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The New Yorker

The New Yorker February 10, 2020

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.

国家:
United States
语言:
English
出版商:
Conde Nast US
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47 期号

本期

2
contributors

Paige Williams (“A Deadly Mistake,” p. 28) is a staff writer and the Laventhol/Newsday visiting associate professor at Columbia’s Journalism School. Adam Entous (“Last Man Standing,” p. 40) became a staff writer in 2018. Previously, he was a member of a team at the Washington Post that won the Pulitzer Prize for national reporting. John Cassidy (“Steady State,” p. 24) has been a staff writer since 1995 and writes a column for newyorker.com. He is the author of “How Markets Fail: The Logic of Economic Calamities.” Malika Favre (Cover) is an illustrator who lives in London and Barcelona. This is her tenth cover for The New Yorker. Wyn Cooper (Poem, p. 58) has published five books of poetry, including, most recently, “Mars Poetica.” Sarah Larson (The Talk of the Town, p. 17) is a staff…

3
the mail

SURVIVING ABUSE Brittany Smith’s case, as portrayed in Elizabeth Flock’s powerful article about abused women and the Stand Your Ground defense, demonstrates that, despite increased awareness of gender-based violence, more work must be done to address the public perception of the problem (“A Violent Defense,” January 20th). It may seem as if Smith’s case arose solely out of a familiar cycle of violence and impunity, and of women not reporting abuse. Yet, as Flock makes clear, this seemingly simple cycle is in fact a more complicated and nuanced phenomenon, owing to the burying of evidence. This can involve hiding the abuser’s past behavior toward the survivor and others, and unfairly classifying injuries from abuse. Flock’s ostensibly small observations reveal a different story than we may be accustomed to hearing. In order to…

27
goings on about town: this week

The playwright Lauren Yee has a disarming way of probing political trauma; her play “The Great Leap” explored China’s Cultural Revolution through basketball. Her latest, “Cambodian Rock Band”—directed by Chay Yew, starting previews on Feb. 4, at the Pershing Square Signature Center—is the first work in Yee’s Signature Theatre residency. The story, of a father and a daughter grappling with the atrocities of the Khmer Rouge, is told through live rock music, including songs by the psychedelic-pop group Dengue Fever. NIGHT LIFE Musicians and night-club proprietors lead complicated lives; it’s advisable to check in advance to confirm engagements. Isaac Mizrahi Café Carlyle After watching Isaac Mizrahi commandeer a club with his uncensored wit, endearing charm, and from-the-heart vocalizing, you might imagine that designing clothes was a second-choice career for him. His latest residency, “Movie Stars…

3
tables for two: leo

Leo 123 Havemeyer St., Brooklyn Improbable but undeniable: beans are having a moment. Last December, the food Web site Eater published an essay called “Cool Beans,” which detailed “How the humble legume—especially heirloom varieties—became the go-to ingredient for home cooks.” (In 2018, this magazine profiled Rancho Gordo, the largest, and cultiest, retailer of heirloom beans in the U.S.) As of this month, you can buy a book, unaffiliated, called “Cool Beans: The Ultimate Guide to Cooking with the World’s Most Versatile Plant-Based Protein,” by the food editor of the Washington Post. And so you could say that the people behind Leo, which opened last fall in Williamsburg, have their fingers on the pulse, pun intended (and apologized for). For several years, Ops, a restaurant in Bushwick with some of the same owners, has…

5
comment: doing trump a favor

The sordid truth of the impeachment trial of Donald Trump is that it will end with the Senate Majority Leader, Mitch McConnell, doing him a favor: delivering the votes, with little regard for the facts. That is sadly appropriate, because Trump’s favors—the ones he covets, the ones he demands—and the terms on which he extracts them, remain the trial’s most contested issue. The House managers cited Trump’s statement to President Volodymyr Zelensky, of Ukraine, in their phone call on July 25, 2019—“I would like you to do us a favor though”—as the crux of a corrupt scheme. Trump’s lawyers countered that he was talking not about his “personal interests” but about America’s. In their trial brief, they argued that Trump “frequently uses variations of the phrase ‘do us a favor,’”…

4
dept. of hate-watching: “the oscar” returns

The Oscars: Hollywood’s proudest, most self-aggrandizing pageant, a prom and a graduation rolled into one. “The Oscar”: A 1966 film, with a script by the prolific science-fiction writer Harlan Ellison, depicting the sleazy machinations of a vapid, selfish actor to redeem himself by winning a golden statuette. The film, its cast packed with stars—Frank Sinatra, Bob Hope, Tony Bennett, Milton Berle, Ernest Borgnine, Joseph Cotten—some of them Oscar winners, was an overblown, A-list flop, a “Gigli” for the ages. In the Times, Bosley Crowther called it a “cheap, synthetic film which dumps filth upon the whole operation of Hollywood.” The Academy, which lent the film its logo and its blessing, apparently regretted it, and has not done so since. For decades, the practically unwatchable film was largely unseeable, an unrestored embarrassment…