that’s Shia LaBeouf. Both men have their own sinister designs on the city’s future. And in the borderline-cliché role of an unscrupulous TV reporter, Aubrey Plaza steals every scene, as Plaza usually does.

There’s more, much more: horse-drawn chariots and nightclub unicorns, Old Hollywood-style film techniques and kaleidoscopic visual effects, wild sex and startling violence. There are also references to Pygmalion, Marcus Aurelius, Sapphic poetry and Hamlet, whose “to be or not to be” soliloquy Cesar at one point performs. He’s in the throes of an existential crisis, fearful that humanity’s time may be running out.

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And if Megalopolis has one subject, it’s time. The characters talk about time constantly. The trippy production design is full of clocks and sundials. Cesar has the supernatural ability to briefly freeze time in its tracks, but even he cannot halt its forward march for long. Watching the movie, I couldn’t stop thinking about Coppola, who’s now 85, and his own battle with time, including the four decades he spent trying to get Megalopolis made.

But whatever resentment Coppola may feel toward an industry that has both honored and shunned him over the years, there isn’t a trace of bitterness in the movie. Cesar believes in the future, and so does Coppola. Just because Rome fell, he seems to say, doesn’t mean the world has to. Wars can end, the planet can be saved and people can choose to live in a more inclusive and equitable society.

Most of all, Coppola clearly believes in the future of movies, and that, in a medium overrun with franchises, streaming junk and AI technology, there’s still room for a big-screen work of art as grandly improbable and deeply human as Megalopolis. Like so many of Francis Ford Coppola’s movies, it truly is one from the heart.

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