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The New Yorker

The New Yorker January 23, 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

Sarah Stillman (“Good Behavior,” p. 46) is a 2016 MacArthur Fellow. She runs the Global Migration Project, at Columbia University’s Graduate School of Journalism. John Seabrook (“My Father’s Cellar,” p. 22) has published four books, including, most recently, “The Song Machine: Inside the Hit Factory.” Elif Batuman (Fiction, p. 56) has been a staff writer since 2010. Her first novel, “The Idiot,” will come out in March. Frank Bidart (Poem, p. 40) will publish “Half-Light: Collected Poems 1965-2017” later this year. Jesse Eisenberg (Shouts & Murmurs, p. 29) is a playwright and an actor, and the author of “Bream Gives Me Hiccups.” Jonathan Blitzer (“Called Away,” p. 30), a member of the editorial staff, was a finalist for a 2016 Livingston Award. Reporting for this piece was facilitated by a grant from the Pulitzer Center…

3 min.
the mail

THE DANGER OF TRUMPISM Kelefa Sanneh on conservative intellectuals’ man-crush on Trump is one of the odder pieces to appear in The New Yorker in some time (“Secret Admirers,” January 9th). In addition to Sanneh’s choice to devote so much space to the musings of an obscure blogger who lacks the courage to use his real name, there is the strangeness of the effort, on the part of the blogger and others, to place Trumpism in the context of a coherent intellectual world view that Trump himself clearly doesn’t possess. The President- elect is the ultimate transactional politician: every position he takes is up for negotiation. Before the election, he claimed that the Electoral College was corrupt and untrustworthy; after his victory, he called it a pillar of democracy. The effort…

40 min.
goings on about town

Madame X, meet Ladies in Sequined Dresses and Sneakers. For “The Museum Workout,” which starts a four-week run on Jan. 19, Monica Bill Barnes and Anna Bass, Everywoman dancers of deadpan zaniness, guide tours of the Metropolitan Museum of Art before public hours, leading light stretching and group exercises as they go. Recorded commentary by the illustrator Maira Kalman, who planned the route, mixes with Motown and disco tunes. Might raised heart rates and squeaking soles heighten perception? CLASSICAL MUSIC OPERA Metropolitan Opera With a new production by Bartlett Sher, the Met finally has a gRomeo et Julietteh that suits both Shakespearefs tragedy and Gounodfs rhapsodic music. The curtain rises on a handsome Veronese piazza (designed by Michael Yeargan), where the chorus is bedecked in glinting jewelry and lavishly colored eighteenth-century-style finery. Vittorio Grigolo…

2 min.
the theatre: let the sunshine in

WHEN “HAIR: The American Tribal Love-Rock Musical” opened on Broadway, in 1968, it featured one of the best young casts ever to appear in an American musical. Diane Keaton, Melba Moore, and Ronnie Dyson were among the show’s stellar performers. The then twenty-twoyear- old Keaton, in addition to having a little solo in “Black Boys,” was one of the few cast members who didn’t shed her clothes in the end. She didn’t see the point. Stories like this abound whenever the subject of “Hair” comes up. My own introduction to the musical was MiloŠ Forman’s 1979 movie version, with all those spectacular dances by Twyla Tharp, and that beautiful clown Annie Golden singing “Let the Sunshine In” into a cold winter sun. What is it about this musical— which concerns a…

2 min.
art: on message

OUR FORTY-FOURTH PRESIDENT, dignity incarnate, leaves office this week to make way for a reality-TV star. Whether you’re looking for art to reflect a sense of outrage and despair or to deliver flashes of joy, Arthur Jafa’s momentous video installation “Love Is the Message, the Message Is Death,” at Gavin Brown’s Enterprise, is required viewing. (It closes Jan. 28.) Jafa’s subject is bigger than politics— it’s the matter of black life in the United States. A century of police brutality and political gains, of triumph, tragedy, and resilience has been distilled into seven lyric and searing minutes of rapid-fire clips culled from a passel of sources. A partial list: silent movies, documentary footage of marches and concerts, sports coverage, music videos, news stories, Hollywood blockbusters, police-dash-cam downloads, citizen journalism, the artist’s…

3 min.
above & beyond

Software for Artists This tech festival invites software coders and enthusiasts to a day of demonstrations and exhibitions that consider software’s capacity for art. Demos include Fundroid, a robot that uses G.P.S., speed, and facial recognition to deliver pizza and beer, and Hope Floats, a console that automates calls to local government officials. (Pioneer Works, 159 Pioneer St., Brooklyn. pioneerworks. org. Jan. 22 at 10 A.M.) AUCTIONS AND ANTIQUES Collectors head back to Sotheby’s this week for sales of American art and Americana. Capitalizing on the current enthusiasm for all things Alexander Hamilton, the house puts a collection of letters and documents, long held by a group of his descendants, up for sale on Jan. 18. The lots, some of which have been out of the public eye for more than two centuries,…