“What’s the Deal, Hummingbird?”
by Arthur Krystal
from the January 24, 2022 issue of The New Yorker
For a couple of decades, Arthur Krystal has been a critic and essayist, with many pieces showing up in Harper’s, The New York Times Book Review, the Times Literary Supplement, and The New Yorker, among others. He has published Agitations: Essays on Life and Literature (2002), The Half-Life of an American Essayist (2007), Except When I Write: Reflections of a Recovering Critic (2011) and This Thing We Call Literature (2016). I think this is the first time any of his fiction has shown up in The New Yorker. I don’t know his work at all, but I like the way “What’s the Deal, Hummingbird?” starts and look forward to finishing it:
On or around May 5th of 2020, he just stopped. He stopped exercising, stopped walking, stopped reading, stopped planning. He ate, drank, washed, and paid the bills, but that was it. He was seventy-three. He’d spent more than 38,368,800 minutes on earth, only a precious few of which he remembered. That’s what hit him one evening, after the cheering and clanking of pots and pans had died down: a vast chunk of his life—the greater part of his life—might as well never have occurred. Not just the time spent sleeping but those millions of minutes spanning lunches, dinners, meetings, concerts, marriage, work, books, movies, conversations—all gone. What remained? A bird’s breath of his existence.
Have you read anything by Krystal? What do you think of this story. I would love to hear what you have to say in the comments below.



Krystal is himself 74 years old, as I suspected. Lots of nice reminiscences, with a good summing up at the end,. I didn’t like all the “He remembered” intros, it made it sound like a lit class exercise at making lists. Still, lots of nice items. Many famous people mentioned, I have to assume that he actually saw them. So — if I wanted to write this kind of story/essay, how would I get notable items?
It did what a good story does, it brought me back and I could relate to his references like they were my own. That’s a good thing
My question is why was this not just published as an essay or memoir? I enjoyed the content of it and I know “auto fiction” is becoming more prevalent but I just felt like I was reading a column in a magazine not a short story.
William had complained about ideas predominating in the Graham Swift story but it’s much more of a situation here.
It made me cry, it made me laugh, it made me glad still, at 86, to have memories even if I never saw Jackie Onassis on an elevator. Except maybe for the line “The pandemic perked him up,” it seemed to me wholly fictional (and thus not an essay). It proves its fictional bonafides by having Ozawa conducting in a “tent” instead of the Shed (built 1938). The real Ozawa would never have conducted in a tent no matter how fierce the storm outside.
I liked the story and loved the last paragraph.
Ageing, memory and grief, haunting.