Retrofitted

“Maurice Sendak drew his partner Eugene after he died, as he had drawn his family members when they were dying. The moment is one he was compelled to capture, pin down, understand, see. Where many— maybe most—people look away, he wanted to render. He was very wrapped up in the goodbye, the flight, the loss; it was almost Victorian, to be so deeply entranced with the moment of death, the instinct to preserve or document it. It’s also the artist’s impulse: to turn something terrible into art, to take something you are terrified of and heartbroken by and make it into something else. For the time it takes to draw what is in front of you, you are not helpless or a bystander or bereft: You are doing your job.” On Maurice Sendak and the art of death.

“If Schiff is right to accuse us of nurturing an unrequited infatuation with what amounts to America’s first tabloid scandal, then she’s done the literary equivalent of force us into a cold shower.” The New Republic reviews Stacy Schiff’s new book, The Witches: Salem, 1692.