In Riggs’ Oklahoma, wasn’t easy to be a small-town Cherokee boy who was not only amb but also gay. As bgrapher Phyllis Cole Brnlich put her 1988 book, Hnted by Home: The Life and Letters of Lynn Riggs, “Newly eed by the regnn of his own homosexual orientatn, he neverthels was nstantly wary of Oklahoma’s judgments.
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src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Osr Hammerste II, pictured 1954.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Philippe Halsman / Magnum</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark 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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div 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 EOneK 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">Havg f, or tried to, jt about the whole history of English rhyme to <a href=">a recent say</a>, I nohels left out a sectn about perhaps the most fluential of all Amerin rhymters—who, ironilly, had no particular gift or even tert sound or language for s own shimmerg sake, and who basilly hid his rhyme away. I refer to the lyricist and librettist Osr Hammerste, the thor of “South Pacific” and “The Kg and I” and so many other mils, who is now the subject of a jt published, and fascatg, llectn of letters, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Letters Of Osr Hammerste II</a>,” eded by Mark En Horowz, om Oxford Universy Prs. (He was always the send, named after his grandfather, who, like most of his fay, was a major figure theatre, very much the fay tra.)</p><p class="paywall">Of all the great makers of the Amerin song, none has unrgone so drastic a change ted—O.K., ll “éle”—opn the past twenty years as Hammerste. The llaborator on “The Sound of Mic”—the movie versn of which was dismissed as mere “gigantic sniffl” by our own <a href=">Ple Kael</a>—had been a figure to nscend to, the postwar suburban bard of ersatz Amerina. In Wilid Sheed’s “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Hoe That Gee Built</a>,” his lightful amatr history of Amerin song, the moment the early neteen-forti when the poser Richard Rodgers p om the dissolute and spired lyricist Larry Hart to jo up wh the starchier Hammerste, to llaborate on “Oklahoma!,” is the postwar settlement a nutshell, all greetg-rd sentiments and phony mythmakg. Alec Wilr’s epoch-markg and groundbreakg 1972 book, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Amerin Popular Song: The Great Innovators</a>,” treated the early Rodgers worshipfully, and post-Hart Rodgers disdafully—Wilr hated the “South Pacific” song “Some Enchanted Eveng” (“pale and pompo and bland”), and although he didn’t directly blame Hammerste for the badns you uld hardly miss the pot.</p><p class="paywall">But then both Wilr and Sheed were vted Amerin song bee of s jazz affi, vted the “swgg” terpretatns of a Mabel Mercer or a Peggy Lee or a Frank Satra, far more than the origal st rerdgs. (Almost the only one of the Rodgers and Hammerste songs to bee a popular jazz standard was “My Favore Thgs,” which was not so much swung as swept away John Coltrane’s imagatn.) In fact, the lovers of popular song tend to break to two schools whout que knowg : a school of Hart, which lov theatre mic for the songs that mak and wants them swung, or at least illumated; and a school of Hammerste, which lov theatre mic for s theatrily and is almost proud to sacrifice songfulns, let alone swg, for the sake of character and story. (Rodgers, the greatt geni of the mil theatre, pivots between the two kds.)</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Composer Richard Rodgers and Osr Hammerste II at piano." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Osr Hammerste, at right, and his equent llaborator Richard Rodgers, left, are pictured 1943, at work New York Cy.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph om Michael Ochs Archiv / Getty </span></div></figure><p class="paywall">In the years sce Sheed and Wilr wrote, two thgs have altered the theatre world. First, there have been many startlgly succsful revivals of Rodgers and Hammerste shows, which may have dated attu but haven’t dated onstage: “<a href=">South Pacific</a>,” “<a href=">Caroel</a>,” and “<a href=">Oklahoma!</a>” all still live ways that none of the Rodgers and Hart mils que do (“On Your To” somewhat and “Pal Joey” signifintly excepted). The Hammerste shows need “updatg”—the famo slap-om-beyond-the-grave “Caroel” reads very differently now than did then—but that’s not the same as needg wholale rewrg or beg outright rejected. In fact, of all the great shows of the perd om 1940 to 1965, when Broadway was still the place where h songs me om, Hammerste’s are perhaps the only shows that <em>do</em> reliably work revival, and, though Rodgers was the geni of the pair, that the shows live on is Hammerste’s dog. (Other great shows, as recent productns of “<a href=">Wt Si Story</a>” and “<a href=">The Mic Man</a>” have shown, are harr to revive, more pennt on origal circumstanc and the origal st than one might have hoped.)</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">There is a central tth of Amerin theatril history—that, after “Show Boat,” Hammerste’s tegrated song-dance-and-story mil, which was wrten wh Jerome Kern and opened 1927, there had been a long sert of “sung through” shows, wh Broadway domated by revu and lighter productns. The kds of shows produced so many great and swgg and Amerin songs that is hard to regret them, but they were, as attempts to revive them reveal, stuck together wh tape and glue and glamour, rather more like variety shows on neteen-sixti televisn than like achieved plays. Rodgers, turng to Hammerste, was anticipatg wh his geni the mands of an dience, mid-war, who need somethg reassurgly “Amerin.” “Oklahoma!”—the tle arrived at the last moment, as good tl sometim do—was both a pletely reactnary, backward-lookg show and a forward-lookg one, which remas, s tegrated storytellg and dark turns, the template of nearly every succsful mil sce.</p><p class="paywall">The other reason for the uplift of Hammerste’s reputatn is more serendipo; as the mentor of <a href=">Stephen Sondheim</a>, whom he more or ls adopted—takg him as a lonely schoolboy and tutorg him the art of mil-makg—Hammerste ped Sondheim’s often feroc strictur on other lyric wrers, and, more important, left his imprt on Sondheim’s work, one that was much stronger than the superficial differenc between the two artists might have ma seem. Though the younger was <a href=">lexilly rich and sarstic</a> and cy-bound, while the olr was given to psdo-ral hymns to elweiss and bluebirds, they shared a belief the unified sung-through show, where all was sacrificed to scene and story, even if the mil touched the prer edge of operetta. They also shared a fah a certa kd of ocsnally bromidic moral uplift: “Climb Ev’ry Mounta” (om “The Sound of Mic”) and “No One Is Alone” (om “<a href=">Into the Woods</a>”) are sister spiruals. The served sle of Sondheim’s reputatn has produced at tim somethg of a Sondheim cult, of a kd he never wanted—a breath of cril appraisal of his work, of the sort that Sondheim, that most cheerfully opnated of men, savored person, n e undue alarm among his alyt. This worked to Hammerste’s advantage: challenge the father and you sult the son.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Yet Sondheim’s own bon mot still ronat: Hammerste was a man of limed talent and unlimed soul; Rodgers a man of unlimed talent and limed soul. Limed and artisanal as Hammerste’s talent may have been, what the llected letters reveal is what letters of any great artisan of any kd always reveal: that what seems like serendipy is the rult of relentls work. Everythg a craftsman’s life is always earned. Hammerste worked ridiculoly hard to make <em>shows</em> work—the songs were sendary to them. Page after page his letters is voted to the ner mechanics of theatrily, wh surprisgly few words voted to the songs that one might thk would supertend them. This is part, an observer effect: the work that he did wh Rodgers on the mic and lyrics wasn’t acplished letters, so there is very ltle trace of . But this is also partly a track of where Hammerste’s passn lay. There is, for stance, a letter om Hammerste askg Rodgers, apropos a number om “<a href=">Crella</a>,” if is milly grammatil to start the mor key and then go to s relative major—a practice equent enough Rodgers’s wrg (cf. “My Funny Valente,” om the Hart llaboratn “Bab Arms,” or the soon to be wrten “My Favore Thgs”; for that matter, the great Kern and Hammerste “All the Thgs You Are” is of the same kd) that not knowg this seems weirdly untuned, g om his partner. But that wasn’t where Hammerste lived.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">In his letters, Hammerste emerg as jt as limed an artist as one had thought but far more tertg a man of the theatre than one had grasped. He unrstood play stcture, play creatn, and playmakg wh near absolute thory, even if his prose is as plodgy as his lyrics n be. Hammerste never discs a song except the ntext of the succs of the show, and he obss over tails of story nstctn. He wr a long letter to the producer of “State Fair,” <em>after</em> the movie had already been cut, beggg him to make necsary trims and addns to enrich the story, which he fears “generat to mil edy”—the worst thg he n say. (Of urse, they mostly ignored the advice.) He wr to the producer Herman Lev about Lev’s show “Gentlemen Prefer Blons,” 1950, urgg him to sert a blackout after Carol Channg sgs “Diamonds Are a Girl’s Bt Friend”: “If Helen Hay, Ez Pza and whatever stars you n thk of ma an entrance followg that number, nobody would listen to what they had to say. . . . Believe me, Herman, the show falls om one of s hight peaks to one of the lowt valleys the space of a spl send.” He is much more opnated, and far firmer his verdicts, than one had known or anticipated. Of the work done Boston on “Caroel,” he emiz crisply, “We jected more of Billy and Julie to Act One. We shortened and dove-tailed Act Two, tegrated the ballet, and entirely changed our nceptn of God. In fact, we cut Him and Her out of the play and put a ltle old man who is a keeper of Heaven’s back door—a sort of service entrance St. Peter who speaks New England dialect.” Cuttg God out of the book Boston mt be one of the greatt of all out-of-town trims—but he’s right, and, though people have cricized sce, the change worked: the Starkeeper we have “Caroel” may be rny; the Mr. and Mrs. God we lost would have been ksch.</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="s2e4px"></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 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="1zdq88"></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 EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Hammerste had a sharper edge than one might have imaged. In the letters, he is disuragg to the pot of ns wh People Who Send Him Plays, and sharp to the pot of cns wh Actors Who Want to Participate the Procs, two equent bêt noir of playwrights. He knew how to tell actors and their agents firmly, “No.” (Shirley Booth is “a very good actrs and pletely unsued for the part of ‘Julie.’ ”) How to tell them softly, “No.” (To Judy Holliday, he wr, “The bad news is that both ‘Julie’ and ‘Marie’ have to sg ‘legimate’ but jt how illegimately you sg, I don’t que remember.”) And how to tell them “No” whout tellg them “No”: of a proposal to wre an operetta versn of “Othello” (!) for Pl Robon, whom he greatly admired, he wr, “Wrg anythg for Pl Robon would be an agreeable task for me bee of my admiratn for him as an artist and my feelg of iendship for him as a man. I am sorry, however, but don’t look as if we n be of any help to you or him on this one.” If the “sorry” didn’t tell you, No, the “agreeable task” would.</p><p class="paywall">A particularly heartbreakg and, retrospect, paful seri of such letters occurs wh and around Gert Lawrence, the great Brish star who origated Anna “The Kg and I.” Famoly flat her sgg—no one red, too much; she was also famoly fabulo—she was nsistently chid by Hammerste, first when he refed to have the pany pay her doctor’s bill full, then a long, sternly reprovg letter (which may or may not have been mailed) threateng to fire her if she ntued sgg so eptly. She was, unbeknownst to Hammerste, or to her, at the time dyg of metastasized liver ncer—no wonr her not were misshapen. That she ntued to perform at all was miraculo, and the tone of exasperated doubt that she was greeted wh, some actors will thk, is sadly too typil of thor-to-actor nscensn.</p><p class="paywall">But, for good or rarely ill, Hammerste never let up. He revised his own shows when they were already fully onstage and huge hs, givg not to the performers—even to the replacements for the stars after the show was the middle of a long n. (“Last week I sat through the performance row 4 and had a wonrful time. In every way.”) He even, astoundgly, rponse to a letter of plat om a stranger who didn’t like the seats they got at the St. Jam Theatre, go, ep the n of “The Kg and I,” to check on the view. (“After receivg your letter I paid a vis to the theatre and sat your seats, and is te that on the same si of the stage on which you sat, there are tails that mt have been missed. . . . Aga, let me exprs my scere regret that you did not see every tail of ‘The Kg And I.’ . . . I assure you that there is very ltle that you did not see—I mean very ltle of real importance to the plot.”)</p><p class="paywall">No man of the theatre has ever been more of the theatre, to the last row. This is both a blsg and curse. His mment to the show meant a mment to the stori he was choosg to tell, which were, for the most part, retrospective, if not nostalgic, tak on prewar tim past (“South Pacific” excepted). Sondheim learned om him that the first ten mut of a mil are s life and ath, tablishg the l, and Hammerste never got those mut wrong—even “Oklahoma!,” when the show starts wh two oddly anti-dramatic scriptive songs, “Oh, What a Betiful Morn’ ” and “The Surrey wh the Frge on Top,” they set the people you re about spng motn.</p><p class="paywall">The other preoccupatn that munit throughout his letters is his mment to civil rights, which was real and rare. The sentiments exprsed the “South Pacific” song “You’ve Got to Be Carefully Tght”—which, though worthy, are unfortunately false (you don’t have to be tght to hate and fear; people do naturally)—are at least entirely scere. The liberal spir behd those words fed his life and work: he not only supported Robon—a lefty pariah to many those days—but also, the fifti, sent letters “to dozens of proment figur” orr to prott hog segregatn his own seemgly idyllic Bucks County. (“The qutn is, of urse, how to stand up agast the prejudice which li at the root of hog segregatn, unequal job opportuni, etc.”) He was hardly the only civil libertarian the theatre crowd—Yip Harburg, the -wrer of “It’s Only a Paper Moon” and wrer of “Over the Rabow,” was as well and got blacklisted for his efforts—but for Hammerste to e out for equaly as clearly as he did, wh his impecble middlebrow and Amerina crentials, took urage, and gave his words more weight.</p><p class="paywall">It isn’t the sentimentaly that n dimish Hammerste’s mils—love songs are <em>supposed</em> to be a sentimental medium, and have been sce at least the twelfth century—’s the ocsnal disgenuons, the schnzel-wh-noodl part, the distance of his work om his own hard-edged and plited experience. Hammerste was a worldly man wrg about unworldly people, all those “ckeyed optimists,” and the stra sometim shows. He knew this himself, and ’s tellg that he tried a uple of ntemporary “cy” shows (“Allegro” and “Me and Juliet”) about disilln and promise, and ’s also tellg about his time, those supposedly halcyon fifti, that neher show seemed to work at all. By fillg the Amerin mil wh “Amerina,” Hammerste helped divorce om livg Amerin speech, and New York show-makg om New York, a way that Sondheim later ffully fixed. And, although the relign of character and scene is a good one, Hammerste’s succs brought about a certa slippage of valy, of idmatic energy and wonrful words for their own sweet sake, a qualy that we love the earlier Hart and Cole Porter work. The strictur of story and scene were sential to show bs, but they rema a ltle strangulatg to songs.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Still, no one who r about what mak theatre work n miss this llectn. In one exchange, Hammerste even apologiz for one of the most famo bad l the Amerin songbook. Generatns of listeners have crged at the le “I’ll know that moment dive,” that otherwise glor “All the Thgs You Are,” origally wrten for the lser-known mil “Very Warm for May.” A stranger wrote Hammerste a letter suggtg that “sublime” would have been better than “dive”—and Hammerste took the time to patiently expla that might be a better word, but would . . . <em>not be a rhyme</em>. He was, he knew, g the penultimate le, but only orr to serve the fal statement. All that mattered was the drama. To alter Pope’s famo aphorism: if an hont man is the noblt work of God, an hont craftsman may be the sweett servant of the m. ♦</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="2w6uii"></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 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class="GridItem-buujkM kHPPIF grid--em"><div class="SummaryCollectnGridContent-eVUpRm jTGbEO"><div class="SectnTleRoot-dBGvdq hpRFVl SummaryCollectnGridSectnTle-fCmYwG izjbVn" data-ttid="SectnTle"><hear class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet dxqEAa jfOfxc jttyjJ">Read More</hear></div><div class="SummaryCollectnGridItems-DZShR jBCYOL hi-read-more-ad" data-ttid="SummaryCollectnGridItems"><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE 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-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO 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 Upper Wt Si Cult That Hid Pla Sight" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Unr Review</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Upper Wt Si Cult That Hid Pla Sight</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">In the sixti and seventi, the Sullivanian Instute had a wng sal pch for young New Yorkers: parti, sex, low rent, and affordable therapy.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL 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>Jsi Wter</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE 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 bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO 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 Tan Submersible Was “an Accint Wag to Happen”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM dVrbhU 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 fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Tan Submersible Was “an Accint Wag to Happen”</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Interviews and e-mails wh expedn lears and employe reveal how OceanGate ignored sperate warngs om si and outsi the pany. “It’s a lemon,” one wrote.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL 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>Ben Tb</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE 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 bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO 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 Novelist Whose Inventns Went Too Far" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Life and Letters</span></div><a class="SummaryItemHedLk-civM dVrbhU 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 fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Novelist Whose Inventns Went Too Far</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">After the Ao-Cuban wrer H. G. Carrillo died, his hband learned that almost everythg the wrer had shared about his life was ma up—cludg his Cuban inty.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL 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>D. T. Max</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE 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 bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture 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