by Nicola Sayers
We tell ourselves stories in order to live.
I don’t know where I first came across this sentence. I was in my early twenties, so it can’t have been on Instagram, although I’ve since seen it there so many times that this is now how it appears in my mind’s eye: boxy black print, hovering in mid-square. My young notebooks are less polished: in those the sentence is scribbled over and over in messy, heartfelt handwriting, a kind of incantation to writerly promise. But there, too, it stands alone. Surrounded by white space, free-floating, as though it does its best work all by itself.
But it wasn’t, of course, written to stand alone. It is the first sentence in Joan Didion’s iconic 1979 essay The White Album, an essay which goes on to examine exactly the moments when the stories we tell ourselves no longer work or, worse, when no stories present themselves to us at all, when we can’t make sense of any of it. It is an essay about California in the 1960s and, not unrelatedly, about her own mental health struggles (as is often the case in Didion’s writing, her state of mind is not examined as its own particular thing, but taken instead as a clue to the state of the world). It is an essay about disorder, about fragmentation, about falling apart. If, in 1976, Didion stated in ‘Why I write’ that ‘I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means’, in her 1979 essay (parts of which had been previously published) she concludes that – at least when it comes to the events of the sixties, and her experiences of them – ‘writing has not yet helped me to see what it means.’
I did not know any of this, though, when I first came across that sentence. In truth, I didn’t even know who Joan Didion was. It was a number of years before I would come to read the essay to which the sentence belongs, and I confess that I was initially disappointed. Read more »







Daniel Everett’s 2008 book, Don’t Sleep, There are Snakes (Life and Language in the Amazonian Jungle), threw what seemed to be a pebble into the world of linguistics – but it is a pebble whose ripples have continued to expand. This might be thought surprising, in view of its curious construction. It contains a detailed description of the writer’s encounters with a small, remote Amazonian tribe, whom he calls the Pirahã (pronounced something like ‘Pidahañ’), but who apparently call themselves the Hi’aiti’ihi, roughly translated as “the straight ones.” They live beside the Maici River, a tributary of a tributary of the Amazon, which is nonetheless two hundred metres wide at its mouth.
Sometime before Ashok Rudra and I started on our large-scale data collection, I was already doing some theoretical and conceptual work on agrarian relations. My first, mainly theoretical, paper on share-cropping (jointly with TN) came out in American Economic Review in 1971. That paper was unsatisfactory and had quite a few loose strands, but it was one of the first papers to look theoretically into an economic-institutional arrangement of a developing country at the micro-level. This was a time when development economics was preoccupied with macro-issues like the structural transformation of the whole economy involving transition from agriculture to industrialization or problems of its aggregate interaction with more developed economies.
A provocative title, perhaps, and perhaps also counterintuitive. One thinks in the language one speaks, everybody knows that. Why would anyone ask bilingual speakers which language they think in (or dream in) otherwise?
The slim, green book Natural History of Western Massachusetts is one of my favorites. Compressed into its hundred odd pages are articles and visuals that describe the essential natural features of the Amherst region, where I’ve lived since 2008. I turn to it every time something outdoors piques my interest — a new tree, bird or mammal, a geological feature.
Everything in the universe that’s visible from your location on Earth passes by overhead every day. We’re usually able see only the stars, galaxies, planets, and so on that are in the sky when the sun is not; we become aware of them when the sun sets and Earth’s shadow rises from the eastern horizon. But all of them are there at some point in the day. We picnic beneath the winter constellation Orion in summer and walk beneath the Summer Triangle on the short days of winter. The moon also crosses the sky every day, sometimes in the daytime, and sometimes too close to the sun to be seen.
I had my first panic attack at age sixteen, which was (deargod) over 35 years ago. It happened during school, much to my teenage mortification. Some friends and I were hanging out in our high school newspaper office during a free period, sprawled on one of the crapped-out couches under the blinking fluorescent lights, just shooting the shit. All of a sudden, a wave of horror swept over me—no, that’s not the right word. It was a feeling of fear mixed with a kind of existential dread, washing over me in waves, and then my heart was pounding, the walls were closing in, and I was gripped with an intense feeling of unreality. (This is something that people with panic disorder don’t often explain—or maybe it’s different for everyone. But for me the worst part of a panic attack is the
Sughra Raza. Another Morning. Venice, July 2012.
We primates of the 


