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The New Yorker

The New Yorker March 9, 2020

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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United States
Conde Nast US
47 Issues

in this issue

2 min.

Andrew Marantz (“#Winning,” p. 44), a staff writer, has been contributing to The New Yorker since 2011. He is the author of “Antisocial: Online Extremists, Techno-Utopians, and the Hijacking of the American Conversation.” Rivka Galchen (“Complete Trash,” p. 30) has published four books. Her latest, the children’s novel “Rat Rule 79,” came out last year. Alex Ross (“Exodus,” p. 38), the magazine’s music critic since 1996, will publish his third book, “Wagnerism,” in September. Eileen Myles (Poem, p. 48) is the author of, most recently, the poetry collection “Evolution.” Idrees Kahloon (Books, p. 75) is the U.S. policy correspondent for The Economist. Jill Lepore (Comment, p. 25) is a professor of history at Harvard. In September, she will publish her fourteenth book, “If Then: How the Simulmatics Corporation Invented the Future.” Vinson Cunningham (“Test Case,” p.…

3 min.
the mail

THIS GREEN EARTH John Cassidy’s critique of continual economic growth brings welcome attention to a grave concern of many environmental scientists (“Steady State,” February 10th). He nicely describes the alternative economic approach referred to as “green growth,” which some people believe will allow us to “enjoy perpetual growth and prosperity while also reducing carbon emissions and our consumption of natural resources.” Unfortunately, it seems that green-growth enthusiasts have drunk a more diluted batch of the same Kool-Aid as people who think that conventional growth can go on indefinitely. Perhaps economic growth can be decoupled from carbon emissions, but we still need to deal with invasive species, desertification, and other insults to natural ecosystems. Clever new technologies can help, but efficiency gains are finite and can be overwhelmed when these technologies are…

29 min.
goings on about town: this week

Armie Hammer, last seen on Broadway in “Straight White Men,” returns to the stage in Tracy Letts’s “The Minutes,” now in previews at the Cort. Letts, who is also in the cast, tends to play stuffed shirts in movies such as “Little Women” and “Ford v Ferrari,” but his plays, which include “August: Osage County” and “Bug,” are darkly subversive. In “The Minutes,” which ran at Chicago’s Steppenwolf, he uses a small-town city-council meeting to suss out themes of power and its perversions—Trumpism writ small. ART “Peter Saul: Crime and Punishment” New Museum The timeliest as well as the rudest painting show of this winter happens to be the first-ever New York museum survey of this American aesthetic rapscallion. Recognition so delayed bemuses almost as much as a reminder of the artist’s current age:…

2 min.
art: spring preview: art

Bells on the Waterfront, a Milestone at the Met Shortly after the Metropolitan Museum of Art was founded, in 1870, Henry James wrote a prescient review of its first show, describing the selection of Old Master paintings as “an enviably solid foundation for future acquisition and development.” A hundred and fifty years later, those acquisitions span more than five thousand years. The building-wide exhibition “Making the Met: 1870-2020” highlights a cross-section of that encyclopedic collection, from a life-size limestone statue of the Egyptian Queen Hatshepsut, made circa 1479-58 B.C., to a bronze dancer by Edgar Degas, cast in 1922. (Opens March 30.) Climate-crisis awareness and boho chic both fuel renewed interest in the tradition of boro, a ragtag quilting process born of necessity, in the nineteenth century, in the wintry Japanese region…

2 min.
night life: spring preview: night life

Experimental Jazz, Funky Bass, Sullen Pop Spring soon arrives, ushered in by pop music’s blossoming superstar Billie Eilish, whose often sullen stylings, though not exactly seasonal in mood, are sure to be one of the year’s biggest draws. She plays a pair of shows, one at Madison Square Garden (March 15) and the other at the Barclays Center (March 20), as she comes off her sweep of the Grammys’ biggest awards. In those arenas, she’s in the company of giants, with such legacy acts as Pearl Jam (March 30, Madison Square Garden), Elton John, on his long-term farewell tour (April 6-7, Madison Square Garden and April 10-11, the Barclays Center), and Billy Joel, in his ongoing monthly residency (March 19 and April 10, Madison Square Garden)—but it’s largely the more intimate…

2 min.
classical music: spring preview: classical

An Opera Diva, Beethoven, Bartók This year marks the two-hundred-and-fiftieth anniversary of Beethoven’s birth, and Carnegie Hall is taking charge of the celebration. Yannick Nézet-Séguin conducts the symphonies with the Philadelphia Orchestra (March 13, March 20, March 26, and April 3), and a pantheon of celebrated talents covers the keyboard repertoire—András Schiff (April 2 and April 5), Mitsuko Uchida (April 7), Yefim Bronfman (April 21), Emanuel Ax (May 14), and Maurizio Pollini (May 17) among them. In Zankel Hall, the Ébène Quartet performs the composer’s sixteen string quartets across six concerts, an endurance test if ever there was one (April 17-19, April 30, and May 1-2). Not to be entirely eclipsed, Bartók also claims a spotlight: the Chamber Music Society of Lincoln Center programs his rhythmically ferocious masterpiece Sonata for Two Pianos…