EXPLOREMY LIBRARY
News & Politics
The New Yorker

The New Yorker October 21, 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.

Country:
United States
Language:
English
Publisher:
Conde Nast US
Frequency:
Weekly
Read More
SPECIAL: Get 40% OFF with code: DIGITAL40
BUY ISSUE
£7.46
SUBSCRIBE
£74.68
47 Issues

in this issue

1 min.
contributors

ALICE MUNRO (FICTION, P. 72) won the 2013 Nobel Prize in Literature. “Dear Life” is her latest short-story collection. She has published fifty-seven stories in the magazine since 1977. HENDRIK HERTZBERG (COMMENT, P. 27) is a senior editor who writes a blog for newyorker.com. MARGARET TALBOT (“GONE GIRL,” P. 32) has been a staff writer since 2003. ari shavit (“lydda, 1948,” p. 40) is a columnist for the Israeli newspaper Haaretz. His book “My Promised Land: The Triumph and Tragedy of Israel” will be published in November. BILLY COLLINS (POEM, P. 42) was the United States Poet Laureate from 2001 to 2003. His next collection, “Aimless Love: New and Selected Poems,” comes out later this month. D. T. MAX (“TWO-HIT WONDER,” P. 48) is the author of “Every Love Story Is a Ghost Story:…

3 min.
the mail

HEALTH CONSCIOUS Atul Gawande, in making his case for the Affordable Care Act, writes about Paul Sullivan, who had a successful business and owned a home and three cars (Comment, October 7th). In spite of his financial well-being, Sullivan chose not to purchase health insurance. A health crisis ultimately drained his resources so completely that he was forced to sell his possessions and move to a homeless shelter. This story is a tragedy and a cautionary tale of life’s vagaries. It may even be a reflection of the out-of-control cost of health care. It is not, however, an argument for or against the A.C.A. We do not “as a society have a duty to protect people like Paul Sullivan,” as Gawande suggests. Our society has a duty to make health coverage…

37 min.
listings

AL HIRSOHFELD (pictured in a self-portrait from 1980) began his career in motion pictures, but soon turned to Broadway, and, over the next eight decades, became an icon with his trademark swooping-line drawings. An ardent playgoer (his namesake theatre currently houses “Kinky Boots”), Hirschfeld specialized in drawing show-biz folks. Though he’s often labelled a caricaturist, his work conveys respect as well as capturing the essence of a performer’s virtuosity. He drew (including for this magazine) until his death, in 2003, six months before his hundredth birthday. This week, “The Line King’s Library,” a rich and glamorous history of twentieth-century theatre, opens at the New York Public Library for the Performing Arts. ART MUSEUMS SHORT LIST METROPOLITAN MUSEUM Fifth Ave. at 82nd St. (212-535-7710)-“Balthus: Cats and Girls-Paintings and Provocations.” Through Jan. 12. MUSEUM OF MODERN…

3 min.
the theatre: uptown, downtown

THE NOTION THAT THEATRE is universal is specious, given the world of difference that can separate the productions in New York’s uptown and downtown theatres. In the nineteen-fifties, Off Broadway established itself in legendary downtown venues such as the Theatre de Lys and the Orpheum, and with shows as diverse as Marc Blitzstein’s version of Brecht and Weill’s “Threepenny Opera” and the composer Rick Besoyan’s “Little Mary Sunshine.” (Judith Malina and the Living Theatre had been doing it their own way, and brilliantly, since 1947, but they were so far out that they were beyond the reach of capitalism.) Since then, theatres below Fourteenth Street have generally been where you go to get away from the commercialism of the Broadway stage, which, traditionally, plays to our desire to be satiated…

2 min.
dance: time everlasting

IN THE LATE twentieth century, a lot of avant-garde performance work was very long. The Philip Glass/Robert Wilson opera “Einstein on the Beach” (1976) lasted, notoriously, for five hours, though you were invited to get up and go to the bar or the bathroom during the show. Often, with the length, came repetition. Laura Dean’s dancers spun forever; Lucinda Childs’s company performed the same phrase, or close to it, again and again. The Europeans joined in. When Pina Bausch, in 1984, started bringing her Tanztheater Wuppertal to the Brooklyn Academy of Music, you were decidedly not invited to wander in and out during her long pieces. Some of these works made you want to die. In others, you passed through boredom into the zone. As Robert Wilson said of “Einstein…

2 min.
goings on about town: above & beyond

Honk NYC! Festival It might seem to some who live in the city that there are too many horns blaring too often. But not to the folks behind this gathering, though they take a decidedly more festive approach by bringing in brass bands from around the country and the world for five days of concerts and parades. Highlights of the seventh annual event include appearances by Perhaps Contraption, an “avant-pop marching band” from London, and Os Siderais, “funk-rock fosionists” from Rio de Janeiro. (Oct. 15-19. honknyc.com.) “Concert of the Mind” The noted magician Asi Wind, who has counted among his fans Woody Allen and Paul Newman as well as insiders of the New York publishing world, displays his remarkable mental powers in this limited-run show. He promises to solve two Rubik’s cubes at…