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The New Yorker

The New Yorker November 7, 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

Emily Nussbaum (On Television, p. 64) won this year’s Pulitzer Prize for criticism. She has been the magazine’s television critic since 2011. Amy Davidson (Comment, p. 15), a staff writer, is a regular contributor to Comment. She also writes a column for newyorker.com. Jiayang Fan (“The Emperor’s New Museum,” p. 28) became a New Yorker staff writer earlier this year. Lauren Collins (The Talk of the Town, p. 18) is the author of “When in French: Love in a Second Language,” which was published in September. Rebecca Mead (“Lost Time,” p. 46) has been a staff writer since 1997. “My Life in Middlemarch” is her latest book. Megan Amram (Shouts & Murmurs, p. 27), the author of the humor book “Science . . . for Her!,” is currently writing for the television shows “The Good…

3 min.
the mail

AMERICAN UTOPIAS Akash Kapur’s essay on utopias and the recent spate of books that focus on them felt strikingly relevant, despite the fact that the whole notion of utopia is predicated on its rarity (“Couldn’t Be Better,” October 3rd). The question the piece inspired in me was whether America itself is a utopia. Founded on the dreams of the dispossessed, in many ways it is. Democracy is, after all, just a theory, adapted and adopted from past civilizations, most notably Greece and Rome. It was molded by religious fundamentalists, the early colonists, who were fed up with the loose interpretation of Protestantism by the Church of England and sailed across the Atlantic to have it their own way. This year, the cracks and fissures in the American experiment have become more…

31 min.
goings on about town: this week

The love that the sensational Joel Edgerton and Ruth Negga share as Richard and Mildred Loving, in the director Jeff Nichols’s astonishing “Loving,” is palpable, and it frames the landmark 1967 case that nullified laws banning interracial marriage. This intimate movie, like the current film “Moonlight,” paves the way for a new kind of American cinema—serious but not ideological, and reflective of the diversity that has always gone into the making of that complicated character otherwise known as America. NIGHT LIFE ROCK AND POP Musicians and night-club proprietors lead complicated lives; it’s advisable to check in advance to confirm engagements. Beach House The surprise album drop, having become a standard of popular music, is taken one step further by some more ambitious camps, such as the Baltimore dream-pop mainstays Beach House. Last year, the duo…

2 min.
goings on about town: new and improved

Goings On About Town has been part of The New Yorker since Harold Ross produced the first issue of the magazine, in February, 1925. For a time, Goings On was subtitled “A Conscientious Calendar of Events Worth While”—and that’s still exactly what it is. The section was conceived as a compendium of witty, incisive commentary on the best of New York City’s cultural offerings. To this day, Goings On continues its tradition of astute, snappy previews and critical reviews of theatre, art, classical music, rock, pop, jazz, cabaret, dance, movies, restaurants, and bars—and, in Above & Beyond, the quirkier events around town that are difficult to categorize, and all the more intriguing for it. The New Yorker remains one of the few publications to cover the breadth of the city’s cultural events…

2 min.
art: labor intensive

NEAR THE TOP of the list of inspired manifestos—Futurism, Dada, De Stijl— is Mierle Laderman Ukeles’s little-known “Maintenance Art.” As a firsttime mother in 1969, she grew frustrated by the schism between her domestic life, with its boredoms and joys, and her identity as a New York artist. (She later said, “I learned that Jackson [Pollock], Marcel [Duchamp] and Mark [Rothko] didn’t change diapers.”) She channelled her feelings in four typewritten pages, pointing out a double standard; namely, that repetition and systems were considered rigorous in the context of the avant-garde, but dismissed as drudgery when it came to maintenance workers or housewives. One choice excerpt: “After the revolution, who’s going to pick up the garbage on Monday morning?” The manifesto is currently framed on a wall at the Queens Museum,…

2 min.
movies: first person singular

THE MODERN CINEMA, born in the nineteen-sixties, gave rise to a new genre, the portrait film, such as the Maysles brothers’ “Meet Marlon Brando” and Shirley Clarke’s “Portrait of Jason.” Another key work in that form, “Romy: Anatomy of a Face,” from 1967, is among the newly restored rare masterworks presented in this year’s edition of MOMA’s essential annual series “To Save and Project” (Nov. 2-23). “Romy: Anatomy of a Face,” Hans-Jürgen Syberberg’s second feature, made for German television, offers an intimate view of the actress Romy Schneider, revealing crucial conflicts behind the image of a public figure who loomed large in the German national imagination—and within the art of movies itself. The Austrian-born Schneider, then twenty-seven, had been an international star for more than a decade, largely thanks to such…