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The New Yorker

The New Yorker November 18, 2013

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

1 min.

ARIEL LEVY (“THANKSGIVING IN MONGOLIA,” P. 26) has been writing for the magazine since 2008. PATRICK RADDEN KEEFE (“BUZZKILL,” P. 40) is a staff writer and a senior fellow at the Century Foundation. GEORGE PACKER (COMMENT, P. 21) has published eight books, including “The Unwinding: An Inner History of the New America,” a 2013 National Book Award finalist. DAN WINTERS (PORTFOLIO, P. 62) is an award-winning photographer whose new book, “Road to Seeing,” will be published in December. JOHN COLAPINTO (“HOT GREASE,” P. 32), a staff writer, is the author of “As Nature Made Him” and “About the Author.” His next novel, “An Upright Man,” is due out in 2014. PETER HESSLER (“THE BURIED,” P. 52) lives in Cairo. “Strange Stones: Dispatches from East and West” is his most recent book. MOISES SAMAN (PHOTOGRAPH, P. 52),…

3 min.

A JUST PROFESSION James B. Stewart, in his analysis of the demise of the law firm Dewey & Le-Boeuf, attributes the firm’s downfall, in part, to a culture that lacked coöperation and mutual respect (“The Collapse,” October 14th). I got to know some of the principals of the LeBoeuf firm in the nineteen-seventies, and the change in attitude toward the practice of law since then, from a profession emphasizing integrity and seeking societal justice to a business seeking profits, is the key to understanding its debasement. The publication of legal-income statistics led partners to consider themselves free agents rather than bound by professional ideals. An emphasis on materialism flooded law schools with students whose objective was financial gain. If this type of environment continues, we may see additional firm failures. Sigmund R.…

42 min.

Jérôme Bel and Theatre Hora Much of the provocation in the provocations of this French choreographer derives from the works’ simplicity. In “Disabled Theater,” he presents this Swiss-German troupe of actors with developmental disabilities. Their responses to the tasks he gave them—state your name and age, choreograph a short dance, critique the show—are their own, repeated each performance but not predetermined by Bel. Our responses—embarrassment, surprise—are as free. (New York Live Arts, 219 W. 19th St. 212-924-0077. Nov. 12-16 at 7:30 and Nov. 17 at 3.) Garth Fagan Best known for his choreography for “The Lion King,” Fagan returns to the Joyce with two programs that combine new and older works, including a revival of “Easter Freeway Processional” (1983), an exuberant work full of fluid patterns. His latest, “No Evidence of Failure,” is…

1 min.
winter preview: dance

FOR THE FIRST TIME in his thirty-year career, the experimental New York choreographer Tere O’Connor brings a work to Brooklyn. “Bleed,” an hourlong piece, two years in the making, premières at BAM Fisher, an intimate new performance space (Dec. 11-14). In his blog, O’Connor wrote that his work confronts “a morass of contradictory realities that must find a poetic restructuring through investigation.” Despite this challenging intellectual approach, the movement is warm and full-bodied. In early snippets posted online, the dancers—including the great Heather Olson and Silas Riener—spiral their torsos and windmill their arms, creating patterns before abandoning them. Sprawling soundscapes by his longtime collaborator James Baker accompany O’Connor’s “investigations.” Like other young ballet choreographers, the New York City Ballet corps member Justin Peck found success making works for his colleagues, dancers…

2 min.
tables for two: marco’s

LATE LAST MONTH, PRESIDENT OBAMA CAME to Brooklyn and picked up some cheesecake from Junior’s. He used to live in the borough in the mid-eighties, in Park Slope. Junior’s is an institution, and cheesecake is the sort of food politicians need to be seen eating, but if Obama had wanted to observe how his old neighborhood has changed, he could have gone a little further up Flatbush to Marco’s, an Italian restaurant that is both rustic and refined, and which exemplifies how much Brooklyn dining has changed since he lived there. Marco’s is run by the people who ten years ago opened Franny’s in the same spot. Franny’s, which has moved nearby to a more spacious, stroller-friendly space, is a pasta and pizza joint, but the back of the menu lists…

1 min.
bar tab: proletariat

102 St. Marks Pl. (212-777-6707) At Manhattan’s tiniest beer-zealot hideaway, malt-liquor bottles double as water carafes, and arrestingly angular stemware hangs behind a copper bar. “RARE, NEW and UNUSUAL BEER” is scrawled on a mirror, referring to a rotating list of dozens of offerings that range from a Texan farmhouse ale to a Swedish stout, along with cider, mead, and wine. While the sliver of a space has expanded to the street, it retains the coziness of a speakeasy—it has just eighteen stools and one table—though with its framed images of skulls, roses, and other vintage tattoos it brings to mind the rowdier end of St. Marks Place. “Everyone here has worked in both fine dining and dive bars,” said a server with heavily inked arms, as he manned a playlist…