Somewhere in the sky above, the mosquito drone of a plane’s propeller neared. Since Abram Kameraz had begun to commute by train from Leningrad (now St Petersburg) to the suburban town of Pavlovsk earlier in the summer of 1941, attacks by enemy planes had become a frequent cause of delay. Through the carriage window, Kameraz saw the road was littered with bodies. These men, women and children had been killed by German planes which had strafed and bombed the crowds of refugees as they fled towards the city. As Kameraz caught the silhouette of a German Stuka cresting the horizon, the driver stopped the train and ordered the passengers to run to a nearby ditch for cover.
Kameraz, 36, was a potato specialist, one of about 50 botanists who worked at the Plant Institute, the world’s first seed bank, situated off St Isaac’s Square in the centre of Leningrad. The institute’s potato collection contained 6,000 varieties, including many rare cultivars – the largest, most diverse potato collection yet gathered in history, a crop of inestimable scientific importance. And right now, hundreds of delicate South American specimens were planted in sheds in the fields on the outskirts of the city, in the path of the advancing German army.
In Vermeer’s Woman in Blue Reading a Letter, the observer is drawn into a simple domestic scene: the titular woman stands illuminated in the light of, we presume, an unseen window. The expression on her face as she reads is perhaps one of surprise, certainly one of concentration. In this vivid, static painting, she seems even more still and more rooted, unmoving though clearly moved by what she is reading. And the observer is similarly absorbed by this intimate moment.
This interpretation, such as it is, is arrived at first through the eyes: the light and color, the posture of the woman and her expression, the singularity of the room. Vermeer’s painting is a touchstone of sorts in Naomi Cohn’s compelling memoir, The Braille Encyclopedia: Brief Essays on Altered Sight. To her, with her very limited ability to see, the story is not in the painting; it is the painting. “Who cares what is on the letter?” she writes. “Look at how Vermeer makes folds with paint. Look at the intensity of his looking, how he chose what to see.”
It’s hard to believe that a TV show based on a series of commercials with the same punchline — an American football coach confused by the rules of soccer — could have lasted beyond an episode or two. It’s even harder to believe that it became an Emmy-winning hit with a cast invited to the White House to talk about mental health.
There’s a lot to learn from the unlikely success of “Ted Lasso,” the hit Apple TV+ show featuring Jason Sudekis as its mustachioed, wholesome namesake. Jeremy Egner’s “Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts” is the best place to learn it.