New York Review of Books
Sponsored by Liveright
Optimists and pessimists alike have anxiously begun to weigh the country’s prospects after the war is over.
What prompted the development of systems of writing?
Two recent books explore the complex pleasure we take in ruins and the rediscovery of long-forgotten objects.
A new book recounts the “psoriasis years” of figures from John Updike to Pablo Escobar.
In a new play based on Virginia Woolf’s Orlando, Emma Corrin plays a young aristocrat who swaps milieus, costumes, countries, and genders.
Free from the Archives
The Hungarian American historian István Deák died on Tuesday, aged ninety-six. Starting in 1981 he contributed dozens of essays to The New York Review, usually focused on fascism, World War II, and modern Europe, but he also wrote about Hungarian film and literature and, in our March 16, 1989, issue, the history of Budapest, “a place where aristocrats, burghers, and workers preferred the same food; where the finance aristocracy dreamed of buying country manors and estates; and where hundreds of industrialists, businessmen, lawyers, judges, and artists sought and obtained patents of nobility from Emperor-King Francis Joseph.”
“Budapest resembled Chicago, Detroit, and Cleveland, not only because of its miraculous rate of growth, but also because its labor force often spoke the same tongues as those toiling in the American Midwest. In fact, the road for many led from the Hungarian villages and hamlets to Budapest, from there to the American or Canadian Midwest, and then back again to Hungary, with money to buy a little land or to build a house.”