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The New Yorker

The New Yorker September 2, 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
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47 Issues

in this issue

2 min.
contributors

Steve Coll (Comment, p. 21) is the dean of the Graduate School of Journalism at Columbia. David Owen (The Talk of the Town, p. 25; “Bears Do It,” p. 26), a staff writer, is the author of “The Conundrum” and “Green Metropolis.” Samanth Subramanian (“The Agitator,” p. 32) is the India correspondent for The National and the author of “Following Fish: Travels Around the Indian Coast.” He is working on a book about the Sri Lankan civil war. Nathaniel Stein (Shouts & Murmurs, p. 37) is a writer living in Los Angeles. Elizabeth Danson (Poem, p. 44), whose prose and poetry have appeared in various journals, is the author of “The Luxury of Obstacles,” a collection of poems. Frank Viva (Cover) is an illustrator and a graphic designer, and runs a branding and design agency…

3 min.
the mail

FOLLOWING THE MONEY Sarah Stillman, in her piece on civil forfeiture, exposes the long-standing abuse of those laws; there is, however, another monstrous abuse that she does not mention (“Taken,” August 12th & 19th). This involves the seizure of assets from people who are unaware that it is a federal crime to “structure” bank deposits so that a sum larger than ten thousand dollars is deposited in a series of smaller transactions. The law’s rationale is sound: it gives the government a way to track large amounts of cash moved by potential terrorists or drug dealers. But its reach is much broader, ensnaring law-abiding citizens who do not want to carry large sums of money with them, or who want to keep the amount of their cash savings private. The price…

52 min.
listings

THIS WEEK THE THEATRE FERTILE GROUND Atlantic Theatre Company presents a new comedy by the filmmaker Ethan Coen. David Cromer directs “Women or Nothing,” in which two women who want to have a child together enlist the help of an unsuspecting man. Starring Susan Pourfar, Halley Feiffer, Robert Beitzel, and Deborah Rush. (See page 10.) NIGHT LIFE TYING HARDER Over the past few years, Ty Segall, a dedicated twenty-six-year-old guitarist, singer, and songwriter from California, has made a name for himself with fuzzed-out performances on more than a dozen albums, either on his own or with the many bands he works with. For his latest release, “Sleeper,” he took a different approach, relying mostly on acoustic instruments to deliver his emotionally charged songs. Segall comes to the Bowery Ballroom and the Music Hall of…

1 min.
critic’s notebook: familiar faces

You know Lois Smith. You’ve seen her a million times. Onstage, in the movies, on TV. You might be thinking of Mary Louise Wilson or Elizabeth Wilson—two equally great actresses, not related, around the same age. No, Smith is the girl you’ll remember from “East of Eden”: the kid in the whorehouse who has so many complicated reactions to James Dean’s inquiries you can hardly keep up. Or you might have seen her on Broadway in 1957 as the wildly spirited Carol in Tennessee Williams’s “Orpheus Descending.” With her plump lower lip and tremulous voice—in films, her laughing sounds a little like crying—the now eightytwo-year-old Smith’s face has always been a study in mercurial possibilities. By widening her eyes and then letting out a shout where no one, not even…

1 min.
critic’s notebook: active culture

“ProBio”—a group of techno-conceptual, body-conscious works by eleven young artists, now in its final week at MOMA PS1—isn’t the best show of the summer, but I can’t get it out of my head. It sneaks up on a person, like the iRobot vacuums that scuttle around underfoot in “iFeel,” an installation by DIS, a New York collective with a knack for the glibly unnerving. Take their one-minute film satirizing the art market’s insatiable thirst for new blood: three women rub their very pregnant bellies with glitter-manicured hands, as a voice-over intones, “The world is waiting for someone—the next artist, the next genius . . . You will emerge.” It’s Lucas Cranach’s “Three Graces” recast as an infomercial. “ProBio” was organized by the sculptor Josh Kline, who includes his own work…

2 min.
pop notes: sly is carried out

Sly and the Family Stone, the subject of a new career-spanning boxed set, “Higher!” (Epic/Legacy), produced one of the most influential and impressive bodies of music in the history of American pop, energetically combining soul, rock, and psychedelia into something unprecedented. Led by the singer, songwriter, keyboardist, and genius Sylvester Stewart, the multiracial, coed group made an immediate and indelible impact that only deepened as Stewart’s songwriting evolved. The band’s three finest albums (“Stand!,” from 1969, “There’s a Riot Goin’ On,” from 1971, and “Fresh,” from 1973) represent a sustained achievement equalled only by the Beatles or Stevie Wonder. This new set includes early standouts like “Trip to Your Heart” (you may know it from its prominent appearance in L.L. Cool J’s “Mama Said Knock You Out”) and “Into My Own…