EXPLOREMY LIBRARY
News & Politics
The New Yorker

The New Yorker September 9, 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

2 min.
contributors

Seamus Heaney (Poem, p. 55) received the 1995 Nobel Prize in Literature. He was born in Castledawson, Northern Ireland, on April 13, 1939, and died on August 30th. This poem first appeared in the June 25, 1979, issue of the magazine. Steve Coll (Comment, p. 29), the dean of the Graduate School of Journalism at Columbia, is the author of seven books, including “Ghost Wars,” for which he won a Pulitzer Prize in 2005. Alec Wilkinson (The Talk of the Town, p. 34; “Cape Fear,” p. 42) is a longtime New Yorker contributor. He has published several books, including “The Ice Balloon: S. A. Andrée and the Heroic Age of Arctic Exploration.” David Finkel (“The Return,” p. 36), a Pulitzer Prize-winning journalist for the Washington Post, received a Mac-Arthur Fellowship last year. His…

3 min.
the mail

CRIME BUSTERS Ken Auletta’s profile of Mayor Bloomberg mentions the downward trend of violent crime during the administrations of both Bloomberg and Rudolph Giuliani (“After Bloomberg,” August 26th). It seems only fair to mention that the decrease in crime under Mayors Bloomberg and Giuliani was a continuation of the decline that began during the administration of Giuliani’s predecessor, David Dinkins. David Jenkins New York City THE FULL TREATMENT Meghan O’Rourke’s essay on the onset and diagnosis of her autoimmune disease highlights a number of health-care issues (“What’s Wrong with Me?,” August 26th). Our health-care system is reactive in nature and biased toward immediate or terminal illnesses characterized by discrete symptoms. Long-term diseases under the autoimmunity umbrella are often treated on a trial-and-error basis and plagued by a long lag in diagnosis; further, it is…

57 min.
listings

THIS WEEK THE THEATRE BLUE MOON The monologuist Mike Daisey mounts a series at Joe’s Pub called “All the Faces of the Moon,” in which he presents a different show every night for twenty-nine nights, one for each lunar phase. Jean-Michele Gregory, his wife, directs, for the Public. (See page 13.) NIGHT LIFE IT TAKES TWO Aluna Francis and George Reid, two Londoners who craft glossy, impossibly catchy R. & B. as AlunaGeorge, released their first album, “Body Music,” in July. They’re now on their first tour of the U.S., making their New York City début at the Bowery Ballroom and the Music Hall of Williamsburg. (See page 15.) ART PRESENT COMPANY Black artists are pivotal figures in the history of performance art, from Benjamin Patterson, the pioneering co-founder of Fluxus, to the promising newcomer Jayson Musson, a.k.a. Hennessy…

2 min.
fall preview: the theatre

How does Julie Taymor, the creative genius behind “The Lion King,” follow the circus—technical difficulties, actors’ injuries, rewrites, and scathing reviews, which culminated in Taymor’s ultimate firing, lawsuits, and countersuits—of “Spider-Man: Turn Off the Dark”? She goes back to her roots. This fall, Taymor directs Shakespeare’s comedy “A Midsummer Night’s Dream,” the inaugural show at Theatre for a New Audience’s new home in downtown Brooklyn, the Center for Shakespeare and Classical Drama (previews begin Oct. 19). Taymor first worked with the company in 1984; nearly thirty years later, she brings not just her love of Shakespeare (her films include “Titus” and “The Tempest”) but her love of spectacle—there’s a cast of thirty-three, and there will, of course, be flying. Taymor isn’t the only familiar face turning to Shakespeare: Elizabeth Olsen,…

2 min.
fall preview: night life

One can never step in the same river twice, as Heraclitus said, but Sting’s latest project, “The Last Ship,” has him returning to the place of his birth, Wallsend, England, on the River Tyne. Wallsend was known for its shipyards (the R.M.S. Mauretania was built there), and Sting grew up in the shadows of massive hulls rising. The yards are now closed, and “The Last Ship,” which is both a new album (his first collection of original material in nearly ten years, out Sept. 24) and the name of his play slated to hit Broadway next year (Joe Mantello is the director), concerns their turbulent final days, centering on the story of a wayward son who comes home to bury his father. The music is folksy and dark, drawing on…

2 min.
fall preview: art

In 2010, Isa Genzken romanced New York with a long-stemmed rose—a twenty-eight-foot-tall sculpture installed on the façade of the New Museum. But don’t expect hearts and flowers from the German artist’s retrospective at MOMA, her first in the United States, which will travel to Chicago and Dallas. Genzken’s multifarious output in the four decades since she made her solo début, at Düsselfdorf’s legendary Konrad Fischer gallery, has defied categorization, from the long wooden “Ellipsoids” that she made in the heyday of minimalism to the flotsam-and-jetsam assemblages for which she’s best known. (The influence of these radically hybridized pieces on younger artists is incalculable.) It’s tempting to view Genzken’s career as a feminist deflation of the power dynamics of the male-dominated art world, but to do so would be to rob…