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The New Yorker

The New Yorker December 19, 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.

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2 min.

Judith Thurman ( “Visionaries: Grete Stern,” p. 100) is the author of several books, including “Cleopatra’s Nose: 39 Varieties of Desire,” a collection of essays. John Lahr (“Act of Grace,” p. 52) has written for the magazine since 1991. Elif Batuman (“Visionaries: Epictetus,” p. 84) is the author of “The Idiot,” her first novel, which will be out in March. Alan Burdick (“Present Tense,” p. 68), a staff writer, was previously a senior editor at the magazine. His book “Why Time Flies: A Mostly Scientific Investigation” will be published in January. Negar Azimi (“The Gulf Art War,” p. 74) is a senior editor at Bidoun, an artsand-culture magazine focussing on the Middle East. Reporting and photography for this article was facilitated by a grant from the Pulitzer Center on Crisis Reporting. Raffi Khatchadourian (“The Long…

3 min.
the mail

PROSECUTORIAL ETHICS 101 Stephanie Clifford, in her eye-opening piece about the former New York Police Department detective Peter Forcelli and the wrongful-conviction case of Edward Garry, which is winding its way through the judicial system, says that “there is no manual that Forcelli could write that would stop police departments from pressuring detectives for results or prosecutors from taking on dubious cases” (“A Shot to the Heart,” October 24th). Actually, such a manual does exist for prosecutors: the American Bar Association’s Model Rules of Professional Conduct, which has been adopted by more than a dozen states in the country, including New York. One rule states that the prosecutor in a criminal case “shall refrain from prosecuting a charge that the prosecutor knows is not supported by probable cause.” In the Garry…

45 min.
goings on about town

Most Nativity scenes come equipped with shepherds, magi, and a camel or two, but Roman ruins and a poodle? Those are among the seventy-one elaborate crèche figurines, made in eighteenth-century Naples, that have adorned the base of the holiday spruce (pictured) in the Met’s Medieval Sculpture Hall for more than five decades. A tree lighting is held each afternoon at 4:30 (and at 5:30 and 6:30 on weekends). On Dec. 16, the museum hosts a performance of carols dating from the Byzantine Empire. NIGHT LIFE ROCK AND POP Musicians and night-club proprietors lead complicated lives; it’s advisable to check in advance to confirm engagements. Yasiin Bey (Mos Def) After more than two decades as a champion of heady, often eccentric hip-hop, this Brooklyn rapper and actor seems to have hit a crossroads. He has said…

2 min.
the theatre: time flies

WHEN I FIRST began catching shows downtown, in late-night Manhattan, in the early nineteen-eighties, a fair amount of what I went to see was called performance art. I sort of had a sense of what that was, but didn’t quite understand what made performance art distinct from “regular” theatre: wasn’t it all part of the game of getting people to believe what was happening in real time and space? One of the artists whose work I admired most—whom I believed most—was a young German woman named Anna Kohler. I first saw her at a place called the Red Bar, in the East Village. She was performing in the cramped space with a then young unknown actor named Steve Buscemi and the comedian Mark Boone Junior. I can’t remember what their…

2 min.
art: of late

MARK ROTHKO was a great artist with highfalutin aims, which he summarized, in 1956, as “tragedy, ecstasy, doom, and so on.” That’s a lot to claim for fuzzy rectangles on paper or canvas. But at least the “and so on” holds true. No other painter can occasion feelings so intense, so directly. His pictures are emphatically objects. They are in scale with a viewer’s body, but their color and brushwork have a disembodying effect. You may endorse the artist’s terms for this flustering tension, at a risk of tipping sensation into sentimentality. But his best work will unsettle even a skeptic’s rational ken. The drama persists, though with diminished power, in “Rothko: Dark Palette,” at the Pace gallery (on view through Jan. 7), a show that is long on doom. Except…

2 min.
movies: the memory card

After the overthrow of Salvador Allende, in 1973, the Chilean director Raúl Ruiz emigrated to Paris. There, he became something of a cinematic ambassador for magical realism, bringing a welcome dose of fantasy to the French cinema. A prolific filmmaker who died in 2011, Ruiz is the subject of a retrospective at Film Society of Lincoln Center (it runs through Dec. 22). Its grandest revelation is “Time Regained” (Dec. 19), his sumptuous 1999 adaptation of the greatest modern French literary work, Marcel Proust’s “In Search of Lost Time.” Ruiz distills Proust’s seven-volume work into a mere two hours and fifty minutes, centering the film on the final volume while ranging freely through its other books as well. The movie is constructed as a series of flashbacks from the bedridden author’s last…