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The New Yorker

The New Yorker January 16, 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

Sheelah Kolhatkar (“Total Return,” p. 34) became a staff writer in 2016. Her book, “Black Edge: Inside Information, Dirty Money, and the Quest to Bring Down the Most Wanted Man on Wall Street,” will be published in February. Kadir Nelson (Cover) is an artist whose work will be included in the Society of Illustrators’ exhibition “Illustrators 59: Book and Editorial,” on view February 1st-26th. Vinson Cunningham (“Making God Famous,” p. 26) is a staff writer. Corey Van Landingham (Poem, p. 58), the author of the poetry collection “Antidote,” was awarded a 2017 National Endowment for the Arts Fellowship. Ian Parker (“The Culling,” p. 42) has been a staff writer since 2000. David Denby (Books, p. 76), a staff writer and a former film critic for the magazine, is the author of “Lit Up: One Reporter.…

3 min.
the mail

MOSUL’S OTHER CRISIS Thank you for Dexter Filkins’s recent article about the grave risk that the Mosul Dam poses to Iraq (“Before the Flood,” January 2nd). Large dams, relying on shaky science (or ignoring good science), have for decades devoured development funds while creating more problems than they’ve solved. Dams are often built under authoritarian regimes, exacerbating political instability while destroying many citizens’ lives and livelihoods. History has shown that dams are too costly a method of generating electricity, and this is particularly true in Iraq, which has vast and unexploited solar potential. Factoring in the ninety-seven- per-cent average cost overrun for large dams, a new structure downstream from the Mosul Dam could cost around four billion dollars. Dams are also a foolhardy investment: in our changing climate, desert reservoirs are…

41 min.
goings on about town

The soul of silent film is comedy—the knockabout, loose-limbed antics of vaudevillians who sacrificed speech and song to the movies’ technical wonders and expressive intimacy. This year’s edition of MOMA’s silent-era series, “Cruel and Unusual Comedy” ( Jan. 13-26), offers off-the-cuff rowdiness from overlooked artists, including Mabel Normand, who also directed ten of her own early short films. In “Mabel’s New Hero” ( Jan. 14 and Jan. 22), from 1913, she’s paired with Roscoe (Fatty) Arbuckle under the direction of the slapstick pioneer Mack Sennett. CLASSICAL MUSIC OPERA Metropolitan Opera With a new production by Bartlett Sher, the Met !inally has a “Roméo et Juliette” that suits both Shakespeare’s tragedy and Gounod’s rhapsodic music. The curtain rises on a handsome Veronese piazza (designed by Michael Yeargan) where the chorus is bedecked in glinting jewelry…

3 min.
mother tongue

THOUGH LUIGI PIRANDELLO’S name is synonymous with the breaking of theatrical boundaries, much of his work is narrative, including the fifteen-volume set “Short Stories for a Year,” comprising more than two hundred tales, published between 0122 and 0134. Five of these folkloric and political stories, set in his native Sicily in the late nineteenth and early twentieth centuries, were adapted by the Taviani brothers, Paolo and Vittorio, for the luminous three-hour-plus feature “Kaos,” from 0156, playing at Film Forum Jan. 03-01, in a series of films based on Pirandello’s writings. Beginning with a mysterious prologue, in which a group of peasants wantonly capture a raven and tie a bell around its neck, the Tavianis fuse many strands of Pirandello’s experience and interests: myth and anthropology, unredressed economic inequality and feudal authority,…

3 min.
above & beyond

Zlatne Uste Golden Festival Eastern European and Middle Eastern music, dance, and culture coalesce at this annual festival, held in New York City for more than thirty years. Balkan traditions and customs unfold across two nights and four stages, where attendees can shop for folk arts and sample the wide array o# foods native to the region, spanning roughly from Romania to Greece and from Croatia to Turkey. The main draw is a marathon o" groups staging performances from the region, including Egyptian traditional dance, a Slavic chorus, a Balkan brass band, and a Mediterranean out!it o" violin, accordion, and clarinet. Pro!its generated from ticket sales will be donated to charitable and educational organizations aiding Balkan communities. (The Grand Prospect Hall, 263 Prospect Ave., Brooklyn. goldenfest.org. Jan. 13-14.) AUCTIONS AND ANTIQUES The collection…

2 min.
agern

WHEN GRAND CENTRAL TERMINAL first opened its doors, a century ago, there was a Russian bath in the Men’s Waiting Room. Last April, Claus Meyer, a Danish food entrepreneur and the co-founder of Noma, in Copenhagen, opened a Nordic eatery named Agern in that lost oasis. Two hard-to-find entrances lead into an elegant room of muted Aalto-ish minimalism. Glowing silvery orbs hang from the ceiling, an echo of both the celestial mural in the main concourse and the starry sky that cloaks Scandinavia in darkness for much of the year. If Grand Central is a cathedral for commuters, Agern is a chapel for indulging the senses. Best to stay put. The head chef, Gunnar Gíslason, grew up in northern Iceland, and the menu at Agern features the flavors of his childhood,…