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The New Yorker

The New Yorker January 2, 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

Yiyun Li (“To Speak Is to Blunder,” p. 30) is the author of several books, the most recent of which, “Dear Friend, from My Life I Write to You in Your Life,” will be published in February. Dexter Filkins (“Before the Flood,” p. 22), a staff writer, is the author of “The Forever War,” which won a National Book Critics Circle Award. Camille Bordas (Fiction, p. 56) is a French writer. “How to Behave in a Crowd,” her first English-language novel, will be out next August. Joan Acocella (Dancing, p. 74) has written for The New Yorker since 1992, and became the magazine’s dance critic in 1998. Ian Frazier (Shouts & Murmurs, p. 29) recently published “Hogs Wild: Selected Reporting Pieces” and is working on a book about the Bronx. Emma Allen (The Talk of…

3 min.
the mail

TURKEY’S PREACHER Dexter Filkins’s article on the Muslim scholar and preacher Fethullah Gulen, the founder of the social and religious movement Hizmet, of which I am a participant, misrepresents Gulen and leaves unchallenged a series of claims against him (“Turkey’s Thirty-Year Coup,” October 17th). Filkins refers to statements that Gulen made decades ago regarding Jews, but does not explain the evolution of his views, which Gulen has clarified in other interviews, or mention his consistent criticism of terrorist attacks in Israel and support for interfaith dialogue. Gulen has also repeatedly condemned the July 15th attempted coup against Turkey’s President, Recep Tayyip Erdoğan, and he has vehemently denied any involvement. This article perpetuates many of the dangerous myths and false allegations against Gulen that President Erdoğan has used to justify his authoritarian…

40 min.
goings on about town: this week

August Wilson’s life work was his “Century Cycle,” a ten-play portrait of black life in Pittsburgh’s Hill District, each set in a different decade. (“Fences,” the nineteen-fifties entry, is now a movie.) Until this month, only one had not played on Broadway: “Jitney,” about gypsy-cab drivers in the seventies. Manhattan Theatre Club’s production, directed by Ruben Santiago-Hudson and featuring John Douglas Thompson, Carra Patterson, and André Holland, starts previews Dec. 28, at the Samuel J. Friedman. THE THEATRE OPENINGS AND PREVIEWS Coil 2017 P.S. 122’s annual festival returns, with works including Yehuda Duenyas’s “CVRTAIN,” which uses virtual reality to create a cheering audience of thousands; Forced Entertainment’s “Real Magic,” an absurdist take on the art of illusion; and Yara Travieso’s “La Medea,” which recasts the Euripides tragedy as a live TV tell-all. For the…

2 min.
night life: bad mind

In a photo published in 1982 by the small zine Maniac!, Paul Hudson, known then as H.R., stood over a pile of bricks and soil in a scraggly garden, his legs spread apart and every inch of his shirtless upper body tightly flexed. He called it his “last official punk pose,” and in the accompanying interview he explained why he was stepping away from his band, Bad Brains, changing his name to Joseph I, and starting a new, Rastafarian-influenced reggae outfit, Zion Train. “I was desperately searching for revolution and truth and freedom. I thought I could find it in punk rock,” he said. “It took me about three years to discover that I was just beating my head against a wall.” As teen-agers in Washington, D.C., in 1978, Hudson, his…

3 min.
goings on about town: above & beyond

Good Riddance Day Look around your apartment, dig through your desk, flip through your wallet—it shouldn’t take long to find a physical relic of 2016 that you’d like to leave behind. In a self-promotional public service, the information-destruction servicer Shred-It is offering New Yorkers the chance to purge their unwelcome artifacts before the ball drops, by handing them over to be permanently and securely shredded in the middle of Times Square. The remains will be recycled, unlike año viejos, the puppets of Latin America whose annual stuffing and burning are the inspiration for this event. (Times Square Plaza. timessquarenyc.org. Dec. 28 at noon.) New Year’s Eve Ride Most New Year traditions, whether a countdown with thousands or a kiss with one, call for a static gathering. But this annual group ride, now in…

2 min.
tables for two: lenox saphire

There are two reasons Phil Young is an uptown legend. First, for his work as a florist: for many years, he ran the Carolina Flower Shop, one of Harlem’s oldest and most beloved stores. Second, for his drumming: in the early sixties, when Phil was in his teens, his band won a competition at the Apollo Theatre. The legendary blues and R. & B. singer Bobby (Blue) Bland happened to be there, and asked Young to tour with him in night clubs around the country. A music career drumming for the likes of George Benson and Dizzy Gillespie followed. These days, Phil invites a group of his musician friends to play two sets of jazz, blues, and soul on Thursdays at Harlem’s Lenox Saphire, a Senegalese-American restaurant a few blocks from…