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The New YorkerThe New Yorker

The New Yorker October 7, 2019

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.

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United States
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English
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Conde Nast US
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contributors

Rachel Aviv (“Show of Force,” p. 34) is a staff writer and was a 2019 national fellow at New America. Adam Green (“Belief System,” p. 26), a contributing editor and theatre critic at Vogue, has written for The New Yorker since 1993. Barbara Hamby (Poem, p. 60) has published six books of poetry, including “Bird Odyssey.” She is currently at work on a novel, “Claire Salt.” Rion Amilcar Scott (Fiction, p. 56) published the story collection “The World Doesn’t Require You” in August. His first book, “Insurrections,” won the PEN/Bingham Prize for Debut Fiction in 2017. Lauren Collins (Books, p. 68) has been a staff writer since 2008. She is the author of “When in French.” Steve Coll (Comment, p. 13), a staff writer, is the dean of Columbia’s Journalism School. His latest book is…

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the mail

BEARING WITNESS I read Zuzana Justman’s Personal History about her experience in the Terezín concentration camp with interest and gratitude (“My Terezín Diary,” September 16th). I was one of those fortunate German-Jewish children whose parents were able to arrange for emigration before the tragedies began. We moved first to France, a few months before Kristallnacht, and then to the United States, four months before the German occupation of France. Until recently, I did not consider myself to be a Holocaust survivor. But as the Holocaust recedes further into history—and as Holocaust deniers seek to rewrite that history, and white supremacism once again rears its ugly head—we, the survivors, are still here to bear witness and to make our voices heard. Your magazine’s role in giving those voices an opportunity to speak…

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goings on about town: this week

The sci-fi fantasias of Japanese video games, the pulsing bodies of E.D.M. raves, the mystical spaces of Nigerian shrines, and the bygone music chain Tower Records all figure into the wildly ingenious new work of the young American artist Jacolby Satterwhite (pictured). On Oct. 4, Pioneer Works, in Brooklyn, opens “You’re at Home,” an exhibition of digital projections, performances, sculptures, and music by the artist, who recently directed an animated music video for the singer Solange. THE THEATRE Kingfishers Catch Fire Irish Repertory Inspired by historical events, Robin Glendinning’s two-hander pits the former S.S. officer Herbert Kappler (Haskell King) against the Irish clergyman Hugh O’Flaherty (Sean Gormley). It’s 1948 and Kappler is serving a life sentence in Rome, where he used to head the local Nazi police. But “pits” is perhaps too strong a…

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tables for two: lokanta

Hospitality takes many forms. At Lokanta, a Turkish restaurant that opened in April, it manifests, counterintuitively, in the blustery bearing of the chef and owner, Orhan Yegen. There are very few people who can make slightly grumpy, brusque confidence come across as alluring and even charming. Yegen, a veteran restaurateur who also owns Sip Sak, in Manhattan (the menus overlap significantly), is one of them, with a reputation that precedes him; the thrill of hearing his dramatic proclamations is one of the draws of his establishments. “If I was a normal person, I wouldn’t have come to this country,” he declared one evening in May, as he surfed around Lokanta’s dining room. “I’m not normal—I’m an artist.” The other draw here is the food, which is, if not art per se,…

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comment: reason to impeach

Many features of Trumpism—the cynical populism, the brazen readiness to profit from high office, the racist and nativist taunts—have antecedents in American politics. But Donald Trump’s open willingness to ask foreign governments to dig up dirt on political opponents has been an idiosyncratic aspect of his rise to power. At a press conference in July, 2016, when he was the presumptive Republican nominee for President, he invited Russia to get hold of Hillary Clinton’s e-mails and leak them to the press. This past June, George Stephanopoulos asked him what he thought his campaign should do now “if foreigners, if Russia, if China, if someone else,” offered information on his political opponents—accept it or call the F.B.I.? Trump allowed that he might do both, adding, “If somebody called from a country—Norway—‘We have…

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counterparts dept.: screen savior

In the first episode of “Servant of the People,” Ukraine’s smash-hit political satire, a schoolteacher in Kiev rushes around his crowded, messy apartment, desperate to make it to work on time, juggling irons and coffeepots. He’s still on the toilet, pants down, when there’s a loud banging at the door. It’s the Prime Minister, with a surprising greeting: “Good morning, Mr. President.” Our hero looks stunned: it’s his chance to try to fix his broken country. “Servant of the People,” which premièred in 2015, has run for three seasons, plus a movie. At once daffy, scathing, and inspirational, the series is a smart genre-bender, mixing Ryan Murphy wackiness with Sorkinian uplift (minus the hubris), and Norman Lear sitcom beats with “Scandal”-esque twists. Its biggest impact, however, has been political: in a…

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