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The New Yorker

The New Yorker May 16, 2016

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

Adam Gopnik (“Feel Me,” p. 56) has been a staff writer since 1986. His books include “Paris to the Moon” and “The Table Comes First: Family, France, and the Meaning of Food.” George Packer (Comment, p. 31) won a National Book Award for “The Unwinding: An Inner History of the New America.” Mary Karr (“High Maintenance,” p. 45) recently published “The Art of Memoir” and “Now Go Out There.” Elisabeth Zerofsky (The Talk of the Town, p. 36) is a member of the magazine’s editorial staff. Jen Spyra (Shouts & Murmurs, p. 47), a former senior writer for the Onion, is a staff writer for “The Late Show with Stephen Colbert.” Christoph Niemann (Cover) will publish “Words,” a visual dictionary for children, and “Sunday Sketching,” a book of illustrations of his creative process, in the…

3 min.
the mail

FAMILY MATTERS Siddhartha Mukherjee, in his article on genetics and mental illness, reflects that our psychoses, anxieties, and manias, however destructive, are inextricable parts of our identity (“Runs in the Family,” March 28th). The complexities of the “self” is a conversation we begin even in childhood. In my school cafeteria, a group of classmates began talking about a friend who had been prescribed antidepressants to treat manic depression. Having grown up with a mother who suffered from clinical depression, I suggested that maybe she needed the medication, saying, “It might make her brain go back to how it should be.” But other friends insisted, “When she takes the pills, she’s just not herself anymore.” Like Mukherjee noticing his uncle’s sweetness despite his schizophrenia, we could see the paradox of a cure…

50 min.
goings on about town: this week

New York City pigeons get a bad rap. But for every Woody Allen, who dismissed them onscreen as “rats with wings,” there’s a Nikola Tesla, who fell in love with a female bird that flew into his room at the St. Regis. The artist Duke Riley sides with ardor in “Fly by Night,” his new piece for Creative Time. Each weekend until June 12, Riley will tie little L.E.D. lights to two thousand homing pigeons and release them at sunset from a Vietnam-era aircraft carrier, docked at the Brooklyn Navy Yard. Somewhere, Tesla is smiling. ART MUSEUMS AND LIBRARIES Metropolitan Museum “Pergamon and the Hellenistic Kingdoms of the Ancient World” Closed for renovations until 2019, Berlin’s Pergamon Museum has sent the Met its greatest marbles and effigies from the centuries after Alexander the Great, resulting…

2 min.
gross indecency

On April 5, 1895, Oscar Wilde was holed up at the Cadogan Hotel, in London, torn between fleeing the country and facing a parlous fate. Spurred by his sometime paramour Lord Alfred Douglas, known as Bosie, Wilde had brought a libel suit against the Marquess of Queensbury—Bosie’s father—who had publicly called Wilde a sodomite. But the plan backfired disastrously. During the trial, Queensbury’s lawyer threatened to produce a number of young men who could testify to Wilde’s degeneracy, and the case fell apart. It now seemed inevitable that Wilde himself would be arrested for gross indecency if he didn’t leave England. Why did he stay? That’s the question posed in Act I of David Hare’s 1998 play, “The Judas Kiss,” which comes to BAM’s Harvey Theatre May 11–June 12, starring…

2 min.
romanesque riffs

When the Metropolitan Museum decided to lease the Whitney Museum’s old building, on the Upper East Side (now reopened as the Met Breuer), it re-purposed a structure that many New Yorkers have admired for its unrepentant Brutalist ugliness. But just about everyone loves the Cloisters, the Met’s branch in Fort Tryon Park—including the residents of Hudson Heights, who marvel at how their unshowy neighborhood has begun to feel just a little bit touristy. The beautiful building, assembled from fragments of Romanesque and Gothic architecture that were shipped over from Europe in the mid-twentieth century, draws crowds as much for its own recumbent glory as for its exceptional collection of medieval art, tapestries, and manuscripts. Now the Met, collaborating with the New York Guitar Festival for the first time, will show…

2 min.
rebel in disguise

Ineffectual or Wounded men unfit for military service, a tough cop in love with the image of a dead woman he has never met, the miraculous return of a person marked missing in action: Otto Preminger’s first hit film, “Laura,” from 1944, is steeped in grief and mourning. A crime drama set in New York’s glossy stretches, it shows an ambient violence that, without a word about the Second World War, conjures the jangled mood and the social turmoil of the home front at the time. Preminger, an Austrian-Jewish luminary of Vienna theatre who emigrated to the United States in 1935, had hypersensitive antennae for societal breakdowns. As seen in the fifteen-film retrospective running at MOMA through June 30, he perched his dramas and his style on the leading edge…