The New Yorker

Flavorwire Interview: Adrian Tomine on Drawing Everyday People and Fantasies of Writing a Novel

Although he’s originally from California, if you look at any of Adrian Tomine’s many illustrations for publications named after the city that he currently calls home, it’s difficult to think of Tomine as anything other than a New York artist. His work for The New Yorker and New York magazine capture the everyday look and feel of contemporary New York City, with single scenes begging you to fill in the blanks for the rest of the story: the New Yorker out of his element (in this particular case, a Yankees fan in a sea of Red Sox caps), two readers on passing subways making eye contact, and the bored teenage tourist reading great literature set in the city instead of looking at the tourist destinations. If you’ve spent any prolonged amount of time here, Tomine’s illustrations are scenes with which you’re familiar. … Read More

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What Scarlett Johansson’s New Movie ‘Under the Skin’ Tells Us About Her Gross ‘New Yorker’ Profile

Late last month, The New Yorker’s Anthony Lane wrote a profile of Scarlett Johansson. Maybe you heard about it; if you did, it was probably not in terribly complimentary terms. Slate’s Katy Waldman called out its “inappropriate-uncle creepiness”; Talking Points Memo’s Kay Steiger deemed it “gross”; over at The New Republic, Esther Berger crowned it “the worst profile I can remember reading in The New Yorker.” The problem with Lane’s fawning, empty piece, in a nutshell, is that it’s basically a highbrow version of a Maxim or Esquire cover story: Lane’s thesis is that Scarlett Johansson is super-duper hot, though couched in dressed-up verbiage like “Johansson looks tellingly radiant in the flesh” and “using nothing but the honey of her voice” and “she seemed to be made from champagne.” What makes the whole piece particularly irritating is that there are interesting things to be said about Johansson right now; she has two movies coming out today which couldn’t be further apart on the modern movie-making spectrum. And, compellingly, one of them can be read as a kind of tacit commentary on precisely the kind of empty objectification that the Lane profile traffics in so freely. … Read More

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How Andrew Solomon’s Peter Lanza Piece Makes Us More Empathetic

In Leslie Jamison’s essay “The Empathy Exams,” the title piece in her upcoming book, she writes, “Empathy isn’t just listening, it’s asking the questions whose answers need to be listened to. Empathy requires inquiry as much as imagination. Empathy requires knowing you know nothing.” What the Sandy Hook shooting — or any of the 44 school shootings that have occurred since December 2012 — has taught us is that tragedy can, over time, feel unfathomable while also curdling into feeling absolutely commonplace. The rash of school shootings that have become not even front-page news in America have made us tired and frustrated. It leaves us looking for something like empathy, since it’s easy to feel just horror and sadness, looking for the balm of quick answers and a “bad guy” caught and put in jail. … Read More

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‘The Partisan Review’ and 8 Other Great Online Magazine Archives

Even though it shut down in 2003, The Partisan Review was the sort of publication whose articles and fiction deserve to be appreciated by future generations. Now, thanks to some heroic archivists, the magazine’s entire output from 1934 to its demise has been digitized, offering readers a chance to explore one of the most important intellectual institutions of the last century. Like The Partisan Review, some other great publications that have steered our cultural conversations about the arts, politics, and fiction, have also worked hard to get their back issues posted on the internet. Here are a few excellent examples to bookmark. … Read More

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Jennifer Weiner’s Curious Definition of Literary Sisterhood

This week the New Yorker profiles Jennifer Weiner, dissecting the way she’s been cast in the internet’s ongoing debate about the place of women in the world of writing. Or, sorry: “serious writing,” meaning not those ugly pink-and-blue books that only women read. The profile, by Rebecca Mead, is pretty good. I particularly liked how it highlighted, in a nice, subtle, not-laced-with-ad-hominem-attacks way, the flaw in the heart of Weiner’s crusade: she can’t seem to make her point without trashing women literary novelists. … Read More

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The 12 Best ‘New Yorker’-Related Books

Founded in 1925 by Harold Ross and his wife Jane Grant, The New Yorker is published 47 times annually, with five of those issues covering two-week spans. While the magazine has its weaknesses (a

55 Short Stories from the New Yorker

It’s sort of scary to think that the magazine has been putting out great… Read More

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‘The New Yorker’s’ Bert and Ernie DOMA Cover Is Infantilizing and Offensive

What the hell, guys? In a week when we experienced an amazing achievement in the fight for marriage equality, The New Yorker has summed up the Supreme Court’s historic DOMA decision in next week’s cover image, conveniently posted online this morning because the click-baiting, buzz-obsessed culture we live in propagates infantilism. That’s essentially what Jack Hunter, the artist behind the cover image, and the venerable magazine’s editors have done: belittling the decades-long — hell, millennia-long — fight for equal rights by needlessly sexualizing a pair of puppets. … Read More

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Flavorwire Interview: ‘We Steal Secrets’ Director Alex Gibney on Julian Assange and the Wikileaks Backlash to His Film

In his riveting new documentary We Steal Secrets: The Story of Wikileaks, director Alex Gibney (the prolific Oscar winner behind Taxi to the Dark Side, Enron: The Smartest Guys in the Room, and Client 9: The Rise and Fall of Elliot Spitzer) tells two stories: the thriller-like ascendency of the organization and the troubling questions it asks about government transparency, and the crumbling of Wikileaks founder Julian Assange, which plays like something out of Greek tragedy — the transformation of an admirable idealist to a paranoid propagandist, injecting his own legal woes into the lofty aims of his organization, and conflating them. Gibney was unable to procure an interview with Assange; “Julian wanted money,” Gibney explains in the film, though Assange was willing to exchange his interview for information on the other people Gibney was talking to. (UPDATE: The organization has disputed this claim. Mr. Gibney notes that they’re working from an “incomplete and inaccurate transcript based on non-final version.”) The filmmaker refused, and We Steal Secrets has been under fire from Wikileaks supporters since it was unveiled at Sundance last January. I asked Gibney about that backlash, the importance of the story, and related troubling matters of transparency in the Obama administration. … Read More

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