The New Yorker – October 23, 2023 issue: The new issue‘s cover features Daniel Clowes’s “Quiet Luxury” – The artist discusses patronage, in-home pillars, and what he’d do with a billion dollars.

Beyond the Myth of Rural America

Its inhabitants are as much creatures of state power and industrial capitalism as their city-dwelling counterparts.

By Daniel Immerwahr

Demanding that your friend pull the car over so you can examine an unusual architectural detail is not, I’m told, endearing. But some of us can’t help ourselves. For the painter Grant Wood, it was an incongruous Gothic window on an otherwise modest frame house in Eldon, Iowa, that required stopping. It looked as if a cottage were impersonating a cathedral. Wood tried to imagine who “would fit into such a home.” He recruited his sister and his dentist as models and costumed them in old-fashioned attire. The result, “American Gothic,” as he titled the painting from 1930, is probably the most famous art work ever produced in the United States.

When Foster Parents Don’t Want to Give Back the Baby

In many states, lawyers are pushing a new legal strategy that forces biological parents to compete for custody of their children.

American Chronicles – Beyond the Myth of Rural America

Its inhabitants are as much creatures of state power and industrial capitalism as their city-dwelling counterparts.

What Happened to San Francisco, Really?

It depends on which tech bro, city official, billionaire investor, grassroots activist, or Michelin-starred restaurateur you ask.By Nathan Heller

The Great Cash-for-Carbon Hustle

Offsetting has been hailed as a fix for runaway emissions and climate change—but the market’s largest firm sold millions of credits for carbon reductions that weren’t real.