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The New Yorker

The New Yorker February 13-20, 2017

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

2 min.
contributors

Patrick Radden Keefe (“Journeyman,” p. 52) is an Eric and Wendy Schmidt Fellow at New America and the author of “Chatter” and “The Snakehead.” Dana Goodyear (“Valley Cats,” p. 44), a staff writer, has published three books, including “Honey and Junk” and “Anything That Moves.” Thomas Mallon (Books, p. 89) is a novelist, an essayist, and a critic. “Finale: A Novel of the Reagan Years” came out in paperback in August. E. Tammy Kim (The Talk of the Town, p. 33), a member of the magazine’s editorial staff, co-edited the book “Punk Ethnography.” John W. Tomac (Cover) has contributed illustrations to the Wall Street Journal, the Washington Post, and the Village Voice. Rae Armantrout (Poem, p. 59) is the author of “Partly: New and Selected Poems.” A poetry chapbook, “Entanglements,” will be published this month. Kathryn…

4 min.
the mail

APOCALYPSE NOW The cowardice and the greed of most of the subjects in Evan Osnos’s article on the hyper-wealthy’s preparations for disaster and apocalypse scream out from the page (“Survival of the Richest,” January 30th). Where are the philanthropists and the large-minded benefactors? Eradicating diseases is great and eye-catching, but where is the concern for one’s own community? If today’s billionaires worked together to house the homeless or to guarantee a basic income for the less fortunate, the “revolution” wouldn’t be necessary. And, with the so-called leaders of society refusing to pay their share of taxes, it’s easy to imagine the majority of people following suit. With no morally sound role models to emulate, it’s now up to each individual to formulate her or his own ethos. Woe to the people…

52 min.
goings on about town: this week

Twin City locals might describe their home-town temperament as a genial passivity combined with a fondness for the last word. The Minneapolis group Bad Bad Hats brings fluid indie rock to Baby’s All Right on Feb. 12, in which the vocalist Kerry Alexander’s doe-eyed stylings defang her first-person screeds. “I bought this dress to spite you, I wear it ’cause I hate you,” she sings lovingly on “Things We Never Say”; such couplets litter the band’s superb début, “Psychic Reader,” and suggest that the young songwriter is rarely left speechless. OPENING Fifty Shades Darker An erotic-thriller sequel, based on the novel by E. L. James, starring Dakota Johnson as a woman in a masochistic relationship with a rich man Qamie Dornan). Directed by James Foley. Opening Feb. 10. (In wide release.) •…

3 min.
movies: sanctuary city

THE DEAD ARE haunting “We Were So Beloved,” Manfred Kirchheimer’s personal documentary, from 1986, about the Washington Heights community of German Jewish people who escaped or survived Nazi Germany. It’s a film about Kirchheimer himself, who arrived in New York in 1936 with his parents, and about the new life that they built as refugees. It’s also a film about those who didn’t make it to the United States and were killed by the Nazis. Interviewed in his apartment, Kirchheimer’s father, Bert, states that forty-six members of his family were killed by the Nazi regime. A family friend, Mrs. Krakow, says that she lost more than twenty family members in the Holocaust. And virtually all the interviewees attest to the fact that many more European Jews could have been saved…

2 min.
art: down and in

IN 1964, PETULA CLARK had a hit with “Downtown.” But the songwriter Tony Hatch has said he was inspired by Times Square—a solecism forgivable from a Brit. In native parlance, the word denotes Manhattan below Fourteenth Street. “Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965,” a jam-packed show at New York University’s Grey Art Gallery, surveys a defining epoch in the geographical mythos. Streets previously almost barren of art spaces—in Greenwich Village, on the Lower East Side, and in what came to be christened by real-estate agents the East Village—sprouted do-it-themselves co-op and shoestring galleries, some with the life spans of mayflies but others in for long hauls. (The Tanager gallery, hospitable to overlapping circles of abstract and figurative painters, lasted ten years; the similarly oriented Hansa, largely showing…

3 min.
the theatre: paging geraldine

GERALDINE PAGE, who was born in Missouri in 1924, was an original and ferocious actress—some thought the greatest of her generation—whose sense of the gothic was profound. She played everything from Alexandra Del Lago in Tennessee Williams’s “Sweet Bird of Youth” to the disturbed head of a school for young women in Clint Eastwood’s early film “The Beguiled.” In role after role, Page pierced the skin of a character’s more disconcerting qualities, illustrating the psychic disturbances and the hidden joys of being human, of feeling strange in a strange land. Page had her first big success in the 1952 revival of Williams’s “Summer and Smoke.” Reflecting on her work in that show, the revolutionary director José Quintero said that no actress used props the way Page did: she made them more…