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The New Yorker

The New Yorker August 29, 2016

Founded in 1925, The New Yorker publishes the best writers of its time and has received more National Magazine Awards than any other magazine, for its groundbreaking reporting, authoritative analysis, and creative inspiration. The New Yorker takes readers beyond the weekly print magazine with the web, mobile, tablet, social media, and signature events. The New Yorker is at once a classic and at the leading edge.

Country:
United States
Language:
English
Publisher:
Conde Nast US
Frequency:
Weekly
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47 Issues

in this issue

1 min.
contributors

Vinson Cunningham (“A Darker Presence,” p. 34) recently joined The New Yorker as a staff writer. His work has appeared in the Times Magazine and McSweeney’s. Jelani Cobb (Comment, p. 25) teaches in the journalism program at Columbia. “The Substance of Hope” is his latest book. Paul Rudnick (Shouts & Murmurs, p. 40) is the author of “It’s All Your Fault,” which was published earlier this year. Ed Caesar (“The Moscow Laundromat,” p. 42) is a British journalist. “Two Hours: The Quest to Run the Impossible Marathon” is his first book. Julie Bruck (Poem, p. 48) won the Governor General’s Award in 2012 for her poetry collection “Monkey Ranch.” J. J. Sempé (Cover) is a longtime contributor of covers and art works to the magazine. “Sempé: A Little Bit of France” is one of his…

3 min.
the mail

TRUMPLAND George Saunders’s article on Donald Trump’s supporters was written in an unusual style for the magazine: fragmented, colloquial, and, at times, rambling and chaotic— a perfect representation of Trump’s fans (“Trump Days,” July 11th & 18th). This election has brought “aspiration” to the forefront of political choice. The left hopes that, by electing Clinton, the ongoing experiment called America will continue to be aspirational for other nations; Trump supporters, on the other hand, seem to aspire to be more like Trump. This constitutes aspiring to a superficial candor and to wealth that is underpinned by tasteless gluttony, and summarized perfectly by one supporter: “I love that everything in Trump’s house is gold.” Let us remember that King Midas was his own undoing. Aneesha Dharwadker Urbana-Champaign, Ill. As a subscriber who leans center-right, I…

33 min.
goings on about town: this week

In a teaser for Adult Swim’s “The Eric Andre Show,” the comedian of the title subjects celebrity guests to slapstick torture set to “Slim Trak.” The clip’s absurd score, by the anonymous Berlin producer DJ Paypal, part of the Teklife crew, is an electric showcase of the footwork sound, from Chicago, in which jagged vocal samples pound into cumbia drum loops like pistons in a cylinder. On Aug. 27, Paypal plays at MOMA PS1’s Warm Up. He uses a T-shirt to obscure his identity—if it gets too sweaty, he may lose the shades. ART MUSEUMS AND LIBRARIES Metropolitan Museum “Cornelia Parker: Transitional Object (PsychoBarn)” This year’s commission for the museum’s rooftop by the technically gifted, if occasionally gimmicky, British sculptor is a scaled-down version of the ramshackle house from Hitchcock’s “Psycho.” (It also pays…

2 min.
art: fall preview

Fall Preview THE MOST ANTICIPATED show of the season is the Met Breuer’s retrospective of the American figurative painter Kerry James Marshall. Marshall, now sixty and based in Chicago, was born in Jim Crow-era Alabama and moved, with his family, to the Watts neighborhood of L.A. in 1963. Early exposure to the civil-rights movement had a profound effect on the artist, whose paintings reboot classical genres to redress the exclusion of black subjects from history. The show’s title, “Mastry,” is lifted from Marshall’s ongoing series of comic-book-inspired works, with superheroes based on the Yoruba pantheon (opens Oct. 25). Two champions of pared-down abstraction are also in the spotlight. The painter Carmen Herrera, who turned a hundred and one in May, was born in Havana and honed her vivid, hardedged geometries in postwar…

2 min.
classical music: fall preview

Fall Preview In a photograph taken on September 16, 1966, just before the world premiere of Barberšfs ill-fated šgAntony and Cleopatrašh.the Metropolitan Operašfs first performance in its new auditorium. the conductor, Thomas Schippers, looks out from the pit with a thousand-yard stare. The image, which the Met has placed on the inside flap of its new season calendar, could be a metaphor for the companyšfs current condition: proud of its past, yet fearful of the future. But skeptics should remember that the company, despite its financial and administrative challenges, still manages to deliver world-class performances, week after week. The Metšfs fiftiethanniversary season at Lincoln Center is inaugurated by two of its biggest stars, the soprano Nina Stemme and the conductor Simon Rattle, in Wagneršfs šgTristan und Isoldešh (Sept. 26-Oct. 27); the…

2 min.
dance: fall preview

Fall Preview American ballet is finally waking up to the glaring shortage of new works by female choreographers. This fall, both of the big New York companies will feature new pieces by women— Lauren Lovette and Annabelle Lopez Ochoa, at New York City Ballet (at the Koch, Sept. 20-Oct. 16), and Jessica Lang, at American Ballet Theatre (at the Koch, Oct. 19-30). A.B.T.’s fall season is promising in other ways, too. The company is bringing back Frederick Ashton’s “Symphonic Variations,” a work of pristine beauty and Apollonian calm, created just after the Second World War. It has also imported Benjamin Millepied’s “Daphnis and Chloe,” first performed by the Paris Opera two years ago. This deft setting of Ravel’s lush score exposes a more openhearted side of Millepied, and the ballet is…