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The New Yorker

The New Yorker November 11, 2019

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.

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in this issue

2 min.

Jon Lee Anderson (“Blood Gold,” p. 40), a staff writer, began contributing to The New Yorker in 1998. He is the author of several books, including “Che Guevara: A Revolutionary Life.” Alexandra Schwartz (The Theatre, p. 84), a theatre critic for the magazine, has been a staff writer since 2016. Adam Hochschild (“Obstruction of Injustice,” p. 28) has written nine books, the most recent of which is “Lessons from a Dark Time: And Other Essays.” Nick Paumgarten (“The Symptoms,” p. 36) began writing for the magazine in 2000. Robin Coste Lewis (Poem, p. 66) is the poet laureate of Los Angeles. Her début collection, “Voyage of the Sable Venus,” won the National Book Award for poetry in 2015. Paul Brownfield (The Talk of the Town, p. 24), formerly the television critic for the Los Angeles…

3 min.
the mail

THE WRITE TOOL John Seabrook, in his piece about predictive-text technology, wonders what the world would be like if artificial-intelligence programs learned to write as well as humans (“The Next Word,” October 14th). He suggests that people “would stop writing, or at least publishing, because all the readers would be captivated by the machines.” Roald Dahl’s 1953 story “The Great Automatic Grammatizator” imagines a remarkably similar world. The Grammatizator can reproduce the styles of all working authors, who have been paid to let the machine take over their careers, and to never again write anything of their own. The story’s narrator refuses to stop writing and go into creative silence. He ends the story with a plea: “Give us strength, Oh Lord, to let our children starve.” Ed AllenVermillion, S.D. Seabrook reported that…

25 min.
goings on about town: this week

The producer and rapper Channel Tres’s home town may be Los Angeles, but the creative DNA of the Midwest—the soulful dance music of the Detroit icon Moodymann, in particular—forms the hypnotic backbone of his sound. Tres seemed to appear from nowhere in 2017, when his pulsing début single, “Controller,” landed on the Internet; even then, the cool stylishness of his blend of hip-house and G-funk was undeniable. He will traverse his concise but enthralling catalogue in a pair of shows at Brooklyn Steel, Nov. 8-9. ART Ernst Ludwig Kirchner Neue Galerie The psychic torment of Kirchner’s life aside, there’s nothing not to love about this overview of the German Expressionist painter, whose uninhibited palette is played up here with the seductive use of flamingo-pink and Prussian-blue walls. Chronologically arranged, the exhibition presents Kirchner’s early-twentieth-century…

2 min.
art: winter preview

This fall, Tribeca became Manhattan’s latest art destination as multiple galleries decamped there from Chelsea. The essential nonprofit Artists Space returns to its roots—it was founded in the neighborhood, in 1972—inaugurating its new home on Cortlandt Alley with an adventurous show of works by Danica Barboza, Jason Hirata, Yuki Kimura, and Duane Linklater (opens Dec. 6). Few painters have achieved the pop-culture stature of Kehinde Wiley, whose fans include President Barack Obama. The Brooklyn Museum pairs a 2005 canvas by Wiley with the neoclassical French picture it’s based on, Jacques-Louis David’s “Napoleon Crossing the Alps,” from 1801 (opens Jan. 24). Wiley’s equestrian subject has a spiritual ancestor in a majestic ancient terra-cotta figure excavated in Niger, in 1985; it’s a highlight of “Sahel: Art and Empires on the Shores of the…

2 min.
the theatre: winter preview

Ivo van Hove is an anomaly: an avantgarde European stage auteur who has become a name brand on Broadway. After his kinetic reinventions of “A View from the Bridge,” “The Crucible,” and “Network,” he returns to scramble up another American classic: “West Side Story.” Few musicals carry such familiarity and sentimental value—qualities that van Hove will inevitably strip away in search of something newer and stranger. The production, beginning previews on Dec. 10, at the Broadway Theatre, features choreography by Anne Teresa De Keersmaeker (supplanting the iconic work of Jerome Robbins) and thirty-two actors making their Broadway débuts. The show joins a number of Broadway offerings in which the star is not an actor but a writer, a director, or a concept. “Girl from the North Country,” which uses the songs…

2 min.
dance: winter preview

As “Riverdance”’s twenty-fifth-anniversary tour approaches (March 10-15, at Radio City Music Hall), one of the mega-show’s former stars offers a radically contrasting vision of Irish dance: Colin Dunne, who has spent the past twenty years deconstructing the form, brings a solo evening, “Concert,” to the Baryshnikov Arts Center (Nov. 14-16). With the focus and the unpredictability of a veteran improviser, he dances his way through the music of the late Tommy Potts, a sagelike fiddler whose sole studio album, “The Liffey Banks,” extended the idea of what traditional Irish music could be. “Swing is from the inside,” the legendary tap dancer Jimmy Slyde once said, referring to that special quality—a mixture of panache and freedom—that elevates a dancer beyond sheer technical brilliance. Slyde had oodles of it, as do the four…