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The New Yorker

The New Yorker March 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.

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47 Issues

in this issue

2 min.

Emma Allen (“Mom-and-Pop Shop,” p. 72), who will become The New Yorker ’s cartoon editor in May, has been a member of the magazine’s editorial staff since 2012. Lorenzo Vitturi (Portfolio, p. 62) is a photographer and sculptor based in London. His latest exhibitions were at the Photographers’ Gallery, in London, and the Yossi Milo Gallery, in New York. D. T. Max (Portfolio, p. 62) is the author of “Every Love Story Is a Ghost Story: A Life of David Foster Wallace.” Anthony Lane (The Current Cinema, p. 100) has been a film critic for The New Yorker since 1993. Michelle Brittan Rosado (Poem, p. 60), a Ph.D. candidate in literature and creative writing at the University of Southern California, is at work on her first poetry collection. Charles Bethea (The Talk of the Town,…

4 min.
the mail

PUTIN, TRUMP, AND THE U.S. David Remnick, Evan Osnos, and Joshua Yaffa’s fascinating, and horrifying, article on Russian interference in the U.S. Presidential election was highly informative, but it seemed to avoid making a definitive statement about whether Russia’s involvement had a direct impact on the election’s outcome (“Active Measures,” March 6th). Everybody—including The New Yorker—seems to be following Obama’s lead in not doing or saying anything too concrete, for fear of seeming too “political.” But surely the time to worry about appearing partisan has passed, now that we’re in the hands of a President who encourages pollution, deregulation, and a profit-based educational system, and who exhibits a raw hatred of anyone who isn’t white, male, straight, Christian, and native born. Despite all the knowledge and the evidence in this article,…

52 min.
goings on about town

ART MUSEUMS AND LIBRARIES Museum of Modern Art “Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction” The more serious you are about modern art, the more likely you are to be stupefied by this retrospective, elegantly curated by Anne Umland, of the merrily nihilistic Frenchman who strewed the first half of the twentieth century with the aesthetic equivalent of whoopee cushions. As a painter, a poet, a graphic artist, an editor, and a set designer, Picabia mastered, and mocked, canonical styles, with an emphasis on Dada—a movement in which he co-starred with his friend Marcel Duchamp, and which raised travesty to a beau ideal. Most of what’s on view crackles with immediacy, popping free of its time to wink at the present, but not much of it truly pleases.…

3 min.
l.a. rhapsody

The other day, the composer and conductor Esa-Pekka Salonen sat in a sparsely decorated office in West Los Angeles, eying the score of his new cello concerto, which Yo-Yo Ma, Alan Gilbert, and the New York Philharmonic will perform on March 15-18, at David Geffen Hall. The state of the world was weighing on him, and he wondered what a large-scale instrumental work could offer. “I suppose that to write a piece like this is, in itself, an optimistic gesture,” he said. “To devote thousands of hours to such a thing, over two years—you have to hope that people out there can accept a certain degree of complexity. I’m always suspicious of things that see themselves as art. That has to be earned. But if you happen to sit down…

3 min.
bird song

As Merce Cunningham was trying, in the nineteen-fifties, to cleanse his dances of story and symbol—that is, more or less, to throw off the influence of Martha Graham, the most celebrated choreographer of the period—one of the main things beckoning him forward, apart from just mid-century modernism, was nature. He grew up in the small town of Centralia, Washington. He knew trees and birds and dirt roads, and he knew that however lovely nature is it is not sweet, and it won’t tell us what it means. Furthermore, it’s huge. A bird that you can hear, maybe even see, in a hedge one minute is gone the next, and someone else is hearing it somewhere else. A key piece that Cunningham made at this time was “Summerspace” (1958), in which six…

2 min.
as is

Nina Kraviz is a former dentist from Siberia who is now one of the most celebrated figures in the international techno scene: a d.j., a producer, and— when necessary—a music critic. Last year, after her three-hour set in Melbourne drew a mixed reaction, Kraviz posted a thorough analysis on Facebook, explaining precisely how she had used mischievous stylistic digressions and jarring tempo shifts to create a “wild, ravy mix” that confounded expectations. She reported that while the dance floor stayed full, a few patrons demanded refunds. “People wanted ‘techno’ and I offered none in their opinion,” she wrote. “In fact all I played was pretty much techno at least in my own definition but much of a broader spectrum.” Kraviz grew up in Irkutsk; as a girl, in the nineteen-nineties, she…