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The New Yorker

The New Yorker March 13, 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

Ariel Levy (“Secret Selves,” p. 58), a staff writer, is the author of the memoir “The Rules Do Not Apply,” which is out this month, and is based on her New Yorker article “Thanksgiving in Mongolia.” Jake Halpern (“A New Underground Railroad,” p. 32) is the co-creator of “Welcome to the New World,” a graphic narrative about Syrian refugees, which runs regularly in the Times. Anne Enright (Fiction, p. 68), the current Laureate for Irish Fiction, is the author of several books, including, most recently, “The Green Road.” Jelani Cobb (Comment, p. 27) teaches in the journalism program at Columbia University. Robert Pinsky (Poem, p. 64) is the author of, most recently, the poetry collection “At the Foundling Hospital.” Sarah Hutto (Shouts & Murmurs, p. 41) has contributed humor pieces to newyorker.com, McSweeney’s, and The…

3 min.
the mail

MATTERS OF FACT Elizabeth Kolbert’s review of three books about the psychology of human reasoning will help readers understand the intransigence of Trump supporters in the face of facts, but I’m a bit annoyed that psychologists are getting a lot of new mileage out of ideas that philosophers have held for many years (Books, February 27th). As if we need data to prove that human reason has its limits! For more than fifty years, philosophers have argued that each of us has what Willard Van Orman Quine called a “web of belief,” and that we accept or reject a belief on the basis of how well it fits into this web. Beliefs at the center are entrenched, because changing them would require rebuilding large parts of the web, while those on…

34 min.
goings on about town: this week

Growing up in Detroit in the nineteen-eighties, Carl Craig was relieved of the burden to invent. D.j.s like his mentor, Derrick May, had already hatched techno, leaving the teen-ager to toy with its lofty limits. Since 1991, when Craig released his first EP, “4 Jazz Funk Classics,” he has rethought the cavernous 808 drums of his city’s sound; his 2013 record “Masterpiece” included sparse, ambient tracks inspired by David Lynch. On March 11, Craig’s “Detroit Love” party returns; as is underground custom, coordinates will be announced the day of. OPENING Actor Martinez Reviewed in Now Playing. Opening March 10. (In limited release.) • Kong: Skull Island Reviewed this week in The Current Cinema. Opening March 10. (In wide release.) • Personal Shopper Kristen Stewart stars in this thriller, directed by Olivier Assayas,…

2 min.
movies: spring preview

TERENCE DAVIES WROTE and directed “A Quiet Passion” (opening April 14), a biopic about Emily Dickinson that veers from screwball comedy to tragedy. It stars Cynthia Nixon, who portrays the poet as a lacerating lampooner of the New England mores and manners that constrained her life and impeded her career. Jennifer Ehle co-stars as the poet’s sister, Vinnie; Keith Carradine plays their father; Catherine Bailey plays Dickinson’s freethinking friend Vryling Buffam. James Gray’s “The Lost City of Z” (April 14), based on the book by David Grann, of The New Yorker, stars Charlie Hunnam in a historical drama about the British explorer Percy Fawcett, who sought to overturn demeaning assumptions about indigenous cultures by proving their sophistication. In the early twentieth century, Fawcett led two expeditions in search of the…

2 min.
night life: spring preview

DANCE MUSIC, WITH its easy beat and ever-expanding appeal, has influenced all kinds of musicians, banging sounds and styles into rigid form while working through new tones in real time. Take New Order, the English futurists who, after exploring the mega-clubs of earlynineteen- eighties New York, released “Blue Monday” and the seminal album “Power, Corruption & Lies,” noodling with new kick-drum cadences and dollops of jostling Italo synthesizer. The band’s turn away from straight-ahead post-punk helped it move past its origins, as Joy Division, and live up to its forward-looking name. Ahead of an appearance at Coachella, New Order returns to Radio City Music Hall, on April 13. In 2007, during one of several stints in prison, the rapper Gucci Mane gained popularity with coastal club crowds, miles away from his…

2 min.
classical music: spring preview

YOU WOULD HAVE TO go back to Eleanor Steber—Mozart’s Countess, Barber’s Vanessa—to find an American soprano who combines refulgent vocal tone with innovative repertoire as splendidly as Renée Fleming. In the course of her long career, Fleming has transitioned from the newcomer with “The Beautiful Voice” to a stateswoman of American music. Now that journey reaches a milestone: the Metropolitan Opera’s new production of “Der Rosenkavalier” (opening April 13) will be her final portrayal of the role of the Marschallin. (The estithe newcomer with “The Beautiful Voice” to a stateswoman of American music. Now that journey reaches a milestone: the Metropolitan Opera’s new production of “Der Rosenkavalier” (opening April 13) will be her final portrayal of the role of the Marsch (March 30-April 22) offers irresistible vocal glamour, as Anna…