By Howard AxelrodApple Sirs, I thank you for your appreciation of my lecture at the recent TED Dead conference: “Thinkers of Yesterday, Challenges of Today.” (Your company, as Mr. Jobs declared in his own lecture, truly has eyes and ears everywhere.) I must confess some of your letter eluded my understanding—for instance, the polite imperative: “Please drill down to deliverables.” Am I to understand that you view my ideas as buried underground, like a vein of gold or a healing spring?
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No one knows if Elena Ferrante is a tennis fan. No one knows much about her at all. The identity of the author of the wildly popular Neapolitan novels remains a useful mystery—useful because it reveals the poverty of our literary-critical apparatus: without the usual cues of biography and author appearances and interviews, critics have been tripping over themselves to place her work. Feminist. Post-ideological. Neo-neo-realist. They’re not wrong, exactly. But to understand Ferrante, it might help to be a tennis fan—or, at least, to be a fan of one particular match. Krickstein vs Connors, U.S. Open, 1991.
As a teenager, I didn't pay much attention to posted signs. I was a strange kid—both very confident and very lost. My façade, my own sign posted for the world, was a lie and I knew it. But I believed if I could just be patient enough, a kind of secret door would eventually open to a new land, one that looked more or less the same as the old—same streets, same school, same annoying older brother—but would include a sense of orientation, which meant a sense of the world with my place in it. So, what interested me was the other kind of sign. The kind that might offer a portent of my life to come, or an insight into the way things really were.