“Gay Gaels” who have enriched Ireland’s history and culture for the world

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From Behan and Brorick to Ridgway and Tóibín, gay fictn is marked by s diversy

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“GAY GAELS” WHO HAVE ENRICHED IRELAND’S HISTORY AND CULTURE FOR THE WORLD

1999 - The lear of the “moral majory” and founr of the anti-gay hate bastian Liberty Universaly the “Reverend” Jerry Falwell claims that the purple-lored Teletubby named Tky-Wk is gay * gay irish poet *

Ennis ntued, “This bi-lgual anthology of 25 young LGBTQ+ poets livg Ireland disprov the notn of the stereotypil ‘gay’ still the mds of many people, not least the ‘objectively disorred’ person of relig tholic fundamentalism.

In their own motley ways, the poets are ‘proud to be gay’, spe the fight some have to fight daily to fend their right to be gay, as dividuals, human begs and fully mted members of society wh equal rights due all areas of life. © 2021 GCN (Gay Communy News).

In recent years, Irish society has unrgone sweepg transformatns, cludg legalisatn of same-sex marriage and crimalisatn of homosexualy.

GAY HISTORY – FEBARY 9: IRISH POET BRENDAN BEHAN, ARCHIE BUNKER’S GAY BUDDY, AND JERRY FALWELL OUTS A TELETUBBY

It may e as a surprise to learn that late medieval/early morn Ireland a cult of male homosexualy/bisexualy was apparently not only prevalent but wily tolerated among the upper echelons of Gaelic society, particularly the lerati, but cludg also native kgs and chieftas.

TRACKG A HISTORY OF IMAGARY QUEER OR GAY MEN MORN IRISH LERATURE

Of implyg a homosexual relatnship wh his patron... From a psychologil standpot seems unlikely that a heterosexual male, even of poetic ste, would have posssed eher the abily or clatn to adopt the role of homosexual lover, or been pable of stag . The likelihood is that those givg exprsn to homoerotic sentiment were naturally so cled.

THE GAELIC FOR “GAY”

At the very least he mt have been plic – a monstratn, perhaps, of the power exercised by poets wh Gaelic Irish seems unlikely a heterosexual male, even of poetic ste, would have posssed eher the abily or clatn to adopt the role of homosexual lover, or been pable of stag Homoerotic sentiment apparently survived among the Gaelic Irish lerati until well to the 17th century.

We know, for stance, that the Kerry poet Piaras Feiréar (1600-1653) one of the greatt Irish language poets of his day, posed both homoerotic and heterosexual verse.

" While, as already noted, bed-sharg was regard as a privilege enjoyed by distguished followers as well as poets of kgs and chieftas, the nial by mentators that had any homosexual nnotatns is not nvcg.

GAY POET HIGHLIGHTS JOY AND STRA OF IRISH

We do know that William Ruf, son of the Norman De William, nqueror of England 1066, was very probably homosexual. The 17th-century Sttish kg, Jam V1, who beme Jam 1 of England, was also, apparently, predomantly homosexual, though what mark (if any) his proclivi left on English or Sttish rerds is not known to .

Elements of what may be homoerotic sentiment occurrg an early English translatn of this were apparently tected by the 19th-century English historian, Jam Anthony Frou and later, 1969, by the Oxford don and man of letters, AL Rowse, himself homosexual. The elements qutn rive om the Irish of Ó Conaill's origal Ireland, homoerotic sentiment survived among the Gaelic lerati until well to the 17th centuryIn Ireland, as already monstrated, homoerotic sentiment survived among the Gaelic lerati until well to the 17th century.

THE GAELIC FOR “GAY”

Thereafter Gaelic Irish reference to homosexualy (where occurs at all) be general pejorative.

*BEAR-MAGAZINE.COM* GAY IRISH POET

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class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">One eveng this fall, Pádraig Ó Tuama, an Irish poet who liv Belfast, entered a Bloomsbury bookshop several blocks om one of <a href=">Virgia Woolf</a>’s former hom. Ó Tuama, who is forty-seven and has a mop of disobedient burn curls, wore red leather sho and a belt wh a buckle that read “Praise the Lord.” He scend the bookshop’s stairs, passg by a rack offerg brief histori of barbarian hors and Roman legns, to s wdowls basement. He was there to celebrate the publitn of “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Poetry Unbound</a>,” a tenr llectn of his rmal personal says wrten rponse to works of ntemporary poetry, which will be published the Uned Stat this week. “Poetry is a lifeblood for so many people,” he told me. “You’re lookg for somethg on the page, and ’s lookg back at you. There’s a phenomenon occurrg there that has the qualy of mystery.”</p><p class="paywall">The llectn was born out of an eponymo podst that Ó Tuama hosts, which is n unr a pany created by “On Beg,” a podst about ntemporary spirualy. On Mondays and Fridays, for a dozen mut or so, Ó Tuama rec a favore poem, dippg his County Cork brogue, then riffs on s powers, a kd of personal medatn, and enurag listeners to reflect on their own terpretatns. He clos each segment by recg the poem a send time. Ó Tuama’s selectns span centuri and geographi, and celebrate the work of well-known livg poets, such as <a href=">Marilyn Nelson</a>, Zaffar Kunial, and <a href=">Joy Harjo</a>, as well as that of the ad: <a href=">Ey Dickson</a>, <a href=">Elizabeth Bishop</a>, and <a href=">Adam Zagajewski</a>, a Polish poet who died 2021. In the podst’s sixth and most recent season, he reads Zagajewski’s “Transformatn”:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>I’ve lived humbly, readg the paper<br/>ponrg the riddle of power<br/>and the reasons for obedience.</p></div></blockquote><p class="paywall">“He is a poet who tak rponsibily so serly,” Ó Tuama says, of Zagajewski. “Inially to the qutn of cizenship his life. And then, later on, to whether art n speak to power and what language n do for a people—and not jt their ternal life but their public life, too.” The qutns of poetry’s relatnship to our terr landspe and our public rponsibili preoccupy Ó Tuama. He began the podst January, 2020, hopg, at the time, that would garner as many as thirty thoand downloads. Now that number has surpassed ten ln, and “Poetry Unbound” has bee one of the most popular poetry programs recent history. Although Ó Tuama sometim pos qutns about moraly on the program, there’s nothg pulsory or donnish about his enavor. His primary form is an oral versn of the personal say, which, he told me, “seeks to move easily between analysis and storytellg and giv rears permissn to brg their own liv to nversatn wh the poem.” The poems he selects, and his timate medatns on them, are tend to offer pleasure. In one episo, he rells lghg after readg Major Jackson’s poem “Blunts,” which boys get high on a street rner, blter to one another, and share their hop for the future. Ó Tuama asks, “Can I really live to the imagatn I have of myself?” Such poetic moments, Ó Tuama told me, create spac for listeners to pse and turn ward. “People are lookg for accintal lurgi,” he said.</p><p class="paywall">The podst “Poetry Unbound” ow much of s extraordary reach to s associatn wh “On Beg.” That show, which began 2001, focs on matters of spirualy, broadly fed. It at a time when an unprecented number of Amerins are fleeg their childhood church. Krista Tippett, the earnt host, has bee a patron sat of those seekg meang outsi the nf of tradnal relign. On the program, she asks guts—who have clud <a href=">Jane Goodall</a>, <a href=">Bryan Stevenson</a>, and <a href=">Dmond Tutu</a>—smic qutns about existence. Last year, she asked the irreverent sayist Ala Botton to fend his argument “Why you will marry the wrong person.” On another episo, she spoke to the poet <a href=">Ocean Vuong</a> about his recent medatn on how to “live a life worthwhile of our breath.” Both Tippett and Ó Tuama repeatedly return to the argument that spirualy need not pend on specific relig beliefs.</p><p class="paywall">At the bookstore, Ó Tuama had ved Raymond Antrob, a poet and podst ntributor who is also his iend, to share the cramped stage. A large fish p hung om the lapel of Antrob’s nim jacket. “I’m hidg a sta,” he nfsed as he climbed onto the riser next to his iend. Antrob rever Ó Tuama, and creds their iendship, which epened durg the isolatn of lockdowns, wh gettg him through a nearly impossible and uncerta time. “I loved his book ‘Sorry for Your Troubl,’ which I’d tght,” Antrob told me. “But we grew closer sharg our work and our fears durg <em class="small">COVID</em>.” For Ó Tuama, who, for a time, pursued the Catholic prithood, a seri of difficult aths durg <em class="small">COVID</em> required him to lead funerals. “I wrote ltle lurgi for Zoom gathergs of iends who, the place of a wake, wanted to fd some way to mark the shock,” he said. “God, was awful, but was better than nothg.”</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">The <a href=">panmic</a> forced many people to acknowledge our shared vulnerabily. Ó Tuama believ that the human impuls helped “Poetry Unbound” to explo durg <em class="small">COVID</em>. In their lonels, and surround by grief, people sought solace brief enunters wh poetry. “We are pattern-seekg, meang-makg creatur, humans,” he told me. “There was, perhaps, somethg of pattern and meang the simplicy of the podst that seemed to nnect wh people, particularly durg the unpredictabily and chaos of the first year of <em class="small">COVID</em>.” The ia to pile the poems and says to a book me om Jamie Byng, the publisher of Canongate Books, who, turned out, was an avid listener. “Jamie e-mailed, and then e-mailed aga, and then texted. I thought I was beg spammed,” Ó Tuama said. “And there he was, chasg me.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">For the book, Ó Tuama selected a range of the popular poems that spanned the podst’s six seasons, cludg work by Ada Limón, Layli Long Soldier, <a href=">Tracy K. Smh</a>, <a href=">Natasha Trethewey</a>, <a href=">Ilya Kamsky</a>, Christian Wiman, Kaveh Akbar. In “Wonr Woman,” Limón’s speaker accepts the ravag of an unnamed illns: “Standg at the swell of the muddy Mississippi / after the urgent re doctor had jt said, <em>Well / sometim sh happens</em>.” In Smh’s, the speaker imag a lover’s fumblg hands, childhood, “Learng to manver a pencil or stgglg / To fasten a at.” Others explore jtice, or the voic of those on the margs. Trethewey’s “Miscegenatn” nsirs laws that banned terracial marriag, cludg that of her parents. Alongsi them, Ó Tuama offers reflectns that clu sometim embarrassg or paful personal anecdot. “I have a hab, when I’m feelg awkward or self-nsc, of nng a sharp edge of a fgernail along the th sk of my thumb,” he wr. The ltle nfsns often dissolve to aphorism. “If a person is a plex beg wh many stori, then perhaps poetry should be too,” he wr.</p><p class="paywall">Ó Tuama has bee a shepherd the shambolic tradn of ntemporary spirualy, treatg poetry as a form of agnostic prayer. “My tert prayer is where om, not where ’s gog,” he told me. “The heart, rather than God.” Poetry, for him, is the language the heart speaks not when reach for some externalized divy but when seeks to unrstand self. “Not all prayers name the god they turn towards,” he wr. In their search for meang, he believ, poems accs the world of the spir. At the bookstore, Ó Tuama read om his book ont of a rapt dience. “What kd of prayer uld ever be tsted whout evince of a ee tongue?” he said, recg a le om a poem by No‘u Revilla, a poet and scholar born on Mi. Then he gleefully repeated the words “ee” and “tongue,” tryg out their sounds.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Ó Tuama has a plaspoken approach to poetry, and sists, rather fiercely, that discsg poems n be matter-of-fact. Poetry, he argu, isn’t some rarefied llg for the éle; s te nature is raw, and is no ls acplished when is closer to folk forms than to those that float down om the ivory tower. Most of the poems he has selected for his book have polil them. “It has never occurred to me that poetry and polics aren’t engaged wh one another,” he told me.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Ó Tuama grew up County Cork, Ireland, durg the seventi and eighti. “I didn’t have any money for fancy schools,” Ó Tuama told me. “I jt had an ordary Irish tn.” In his muny, poetry was treated as a medium for humor, culture, and history, not simply as an object of study for the privileged. By the age of ne, Ó Tuama was learng by heart some seventy poems a year, English and Irish. Many of the poems he learned were by old Irish bards who spoke about the land and s creatur; he told me that he believ they were really about mourng the plac’ loss durg Brish occupatn. Other poems, such as those by Patrick Kavanagh, are funny, tragic, self-pretg, and dark all at once. In “Epic,” Kavanagh wr, “I have lived important plac, tim / When great events were cid; who owned / That half a rood of rock, a no-man’s land / Surround by our pchfork-armed claims.” Ó Tuama told me, “They’re scribg this loved piece of land or this loved animal, but actually they’re also scribg what ’s like to have taken om you through lonizatn.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="b3l51"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="8wljxd"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">When Ó Tuama graduated om high school, he joed a missnary society that aimed to nvert people to Christiany, among other enavors. Ó Tuama already knew that he was gay, and he remaed celibate, too nervo and uncerta to date. He also went through nversn therapy, a practice that purports to rid people of homosexual sir. “They tried to get the gay out of me,” he told me. Instead, the procs tght him about the necsy of cril thkg. “When you’re told you have the vil you, and you realize you don’t, you start askg larger qutns,” he said.</p><p class="paywall">He pursued the prithood until 2005, when Pope Benedict signed a document clarg that “the Church, while profoundly rpectg the persons qutn nnot adm to the semary or to holy orrs those who practise homosexualy, prent ep-seated homosexual tennci or support the so-lled ‘gay culture.’ ” Soon afterward, his bishop me over for dner wh a bottle of we to break the news to Ó Tuama that he uldn’t bee a prit. “It was an exile,” he told me. Somewhere along the way, disillned by the experienc, he moved outsi of what he lls “the umbrella of belief.” Ask him whether he believ God today and he will quote poetry. “I’m bored by the y or no,” he said. Poetry fills a space that relign no longer do. “I’ve turned more to poets than theologians to help me fd roads to relig lerature,” he wr. “The more I thk of the Bible as art, rather than obligatn, the wilr ’s bee.”</p><p class="paywall">To support himself, Ó Tuama began to do eelance work as a muny mediator, attemptg to rolve Irish polil nflicts. After the Good Friday acrds were signed 1998, schools were mandated to teach a new urse “cizenship”, which alt wh the history and nsequenc of Ireland’s partn. Ó Tuama found gigs gog to schools to help create curricula, and he enuraged the teachg of poetry. In siar peace programs wh adults, he has ved participants to wre their own poems, often as a group. He lls this llective enavor “muny poetry,” which volv gatherg imag and experienc om multiple speakers to create a shared piece of work. It isn’t about elidg differenc. “I’m not seekg to create harmony,” he told me. “I’m layg bare creative tensn.” He lik the way that the practic also mocratize the practice of wrg poetry. “One woman told me she liked our poem but didn’t say ‘fuck’ enough,” he told me.</p><p class="paywall">He disvered Tippett on the Inter early 2004, and was drawn to the particulary of her qutns, and the nversatns they sparked. Soon, he began, on ocsn, to offer ments by e-mail and on Tumblr. In 2015, Ó Tuama helped to lead a retreat Kalamazoo, as part of Tippett’s larger project to support meangful public nversatns, sometim wh people who disagree. Eventually, Tippett ved Ó Tuama to bee a regular ntributor, and, 2018, he travelled to the Uned Stat to meet wh the producers and velop his podst. It was both an extensn of his spirual exploratn and an effort to fd, poetry, a means to speak across l of difference an creasgly polarized world. Whout beg relentlsly didactic or preachy, the book rponds to a siar moral ll. A first glance at the table of ntents n seem a b dntg: tl like “When You Say ‘Prottors’ Instead of Protectors” appear to set an overtly polil agenda. Yet most of the poems are playful, humble, and human. “I don’t believe a poem do one thg,” Ó Tuama has told me.</p><p class="paywall">As the Bloomsbury readg drew to a close, Ó Tuama brought up “Miami Airport,” a poem of Antrob’s that Ó Tuama had selected for the book. Antrob, who is af, posed the poem om thirty qutns he’d been asked by airport thori while travellg between London and Kgston, Jamai. It begs, lowerse, “why didn’t you answer me back there?” The poem ntas no answers to the qutns, only blank whe spac between the double-spaced qutns. “A poem isn’t jt a bullet,” Antrob said. “It’s also gaps you n put your eye or mouth through.” When Ó Tuama ved dience members to pose qutns, one asked if poetry uld actually change the world. Antrob drew a breath. That kd of claim, he admted, sound pretty grandse. But “I have to believe that there’s some air the poems that has dispted somethg,” he said. “I jt n’t afford cynicism. I might as well crawl to oblivn.” Ó Tuama sat listeng, and, later, offered an answer: “Poetry for me is public voice— isn’t the only thg need to change the world, but ’s certaly necsary.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="m7jrww"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="LkStackWrapper-NFLYw kgtXXB lkstack" data-ttid="LkStack"><div class="SectnTleRoot-dBGvdq kjAxEG LkStackHear-lKjbE hejl lk-stack--headg" data-ttid="SectnTle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet dxqEAa dqtvfu jttyjJ">New Yorker Favor</h2></div><div class="LkStackContent-jyKicS gPhyME"><ul class="LkStackList-gGcjdZ dnMwpz"><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>The killer who <a href="/magaze/1995/06/05/rejectg-ga" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">got to Harvard</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>A thief who <a href="/magaze/2004/05/17/the-silver-thief" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">stole only silver</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>The light of the <a href="/tech/annals-of-technology/the-first-light-of-the-try-atomic-tt" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">world’s first nuclear bomb</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>How Steve Mart <a href="/magaze/2007/10/29/-the-bird-ge" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">learned what’s funny</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Growg up as the <a href="/magaze/1998/11/16/the-ln-and-me" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">son of the Cowardly Ln</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Amelia Earhart’s <a href="/magaze/2009/09/14/amelia-earhart-last-flight" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">last flight</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Fictn by Milan Kunra: “<a href="/magaze/1984/03/19/the-unbearable-lightns-of-beg" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">The Unbearable Lightns of Beg</a>.”</p></div></li></ul><div class="LkStackFooter-KfRyO ebnmps lk-stack--footer"><div><p><a href=">Sign up</a> for our daily newsletter to receive the bt stori om <em>The New Yorker</em>.</p></div></div></div></div></div></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/eliza-griswold"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/eliza-griswold">Eliza Griswold</a>, a ntributg wrer at The New Yorker, won the 2019 Pulzer Prize for general nonfictn for “<a href=">Amy and Prospery</a>.” Her latt book is “<a href=">If Men, Then: Poems</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 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It’s not your flt— our experience, almost all female characters are unlikable.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Grace Hen</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Hidn Harms of CPR" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Weekend Essay</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Hidn Harms of CPR</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Hidn Harms of CPR" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The btal procre n save liv, but only particular s. Why has bee a flt treatment?</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Suna Puri</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Challeng of Tmp’s Third, Momento Indictment" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Comment</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Challeng of Tmp’s Third, Momento Indictment</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Challeng of Tmp’s Third, Momento Indictment" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">No se our system of jtice uld more directly and fundamentally addrs the stak of Amerin mocracy and the le of law.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc 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summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Day at a Time Dept.</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Margo Price Puts a Hurt’ on Some (Alhol-Free) Bottl</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" 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