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The New Yorker

The New Yorker September 30, 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

1 min.
contributors

GEORGE PACKER (COMMENT, P. 21), a staff writer, is the author of “The Unwinding: An Inner History of the New America,” a National Book Award finalist. SOPHIE BRICKMAN (THE TALK OF THE TOWN, P. 23) is a senior editor at Saveur. XAN RICE (“NOW SERVING,” P. 26) covers West Africa for the Financial Times. JANE SHORE (POEM, P. 31) teaches poetry at the George Washington University. She is the author of six books of poetry, the most recent of which is “That Said.” CORA FRAZIER (SHOUTS & MURMURS, P. 34) is a writer and editor living in New York. JOSH EELLS (“NIGHT CLUB ROYALE,” P. 36) is a contributing editor at Rolling Stone and Men’s Journal. DEXTER FILKINS (“THE SHADOW COMMANDER,” P. 42), the author of “The Forever War,” is a staff writer. ARIEL LEVY (“THE PERFECT…

3 min.
the mail

IN THE PIPELINE Ryan Lizza reports that, because the proposed TransCanada Keystone XL pipeline crosses an international border, the project will require approval by the State Department and by the President (“The President and the Pipeline,” September 16th). This decision will be based on the State Department’s final environmental review; a draft, issued in March, concluded that the pipeline will not significantly affect the trajectory of global climate change. The source of this assessment, however, is Environmental Resources Management, a consultancy with alleged financial ties to TransCanada. The State Department is currently investigating this conflict of interest. Other environmental issues, beyond the use of fossil fuels, remain unaddressed. The Ogallala Aquifer, which supplies both irrigation and drinking water to eight states, lies in the path of the Keystone XL Pipeline. An oil…

37 min.
listings

JOHN ZORN, a master of both the jazz and the contemporary-classical genres, has exploited the possibilities of the present New York moment more inventively and comprehensively than any other musician—and this week the town is his. The Metropolitan Museum marks the month of Zorn’s sixtieth birthday with an entire day of concerts; Miller Theatre offers three rich programs of Zorn’s music for ensembles large and small; and Anthology Film Archives, where Zorn has often performed, presents a series of films that he has scored over the years. CLASSICAL MUSIC OPERA Metropolitan Opera Robert Carsen’s minimalist production of “Eugene Onegin” was a challenge to the house’s conservative style in 1997, but it soon became a beloved staple—which means that Deborah Warner’s new staging (directed, in her absence, by Fiona Shaw) arrives with high expectations. The…

1 min.
food & drink

BAR TAB DEAD RABBIT GROCERY AND GROG 30 Water St. (646-422-7906) In February, two bartenders from Belfast, Jack McGarry and Sean Muldoon, took the revival of bespoke cocktails full circle with their feisty Victorian-era parlor. The rabbit of which they speak is John (Old Smoke) Morrissey (1831-78)—Irish immigrant, pugilist, Dead Rabbits gang leader, nemesis of Bill (the Butcher) Poole, U.S. congressman. Back then the tip of Manhattan was a hotbed of gangland warfare; now an after-work crowd swarms the sawdust-covered taproom of an 1828 building, where young women dole out craft beer, more than sixty Irish whiskeys, and snacks, such as an improbably delicate bacon-wrapped sausage roll. (The “grocery,” which sells things like Shropshire blue cheese, is a nod to the Irish safe house, which often fronted an illegal bar.) But…

2 min.
tables for two: chez josé

José Ramírez-Ruiz and Pamela Yung make their own rules. After stints in high-profile kitchens all over New York, the chefs, who are also a couple, decided to jump on the pop-up bandwagon: their food, their life savings, someone else’s space. “If we’re gonna go down, we’re gonna go down doing exactly what we want,” Ramírez-Ruiz said. More than a year later, Chez José, their roving reservation-only restaurant, is thriving. They started out in a South Williamsburg coffee shop, making do with just a hot plate and a small induction oven, then moved around the corner to Lake Trout, a shuttered fish-sandwich shop they’ve left untouched. And so, for now, their elegant, vegetable-focussed tasting menu is served beneath a Dairy Queen-style menu board advertising “cheese fish” and “Western fries.” (Unwitting passersby…

2 min.
movies: world series

FIFTY YEARS AGO, THE NEW York Film Festival (which runs Sept. 27-Oct. 13) was launched at Lincoln Center as a noncompetitive “festival of festivals.” It was a time when the medium was still struggling to be taken seriously as an art form. Lincoln Center’s own chairman, John D. Rockefeller III, thought the event had no business being there, protesting, “Movies are like baseball.” The festival’s curatorial inclinations, formed in large measure by the French New Wave, ultimately spread to other festivals, such as Cannes, from which New York now draws many of its most enticing offerings. This year’s edition includes “A Touch of Sin,” an intricately constructed, fiercely angry drama by the Chinese director Jia Zhangke, which won the award for Best Screenplay at Cannes. The film’s four lightly but ingeniously…