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The New Yorker

The New Yorker September 19, 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.

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in this issue

2 min.

Jill Lepore (“The State of Debate,” p. 38), a professor of history at Harvard, is writing a history of the United States. Amy Davidson (Comment, p. 31), a staff writer, contributes regularly to Comment and to newyorker.com. Lauren Collins (The Talk of the Town, p. 32) is the author of “When in French: Love in a Second Language,” which has just been published. She reports from Paris for the magazine. Calvin Trillin (Shouts & Murmurs, p. 45) is a longtime New Yorker writer. His book “No Fair! No Fair!: And Other Jolly Poems of Childhood,” with illustrations by Roz Chast, comes out later this month. James Surowiecki (The Financial Page, p. 36), the author of “The Wisdom of Crowds,” writes about economics, business, and finance for the magazine. Malika Favre (Cover) is a French illustrator…

4 min.
the mail

FALSE IDOLS Having been a friend of and a collaborator with the architect Luis Barragán for more than thirty years, I was appalled at what I learned from Alice Gregory’s article on Jill Magid’s project to reclaim the Barragán archive for Mexico (“Body of Work,” August 1st). Barragán was a most reserved man, who avoided publicity. (To understand Barragán, one has only to read his acceptance speech upon receiving the Pritzker Architecture Prize.) The fact that a portion of his ashes has been turned into a diamond engagement ring is not only vulgar but offensive to the reputation of the artist. It shows a stunning lack of comprehension of Luis Barragán and encapsulates everything that he was not. Adriana Williams San Francisco, Calif. WARMER WATERS As a supporter of Hillary Clinton who lives in an…

60 min.
goings on about town: this week

Amid the chic horde descending on New York for Fashion Week, Adele Meyer stands out. On Sept. 16, the Jewish Museum opens a show centered on John Singer Sargent’s exquisite 1896 portrait “Mrs. Carl Meyer and Her Children,” on loan from the Tate to the U.S. for the first time in more than ten years. The British beauty was married to a wealthy banker, but don’t mistake her for a Gilded Age real housewife— Meyer was a patron of the arts and a passionate crusader for the suffragist movement. THE THEATRE OPENINGS AND PREVIEWS All the Ways to Say I Love You In Neil LaBute’s latest play, directed by Leigh Silverman for MCC Theatre, Judith Light plays a high-school teacher who reveals her marital secrets to a former student. (Lucille Lortel, 121 Christopher St.…

2 min.
night life: get me

IT WOULD BE difficult to catalogue all of Dean Blunt’s schemes since 2009, when he released his earliest avant-garde EPs as part of the duo Hype Williams. The fringe U.K. vocalist and producer has typically left bewildered fans on their own to make sense of the scattershot allusions, subversions, and red herrings that litter his work. In 2015, he published a book called “Cîroc Boyz,” featuring scans of exorbitant night-club tabs collected from bars around the world; earlier that year, he sent an anonymous stand-in to accept a trophy in his place at the NME Awards; and, at his most recent New York concert, in March, he forced media guests to check in under aliases that they’d received with their ticket confirmations. These tactics are effective—obfuscation often attracts attention—but such campaigns…

3 min.
movies: the full screen

The rediscoveries in the insightfully curated series “Woman with a Movie Camera: Female Film Directors Before 1950,” playing at Anthology Film Archives Sept. 15-28, are a welcome corrective to facile assumptions about the role of women directors in the early days of cinema. The program features films that are far more than historical artifacts— they’re major artistic creations. Lois Weber’s short silent film “Suspense,” from 1913, offers some of the most original stylistic inventions of its time, and these devices are used to illuminate an appalling subject: the threat of rape. The writer-director Weber—a natural performer who was a concert pianist and an evangelist before turning to movies—also stars as a young mother, at home with her infant child in a cozy but isolated house, while her husband is busy in…

2 min.
tables for two: lunch à la mode

THIS WEEK, as the downtown fashion set performs acrobatics on heels, the garment district, where Fashion Week began, more than seventy years ago, lives on, clogged with delivery trucks, as it’s been since the twenties. In 1950, a letter to the Times complained, of the area’s lunchtime streets, “The situation is like trying to pass a sixinch stream of water through a two-inch pipe.” But there’s a charm in dodging Z-racks and darting past wholesale prom dresses—especially if you duck into one of the hidden eateries, a fixture of the neighborhood since its start. At Acuario Café, who needs signs when deliverymen and construction workers form a line that stretches out the door? It’s run by Rodolfo Perez, who was a factory worker upstairs before he bought the building’s service-entrance hamburger…