Maureen Corrigan

Sinatra with a cold is Picasso without paint, Ferrari without fuel, only worse. For the common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence, and it affects not only his own psyche, but also seems to cause a kind of psychosomatic nasal drip within dozens of people who work for him, drink with him, depend on him for their own welfare and stability.

Sinatra with a cold is Picasso without paint, Ferrari without fuel, only worse. For the common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence, and it affects not only his own psyche, but also seems to cause a kind of psychosomatic nasal drip within dozens of people who work for him, drink with him, depend on him for their own welfare and stability.

I've always loved coming to New York stories, and judging from the acclaim that's greeted the new Bob Dylan movie, America does too. Dylan, played by Timothee Chalamet, arrives in the Greenwich Village of 1961. In no time, this complete unknown is embraced by the burgeoning folk scene of Greenwich Village, thanks in part to the city's gift of proximity.

I've always loved coming to New York stories, and judging from the acclaim that's greeted the new Bob Dylan movie, America does too. Dylan, played by Timothee Chalamet, arrives in the Greenwich Village of 1961. In no time, this complete unknown is embraced by the burgeoning folk scene of Greenwich Village, thanks in part to the city's gift of proximity.

I've always loved coming to New York stories, and judging from the acclaim that's greeted the new Bob Dylan movie, America does too. Dylan, played by Timothee Chalamet, arrives in the Greenwich Village of 1961. In no time, this complete unknown is embraced by the burgeoning folk scene of Greenwich Village, thanks in part to the city's gift of proximity.

But I wonder about the longevity of the coming-to-New York genre. These stories of arrival and promise fulfilled are almost always nostalgic, predating the New York of obscenely high rents. And does a dreamer even need to come to New York, or any city for that matter, in the age of the internet? In a New York minute, Kay Sohini vanquished my doubts.

But I wonder about the longevity of the coming-to-New York genre. These stories of arrival and promise fulfilled are almost always nostalgic, predating the New York of obscenely high rents. And does a dreamer even need to come to New York, or any city for that matter, in the age of the internet? In a New York minute, Kay Sohini vanquished my doubts.

But I wonder about the longevity of the coming-to-New York genre. These stories of arrival and promise fulfilled are almost always nostalgic, predating the New York of obscenely high rents. And does a dreamer even need to come to New York, or any city for that matter, in the age of the internet? In a New York minute, Kay Sohini vanquished my doubts.

Her debut book, a graphic memoir called This Beautiful Ridiculous City, affirms the enduring power of New York and the power of literature to give people the courage to cross all manner of borders. Sohini is a South Asian graphic artist who grew up in the suburbs of Calcutta, living, as she says, in a sprawling ancestral house with four generations and far too many territorial people.

Her debut book, a graphic memoir called This Beautiful Ridiculous City, affirms the enduring power of New York and the power of literature to give people the courage to cross all manner of borders. Sohini is a South Asian graphic artist who grew up in the suburbs of Calcutta, living, as she says, in a sprawling ancestral house with four generations and far too many territorial people.

Her debut book, a graphic memoir called This Beautiful Ridiculous City, affirms the enduring power of New York and the power of literature to give people the courage to cross all manner of borders. Sohini is a South Asian graphic artist who grew up in the suburbs of Calcutta, living, as she says, in a sprawling ancestral house with four generations and far too many territorial people.

From a young age, she was a loner and a reader, a reader peculiarly drawn to New York stories. Everybody writes about New York with so much tenderness, even when they are sick of it, Sohini says. And so from afar, she began to read her way into New York. Years later, Sohini broke away from a long, abusive relationship with a man who she says made a room smaller just by walking into it.

From a young age, she was a loner and a reader, a reader peculiarly drawn to New York stories. Everybody writes about New York with so much tenderness, even when they are sick of it, Sohini says. And so from afar, she began to read her way into New York. Years later, Sohini broke away from a long, abusive relationship with a man who she says made a room smaller just by walking into it.

From a young age, she was a loner and a reader, a reader peculiarly drawn to New York stories. Everybody writes about New York with so much tenderness, even when they are sick of it, Sohini says. And so from afar, she began to read her way into New York. Years later, Sohini broke away from a long, abusive relationship with a man who she says made a room smaller just by walking into it.

Staking her escape on little more than her years of reading and a modest fellowship to grad school, the wounded Sohini flew to New York. Through understated language and jolting comic-style images, Sohini tells a vivid, multidimensional New York story of her own. There's her odyssey, a capsule history of modern India, and always references to books, books, books.

Staking her escape on little more than her years of reading and a modest fellowship to grad school, the wounded Sohini flew to New York. Through understated language and jolting comic-style images, Sohini tells a vivid, multidimensional New York story of her own. There's her odyssey, a capsule history of modern India, and always references to books, books, books.

Staking her escape on little more than her years of reading and a modest fellowship to grad school, the wounded Sohini flew to New York. Through understated language and jolting comic-style images, Sohini tells a vivid, multidimensional New York story of her own. There's her odyssey, a capsule history of modern India, and always references to books, books, books.

This beautiful, ridiculous city engages with a good slice of the essential New York City literary canon— From Anne Petrie to Fran Lebowitz, E.B. White to Dylan Thomas, Colson Whitehead, Nora Ephron, and fellow graphic memoirist Alison Bechdel. Like all these chroniclers of the city, Sohini sometimes questions her illogical attachment to such a difficult place.

This beautiful, ridiculous city engages with a good slice of the essential New York City literary canon— From Anne Petrie to Fran Lebowitz, E.B. White to Dylan Thomas, Colson Whitehead, Nora Ephron, and fellow graphic memoirist Alison Bechdel. Like all these chroniclers of the city, Sohini sometimes questions her illogical attachment to such a difficult place.

This beautiful, ridiculous city engages with a good slice of the essential New York City literary canon— From Anne Petrie to Fran Lebowitz, E.B. White to Dylan Thomas, Colson Whitehead, Nora Ephron, and fellow graphic memoirist Alison Bechdel. Like all these chroniclers of the city, Sohini sometimes questions her illogical attachment to such a difficult place.