Tag Archives: Narratives

Previews: The New Yorker Magazine – August 28, 2023

A colorful woman eats watermelon.

The New Yorker – August 28, 2023 issue: This week’s cover features Olimpia Zagnoli’s “Cocomero”, the vibrant throes of summertime.

Elon Musk’s Shadow Rule

Elon Musk holding the earth between his fingers.

How the U.S. government came to rely on the tech billionaire—and is now struggling to rein him in.

By Ronan Farrow

Last October, Colin Kahl, then the Under-Secretary of Defense for Policy at the Pentagon, sat in a hotel in Paris and prepared to make a call to avert disaster in Ukraine. A staffer handed him an iPhone—in part to avoid inviting an onslaught of late-night texts and colorful emojis on Kahl’s own phone. Kahl had returned to his room, with its heavy drapery and distant view of the Eiffel Tower, after a day of meetings with officials from the United Kingdom, France, and Germany. A senior defense official told me that Kahl was surprised by whom he was about to contact: “He was, like, ‘Why am I calling Elon Musk?’ ”

The Mysteries of Pittsburgh

Herzog in an attic with industrial chimneys behind.

I was searching for truth. Instead, I found a family.

By Werner Herzog

By the time I was twenty-one, I had made two short films and was dead set on making a feature. I had gone to a distinguished school in Munich, where I had few friends, and which I hated so passionately that I imagined setting it on fire. There is such a thing as academic intelligence, and I didn’t have it. Intelligence is always a bundle of qualities: logical thought, articulacy, originality, memory, musicality, sensitivity, speed of association, and so on. In my case, the bundle seemed to be differently composed. I remember asking a fellow-student to write a term paper for me, which he did quite easily. In jest, he asked me what I would do for him in return, and I promised that I would make him immortal. His name was Hauke Stroszek. I gave his last name to the main character in my first film, “Signs of Life.” I called another film “Stroszek.”

Previews: The New Yorker Magazine – August 21, 2023

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The New Yorker – August 21, 2023 issue: This week’s cover features Kadir Nelson’s “Rideout” – The artist discusses biking, bridges, risk, and scale.

How the Writer and Critic Jacqueline Rose Puts the World on the Couch

Jacqueline Rose photographed by Robbie Lawrence.

Enlisting Freud and feminism, she reveals the hidden currents in poetry and politics alike.

By Parul Sehgal

“Psychoanalysis brings to light everything we don’t want to think about,” she said. “If you can acknowledge the complexity of your own heart


The Ukrainians Forced to Flee to Russia

A woman and child standing in between broken down buildings.

Some are brought against their will. Others are encouraged in subtler ways. But the over-all efforts seem aimed at the erasure of the Ukrainian people.

By Masha Gessen

How Carl Linnaeus Set Out to Label All of Life

A man sitting on a large flower looking at a list of paper.

He sorted and systematized and coined names for more than twelve thousand species. What do you call someone like that?

By Kathryn Schulz

Previews: The New Yorker Magazine – August 14, 2023

People shop at a farmers market in the middle of a city.

The New Yorker – August 14, 2023 issue: The cover features Victoria Tentler-Krylov’s “Peak Season”….

The Protests Inside Iran’s Girls’ Schools

A girl defiantly stands on a classroom chair without a head scarf.
Illustration by Adams Carvalho

From the start, women were at the center of the demonstrations that swept Iran last year. Schoolgirls emerged as an unexpected source of defiant energy.

By Azadeh Moaveni

One morning this past winter, the students at a girls’ high school in Tehran were told that education officials would arrive that week to inspect their classrooms and check compliance with the school’s dress code: specifically, the wearing of the maghnaeh, a hooded veil that became a requirement for schoolgirls in the years after the Iranian Revolution. During lunch, a group of students gathered in the schoolyard. A thirteen-year-old in the seventh grade, whom I’ll call Nina, pressed in to hear what was being said. At the time, mass protests against the government were raging across the country; refusing to wear the veil had become a symbol of the movement. An older girl told the others that it was time for them to join together and make a stand.

How Sudan Archives Became the Violin’s Domme

Sudan Archives photographed by Djeneba Aduayom.

The twenty-nine-year-old musician pursues technical, rather than emotional, manipulation with her instrument. She can coax from it the sounds of an accordion, a drum, or a string orchestra.

By Doreen St. Félix

“Do you listen to Sudan Archives?” Most of the time, but not every time, the response to this question is one of confusion. How can one listen to the archives of a country? Sudan Archives is, in fact, a twenty-nine-year-old musician—a singer, rapper, producer, arranger, lyricist, and violinist. She creates a “fiddle-punk sound,” as she describes it, that blends folk, ambient, soul, house, and whatever other tradition she feels is available for the taking. Sudan (the name that her colleagues, her fans, and, increasingly, her intimates call her) begins composing by striking a riff on one of her five violins, which she uses differently from most other American producers. 

What Should You Do with an Oil Fortune?

Leah HuntHendrix photographed by Platon.

The Hunt family owns one of the largest private oil companies in the country. Leah Hunt-Hendrix funds social movements that want to end the use of fossil fuels.

By Andrew Marantz

Let’s say you were born into a legacy that is, you have come to believe, ruining the world. What can you do? You could be paralyzed with guilt. You could run away from your legacy, turn inward, cultivate your garden. If you have a lot of money, you could give it away a bit at a time—enough to assuage your conscience, and your annual tax burden, but not enough to hamper your life style—and only to causes (libraries, museums, one or both political parties) that would not make anyone close to you too uncomfortable. Or you could just give it all away—to a blind trust, to the first person you pass on the sidewalk—which would be admirable: a grand gesture of renunciation in exchange for moral purity. But, if you believe that the world is being ruined by structural causes, you will have done little to challenge those structures.

Previews: The New Yorker Magazine – August 7, 2023

A person who is wearing a bathing suit and a hat in a pool with lush greenery around them.

The New Yorker – August 7, 2023 issue: On the cover is Gayle Kabaker’s “In The Swim of Things”…

Inside the Wagner Group’s Armed Uprising

A photo collage of Yevgeny Prigozhin and Russian soldiers.

How Yevgeny Prigozhin’s private military company went from fighting alongside Russian forces in Ukraine to staging a mutiny at home.

By Joshua Yaffa

Revisiting My Rastafari Childhood

Photo collage of Safiya Sinclair's family.

Babylon was everything forbidden, and looming all around us—and my father tried to protect us from it at all costs.

By Safiya Sinclair

How an Amateur Diver Became a True-Crime Sensation

Two scuba divers approaching a car underwater.

As the founder of Adventures with Purpose, Jared Leisek carved a lucrative niche in the YouTube sleuthing community. Then the sleuths came for him, Rachel Monroe writes.

By Rachel Monroe

Previews: The New Yorker Magazine – July 31, 2023

A series of images of the Earth inside a microwave getting redder with each year.
“Recipe for Disaster,” by Christoph Niemann.

The New Yorker – July 31, 2023 issue: The ‘rich and famous’ above the law, a small-town newspaper lands ‘Big Stories’, how Larry Gagosian reshaped the art world, and more…

How Alex Spiro Keeps the Rich and Famous Above the Law

Alex Spiro stands holding a folder under one arm and points at something out of the frame.

With a common touch that appeals to juries and a client list that includes Elon Musk, Jay-Z, and Megan Thee Stallion, he’s on a winning streak that makes his rivals seethe.

By Sheelah Kolhatkar

From the issue of July 31, 2023

In the summer of 2018, four years before he bought Twitter, the entrepreneur Elon Musk was facing legal consequences for two of his more reckless forays on the social-media platform. A boys’ soccer team in Thailand had been trapped in a flooded cave for more than two weeks, and a caver involved in the rescue said on CNN that a bespoke submarine Musk had sent to save the children was a “PR stunt.” Infuriated, Musk told his twenty-two million Twitter followers, without basis in fact, that the caver, Vernon Unsworth, was a “pedo guy.” The tweet went viral, and Unsworth’s attorney threatened to sue Musk for defamation.

How Larry Gagosian Reshaped the Art World

Larry Gagosian stands in front of art by Richard Prince.

The dealer has been so successful selling art to masters of the universe that he has become one of them.

By Patrick Radden Keefe

It was the Friday afternoon of Memorial Day weekend on Further Lane, the best street in Amagansett, the best town in the Hamptons, and the art dealer Larry Gagosian was bumming around his eleven-thousand-square-foot modernist beach mansion, looking pretty relaxed for a man who, the next day, would host a party for a hundred and forty people. A pair of French bulldogs, Baby and Humphrey, waddled about, and Gagosian’s butler, Eddie, a slim man with a ponytail and an air of informal professionalism, handed him a sparkling water. 

Previews: The New Yorker Magazine – July 24, 2023

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The New Yorker – July 24, 2023 issue: Emily Nussbaum on the Nashville underground, Benjamin Wallace-Wells on Gretchen Whitmer, Anthony Lane on “Mission: Impossible,” and more.

Country Music’s Culture Wars and the Remaking of Nashville

A man in a cowboy had stands amid a group of women in cowgirl hats at NashVegas.

Tennessee’s government has turned hard red, but a new set of outlaw songwriters is challenging Music City’s conservative ways—and ruling bro-country sound.

By Emily Nussbaum

On March 20th, at Nashville’s Bridgestone Arena, a block from the honky-tonks of Lower Broadway, Hayley Williams, the lead singer of the pop-punk band Paramore, strummed a country-music rhythm on her guitar. A drag queen in a ketchup-red wig and gold lamé boots bounded onstage. The two began singing in harmony, rehearsing a twangy, raucous cover of Deana Carter’s playful 1995 feminist anthem “Did I Shave My Legs for This?”—a twist on a Nashville classic, remade for the moment.

How Gretchen Whitmer Made Michigan a Democratic Stronghold

Gretchen Whitmer photographed by Paola Kudacki.

The Governor’s strategy for revitalizing her state has two parts: to grow, Michigan needs young people; to draw young people, it needs to have the social policies they want.

By Benjamin Wallace-Wells

Previews: The New Yorker Magazine – July 10, 2023

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The New Yorker – July 10 & 17, 2023 issue:

On Killing Charles Dickens

A man with a top hat hovering over London.

I did everything I could to avoid writing my historical novel. When I finally started “The Fraud,” one principle was clear: no Dickens.
By Zadie Smith

For the first thirty years of my life, I lived within a one-mile radius of Willesden Green Tube Station. It’s true I went to college—I even moved to East London for a bit—but such interludes were brief. I soon returned to my little corner of North West London. Then suddenly, quite abruptly, I left not just the city but England itself. First for Rome, then Boston, and then my beloved New York, where I stayed ten years. When friends asked why I’d left the country, I’d sometimes answer with a joke: Because I don’t want to write a historical novel. Perhaps it was an in-joke: only other English novelists really understood what I meant by it. And there were other, more obvious reasons.

The Tyranny of the Tale

Scheherazade behind a colonnade of pens.

We’re told that story will set us free. But what if a narrative frame is also a cage?

By Parul Sehgal

After a millennium, she remains the hardest-working woman in literature. It was not enough to be saddled with a husband who had the nasty habit of marrying and murdering a new virgin every day to assure himself of spousal fidelity. Nor was it enough to produce a series of nested stories under such deadlines (truly, I complain too much), stories so prickly and tantalizing that the king postponed her murder every night to wait for the next installment. That’s to say nothing of the entirely forgotten three children she bore over those thousand and one nights. Who recalls that there was always a new baby in Scheherazade’s arms?