The New Yorker

The New Yorker November 2, 2020

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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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2 minutos

Barack Obama (“The Health of a Nation,” p. 24), the forty-fourth President of the United States, won the 2009 Nobel Peace Prize. His books include “Dreams from My Father” and “The Audacity of Hope.” This piece is adapted from “A Promised Land,” which will be published on November 17th by Crown. Toi Derricotte (Poem, p. 62), the recipient of the 2020 Frost Medal, co-founded Cave Canem with Cornelius Eady. Her most recent book of poems is “‘I’.” Hua Hsu (“Bloc by Bloc,” p. 16), a staff writer, is the author of “A Floating Chinaman.” Doreen St. Félix (On Television, p. 90) has been a staff writer since 2017. She is The New Yorker’s television critic. Philip Deloria (Books, p. 76), a professor of history at Harvard, is the author of “Becoming Mary Sully.” Carrie Battan…

3 minutos
the mail

RECONSIDERING ARTEMISIA Rebecca Mead’s thoughtful essay on the seventeenth-century artist Artemisia Gentileschi traces how the understanding of her work and persona has become more complex over time (“A Brush with Violence,” October 5th). She was initially viewed as a rape victim who overcame trauma to create paintings that defiantly engage with gender issues from a female point of view. More recently, as Mead observes, the artist has been celebrated as an entrepreneur who knew how to market her gender. A step further is to understand Artemisia in the context of the feminism of her own time, which I explore in my book “Artemisia Gentileschi and Feminism in Early Modern Europe.” In seventeenth-century Italy and earlier, women writers voiced outrage at rape and sexual intimidation; they produced incisive analyses of the social…

20 minutos
goings on about town: this week

OCTOBER 28 – NOVEMBER 3, 2020 Who’s afraid of Virginia Woolf? Not Andrew Bolton, the curator of the Met’s Costume Institute, who chose the British writer as the “ghost narrator” of the new exhibition “About Time: Fashion and Duration” (opening on Oct. 29). Literary excerpts accompany paired garments (including Viktor & Rolf’s haute-couture gown, from 2020, above) that are stylistically similar but were designed decades apart—a chic exploration of what Woolf once described as “the extraordinary discrepancy between time on the clock and time in the mind.” MUSIC Autechre: “SIGN” ELECTRONIC For three decades, the Manchester-based electronic-dance producers Rob Brown and Sean Booth, who work together as Autechre, have made some of dance music’s most baffingly original tunes. Glacial, antic, gnarled, and alien, the duo’s tracks (and their titles) can feel like they’ve emanated…

3 minutos
tables for two: hunky dory

In August, about a year and a half after Claire Sprouse opened her Crown Heights bar and restaurant, Hunky Dory, she added a line to the proverbial shingle out front: “Approved Postal Provider of Stamps.” It’s just one of many ways the purview of the place has recently expanded. For a while, it contracted: immediately after the dining room was forced to shutter, in March, and Sprouse had to furlough her staff, Hunky Dory was reduced to a pushcart, which she used to deliver cocktails—including the Dolly Parton-inspired Smoky Mountain Song Bird (mezcal, turmeric, Madeira wine, and lemon juice)—to displaced barflies in the neighborhood. During the summer, Hunky, as Sprouse affectionately refers to it, became an incubator of sorts. She’d given up on the cart (it was wreaking havoc on her…

5 minutos
comment: last round

The America that Donald Trump described in his debate with Joe Biden last Thursday night is a strangely destructible place—one that might, in a blink, disappear. In an exchange about COVID-19, Trump said, “We can’t close up our nation, or you’re not going to have a nation.” After a few minutes, he repeated that warning, saying, “We have to open our country—we’re not going to have a country.” This is not a new move for Trump: the list of things without which, he has previously said, Americans won’t have a country includes a border wall, steel, petroleum, eminent domain, and his reëlection. Later in the debate, he noted that, if a President Biden secured a public option for health care, “this whole country will come down.” Whether Trump wins or loses…

4 minutos
dept. of laughs: cuomo’s little helpers

Andrew Cuomo isn’t known for his cool factor with young people, or for his comedy chops. But, last month, New York’s governor tweeted out a video that covered both bases: a public-service announcement imploring millennials to wear masks, starring Paul Rudd. “Yo, what up, dawgs? Paul Rudd here, actor and certified young person,” the fifty-one-year-old begins, wearing skater gear. “A few days ago, I was talking on the iPhone with my homie Governor Cuomo, and he’s just going off about how us millennials need to wear masks.” Rudd goes on to mangle youngster slang (“Masks—they’re totally beast”), beatbox, and pretend to call Billie Eilish (“You’re wearing your mask? Man, I want to stan you”). The video has been viewed more than eight million times. The P.S.A., part of Cuomo’s “Mask Up…