The New Yorker March 1, 2021

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.

:
United States
言語:
English
出版社:
Conde Nast US
刊行頻度:
Weekly
¥988
¥10,985
47 号

この号

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contributors

Ian Parker (“Figuring It Out,” p. 32), who contributed his first piece to The New Yorker in 1992, became a staff writer in 2000. Souvankham Thammavongsa (Fiction, p. 54) has written four poetry books and the short-story collection “How to Pronounce Knife,” which received the 2020 Scotiabank Giller Prize. Siddhartha Mukherjee (“The COVID Conundrum,” p. 18) is the author of “The Emperor of All Maladies,” for which he won a Pulitzer Prize. His most recent book is “The Gene.” Emily Jungmin Yoon (Poem, p. 50), the poetry editor for The Margins, published the poetry collection “A Cruelty Special to Our Species” in 2018. Benoît van Innis (Cover), a graphic artist, a painter, and a cartoonist based in Belgium, began contributing to the magazine in 1990. Danielle Kraese (Shouts & Murmurs, p. 25) is an editor…

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the mail

OUT OF OFFICE John Seabrook’s piece about the post-pandemic future of the office covered a number of important topics related to working from home (“Office Space,” February 1st). Two other factors are worth considering. First, remote working pushes the costs of maintaining office space onto employees. Some companies do offer stipends for office technology and athome setups, like chairs and WiFi, but many employees end up shouldering the majority of these costs. We must ask who benefits from the ostensible savings represented by home offices. For many employees—especially parents—working at home is much harder and sometimes more costly than working in an office. The second factor involves office dynamics: with people at home, there are likely fewer opportunities for sexual harassment and other detrimental encounters between colleagues, and any attacks can…

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goings on about town: this week

In an effort to slow the spread of the coronavirus, many New York City venues are closed. Here’s a selection of culture to be found around town, as well as online and streaming. ART “Albers and Morandi” In this show, subtitled “Never Finished,” the Zwirner gallery pairs two artists who can seem bizarrely mismatched: Josef Albers, the starchy German-American abstract painter and color theorist, who died in 1976, at the age of eighty-eight, and Giorgio Morandi, the seraphic Italian still-life painter, who died in 1964, at the age of seventy-three. Albers, who was wedded to a format of three or four nested, hard-edged squares, is academic in spirit—easy to admire but hard to like. Morandi, transfixed by the bottles and vases in his studio for fifty years, is deeply poetic. Yet viewing them…

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goings on about town: television

AT THE GALLERIES To survive, most American artists need a side hustle, and David Byrd was no exception. For thirty years, the Illinois native—who studied painting at a French academy in New York City on the G.I. Bill—worked as an orderly in the psychiatric ward of a Veterans Affairs hospital, in Westchester. The despair (and, sometimes, the peace) that he witnessed became the subject of the plaintive figurative canvases he refined in almost total obscurity. (Byrd’s first solo exhibition preceded his death, in 2013, by just seven weeks.) The artist would have turned ninety-five on Feb. 25, the day that the Anton Kern gallery opens an homage to his magnum opus, “Montrose VA 1958-1988.” The cycle of notations and drawings (including the untitled image pictured above) crystallizes Byrd’s memories of his…

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tables for two: “bollywood kitchen”

Recently, I had an unusually exciting Friday night. While frantically switching between recipes for chicken curry and chocolate chai affogato, I smelled something burning. The culprit: the paper tabs on the Lipton tea bags that I’d added to a pot of boiling water for the chai. Apparently, I wasn’t supposed to let them dangle over the side—as evidenced by the fact that they were on fire. Crisis was, fortunately, averted. On my laptop screen, a dashing fortysomething was completing the same tasks without breaking a sweat. I was watching “Bollywood Kitchen,” an interactive performance co-produced by the Geffen Playhouse, in Los Angeles, and New York’s Hypokrit Theatre Company. The man onscreen was Sri Rao, an Indian-American screenwriter and the author of a 2017 cookbook of the same name, which collects his…

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comment: assessing threats

Early in Shaka King’s new film, “Judas and the Black Messiah,” Roy Mitchell, a white F.B.I. agent, and William O’Neal, a Black informant, have a conversation about why O’Neal has been asked to infiltrate the Black Panther Party and gather intelligence on Fred Hampton, the leader of the Illinois branch. “Don’t let Hampton fool you,” Mitchell says. “The Panthers and the Klan are one and the same. Their aim is to sow hatred and inspire terror.” It’s a pointed moment not simply because it prefaces Hampton’s death at the hands of Chicago police officers during a raid in December, 1969, but because it presents a moral equivalency that raises more questions than it answers. The Ku Klux Klan arose after the Civil War and orchestrated a campaign to effectively revoke Black…

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