Sunday Looking through: A Sense of Position

In 2006, the journalist and screenwriter Nora Ephron released an essay in The New Yorker about her really like affair with the Apthorp, a Beaux-Arts setting up on the Higher West Facet, where by she resided for much more than twenty many years. Ephron’s piece is an evocative meditation on nostalgia and the indicating of household. Really like, she writes, is a kind of homesickness we tend to tumble in appreciate with men and women (or apartments) who remind us of a little something familiar. It was in the course of a especially very low period of time in her lifestyle that she felt rescued and liberated by a perception of area. More than the earlier year, lots of of us have been compelled to reëxamine our notions of what household means—whether it’s owing to the transformation of a town we love or the absence of loved ones members who have often introduced us a feeling of contentment.

This week, we’re bringing you a assortment of items about how the idea of home has shifted about time. In “Homemaking,” Jamaica Kincaid writes about her dream dwelling and how she was motivated by the legacy of its past occupants after her family members moved in. (“A property has a physical definition a residence has a non secular just one.”) In “The Yellow Home,” Sarah M. Broom demonstrates on the significance of her family’s New Orleans household, which was lost immediately after Hurricane Katrina. In “The Ghost of the Glass Residence,” Adam Gopnik describes the visionary pair powering the Maison de Verre (or the “Louise Brooks of present day houses”), in Paris, in which it doubled as a artistic salon that drew artistic virtuosos such as Picasso, Cocteau, and Miró. In “Altered Point out,” Andrea Lee remembers her practical experience developing up as a person of the several Black ladies in her Pennsylvania residence town. (“I’m fantastic at staying foreign—I discover it as a kid.”) Ultimately, in “A Property of One’s Have,” Janet Malcolm examines how Virginia Woolf’s sister, the painter Vanessa Bell, transformed a Sussex farmhouse into the legendary artists’ colony identified as Bloomsbury. Some of these parts are enchanting, other people wistful—they feel, in other words and phrases, just like residence.

—Erin Overbey, archive editor

To transfer into the Apthorp was to enter a condition of giddy, rent-stabilized delirium.

Shifting into the fantastic house—and sharing it with the memories of the loved ones who lived there in advance of.

A 10 years immediately after the storm, my mother nonetheless just cannot go house.

Pierre Chareau’s modernist Glass Property, in nineteen-thirties Paris—and the desires that continue to haunt it.

Pennsylvania, blackness, and the art of getting overseas.

Virginia Woolf was Bloomsbury’s genius, but her sister, the painter Vanessa Bell, made its shrine.

In 2006, the journalist and screenwriter Nora Ephron released an essay in The New Yorker about her really like affair with the Apthorp, a Beaux-Arts setting up on the Higher West Facet, where by she resided for much more than twenty many years. Ephron’s piece is an evocative meditation on nostalgia and the indicating of household. Really like, she writes, is a kind of homesickness we tend to tumble in appreciate with men and women (or apartments) who remind us of a little something familiar. It was in the course of a especially very low period of time in her lifestyle that she felt rescued and liberated by a perception of area. More than the earlier year, lots of of us have been compelled to reëxamine our notions of what household means—whether it’s owing to the transformation of a town we love or the absence of loved ones members who have often introduced us a feeling of contentment.

This week, we’re bringing you a assortment of items about how the idea of home has shifted about time. In “Homemaking,” Jamaica Kincaid writes about her dream dwelling and how she was motivated by the legacy of its past occupants after her family members moved in. (“A property has a physical definition a residence has a non secular just one.”) In “The Yellow Home,” Sarah M. Broom demonstrates on the significance of her family’s New Orleans household, which was lost immediately after Hurricane Katrina. In “The Ghost of the Glass Residence,” Adam Gopnik describes the visionary pair powering the Maison de Verre (or the “Louise Brooks of present day houses”), in Paris, in which it doubled as a artistic salon that drew artistic virtuosos such as Picasso, Cocteau, and Miró. In “Altered Point out,” Andrea Lee remembers her practical experience developing up as a person of the several Black ladies in her Pennsylvania residence town. (“I’m fantastic at staying foreign—I discover it as a kid.”) Ultimately, in “A Property of One’s Have,” Janet Malcolm examines how Virginia Woolf’s sister, the painter Vanessa Bell, transformed a Sussex farmhouse into the legendary artists’ colony identified as Bloomsbury. Some of these parts are enchanting, other people wistful—they feel, in other words and phrases, just like residence.

—Erin Overbey, archive editor

To transfer into the Apthorp was to enter a condition of giddy, rent-stabilized delirium.

Shifting into the fantastic house—and sharing it with the memories of the loved ones who lived there in advance of.

A 10 years immediately after the storm, my mother nonetheless just cannot go house.

Pierre Chareau’s modernist Glass Property, in nineteen-thirties Paris—and the desires that continue to haunt it.

Pennsylvania, blackness, and the art of getting overseas.

Virginia Woolf was Bloomsbury’s genius, but her sister, the painter Vanessa Bell, made its shrine.