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The New Yorker

The New Yorker October 17, 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

1 min.
contributors

Ryan Lizza (“Taming Trump,” p. 30), a Washington correspondent for The New Yorker, is also a political commentator for CNN. Dexter Filkins (“The Thirty-Year Coup,” p. 60) is a staff writer and the author of “The Forever War,” which won a National Book Critics Circle Award. Sheila Marikar (The Talk of the Town, p. 24) is a writer living in Los Angeles. She is currently working on a book about modern-day communes. Jack Handey (Shouts & Murmurs, p. 37) has written several humor books, including, most recently, “Squeaky Poems: Rhymes About My Rat.” Julie Phillips (“Out of Bounds,” p. 38) is working on a book on writing and mothering, and is researching a biography of Ursula K. Le Guin. R. Kikuo Johnson (Cover), an illustrator and cartoonist, teaches cartooning at the Rhode Island School of…

3 min.
the mail

A MUSEUM’S UNSUNG HERO Vinson Cunningham’s piece on the Smithsonian Institution’s new National Museum of African American History and Culture describes the museum’s long period of gestation, the obstacles it faced, and its many champions, but neglects to mention one of its major contributors, the late African-American architect J. Max Bond, Jr. (“Making a Home for Black History,” August 29th). The idea of a national museum dedicated to the African-American experience was first discussed in 1915. In 1991, while working on the Birmingham Civil Rights Institute with the congressman John Lewis, Bond joined the effort. In 2006, he and another noted architect, Phil Freelon, received the commission to define the project’s objectives and to choose its site on the Mall. The early work of Bond and Freelon, who joined forces with…

10 min.
goings on about town

ART MUSEUMS AND LIBRARIES Museum of Modern Art “Insecurities: Tracing Displacement and Shelter” No word but “disgrace” can describe our passivity in the face of the current displacement of more than sixty-five million people. This grave, accusatory exhibition evokes the transit, and the intermittent protection, of refugees through photographs, artists’ projects, water-purification tablets, and a steel-frame tent from the United Nations Refugee Agency: temporary shelter that, for too many people, has now become permanent housing. Photographs appropriated by Xaviera Simmons consider the near-daily deaths in the Mediterranean, and are accompanied by a list of the drowned. Refugee camps from Lebanon to Kenya are among the world’s fastest growing; while this show fails to acknowledge the experiences of people trapped in Lesbos or Calais, it complements Bouchra Khalili’s videos, recently on view at the museum,…

24 min.
the theatre: mystery woman

Mystery Woman Rachel Weisz returns to the stage. Toward the end of Peter Brook’s inspiring 1968 book, “The Empty Space,” the esteemed director says that an actor “must bring into being an unconscious state of which he is completely in charge.” In a way, what we look for in the best performers is not only a face and a body that distill emotions we may or may not have been aware of but also a person who reflects something of the times. While we sometimes associate the lush, forty-six-year-old British-born consummate actress Rachel Weisz’s romantic countenance and mindfulness with epochs other than her own—in certain roles, she brings to mind the pluck, imagination, and melancholy of a star from the nineteen-thirties—she is completely modern in her depiction of women who long to…

9 min.
classical music: the good germany

The Good Germany Leon Botstein makes a case for a neglected mid-century masterpiece. The composer Paul Hindemith (1895-1963) and the painter Max Beckmann (1884-1950) had many things in common. Both were formidable, German, and bald. Both fled Nazi Germany in the nineteen-thirties, eventually reaching the United States. Each maintained a prolific output yet never compromised on craftsmanship— a zeal that made them natural (and distinguished) teachers. After the First World War, each moved from Expressionism to the New Objectivity, and then on to a more personal kind of mastery. Most important, each did so without abandoning what might be called the human figure: Hindemith, by subtly reinventing the traditional language of melody and tonal harmony; Beckmann, by remaining a representational artist at a time when abstraction was all the rage. The two…

4 min.
goings on about town: above & beyond

City of Science An exhibition of immersive demonstrations arrives at the Park Slope Armory, the fourth stop on the World Science Festival’s borough-wide tour. Aimed at budding experimenters of all ages, City of Science will feature activities and presentations based on physics, chemistry, technology, and engineering, including principles of giant waves, a pool that allows for walking on water, and a game of tug-of-war on wheels. The festival is open to the public; tickets, which are free, are recommended but not required. (361 15th St., Brooklyn. 212-348-1400. Oct. 16.) Open House New York Historic residential and commercial buildings will be opened to the public during this annual architecture-tour-and-talk series. Attendees will enjoy unparalleled access to more than two hundred and seventy-five sites across the city, along with informative lectures from the designers and…