The New Yorker August 16, 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.

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Elizabeth Kolbert (“The Lost Canyon,” p. 40), a staff writer, won the 2015 Pulitzer Prize for “The Sixth Extinction.” Her latest book is “Under a White Sky.” Rumaan Alam (“Mirror Writing,” p. 34) has written three novels, including “Leave the World Behind.” Rivka Galchen (“The Youthful Universe,” p. 28) published “Everyone Knows Your Mother Is a Witch” in June. hurmat kazmi (Fiction, p. 58), a graduate of the Iowa Writers’ Workshop, divides their time between Iowa City, where they teach, and Karachi, Pakistan. They are working on a book of short stories. Roz Chast (Cover), a New Yorker cartoonist, most recently published, with Patricia Marx, “You Can Only Yell at Me for One Thing at a Time.” Michael Longley (Poem, p. 65) is the author of many poetry collections, including “Angel Hill” and “The Candlelight…

the mail

LEARNING FROM BRITNEY As an attorney who has specialized in disability rights for more than thirty years, I read Ronan Farrow and Jia Tolentino’s incisive depiction of Britney Spears’s conservatorship with horror (“Britney Spears’s Conservatorship Nightmare,” July 3rd, Spears’s plight should not be viewed as an aberration because of her celebrity. In New York, where I practice law, we still have a separate and unequal guardianship statute for people with intellectual and other developmental disabilities. This law has often resulted in the removal of fundamental rights from adults, with little to no due process. In addition to controlling the precious right to procreate, this flawed, outdated statute empowers a guardian to end life-sustaining medical treatment over the objection of an individual. Fortunately, in 1976, the New York State Court of Appeals…

goings on about town: this week

FALL PREVIEW AUGUST 11 – 17, 2021 On a recent summer evening, at Fort Tilden (pictured)—a former U.S. military site, in Queens, overlooking New York Harbor—a lone Jet Skier riding along the beach provided a romantic view worthy of Caspar David Friedrich. In autumn, the oceanfront park in the Rockaways is one of the best spots in the five boroughs to watch migrating hawks. Situated in the Gateway National Recreation Area, Fort Tilden, which has no lifeguards, is open daily from 6 A.M. to 9 P.M. In an effort to slow the spread of the coronavirus, many New York City venues remain closed. Here’s a selection of culture to be found around town, as well as online and streaming; as ever, it’s advisable to check in advance to confirm engagements. ART “Cézanne Drawing” This show, at…

television: fall preview

If you take the “Three Amigos” formula, fast-forward forty years, swap out Chevy Chase for Selena Gomez, and transplant it to a ritzy Upper West Side apartment building, you have the kooky new Hulu comedy series “Only Murders in the Building” (Aug. 31). Steve Martin, Martin Short, and Gomez play neighbors in the musty Arconia (a fictional cross between the Ansonia and the Dakota) who, after a fellow-tenant turns up dead, form a vigilante Scooby squad—and record the whole thing for a podcast. The show digs into a peculiar slice of Zabar’s-adjacent, persnickety New York (with cheeky cameos from Tina Fey, Nathan Lane, and Jayne Houdyshell), and although it can teeter into the wackadoo, it’s an oddly touching tale of intergenerational scheming. For a trip to outer space, there’s “Foundation” (débuting…

art: fall preview

In 2008, the American Conceptualist Adam Pendleton, then in his mid-twenties, conceived “Black Dada,” a poetic manifesto of sorts, about avant-gardism, abstraction, and civil rights. In 2015, Pendleton planted a flag for Black Lives Matter at the Venice Biennale. In the ambitious installation “Adam Pendleton: Who Is Queen?,” the artist fills moma’s five-story atrium with paintings, drawings, and textiles, augmented with sound and moving images. (Opens Sept. 18.) Jasper Johns is arguably the most revered American painter alive. He may also be the most elusive. What do his iconic targets, flags, numbers, maps, and, more recently, hat-wearing skeletons mean? Don’t ask Johns—he’s been silent on the subject throughout his nearly seven-decade career. The Whitney and the Philadelphia Museum of Art join forces for the concurrent, two-part retrospective “JasperJohns: Mind/Mirror”—an homage to…

dance: fall preview

For months, dance has been making its cautious return, usually outdoors, in small-scale works, but nothing can compare with the rush of seeing a stage full of dancers, their arms and legs radiating energy and precision. New York City Ballet’s opening-night program this fall closes with just such a spectacle—George Balanchine’s “Symphony in C,” a grand display for fifty dancers, dressed in black and white, set to youthful Bizet. If you’re in need of a burst of joy, here it is. The season (Sept. 21-Oct. 17) also offers new works, farewells (for Maria Kowroski, Lauren Lovette, Abi Stafford, and Ask la Cour), and Balanchine’s razor-sharp modernist masterpiece “Agon,” which for many has come to define the company style. The Joyce Theatre is back in the business of presenting companies from across…