The New Yorker (January 29, 2024): The new issue‘s cover featuresSarula Bao’s “Lunar New Year” – The artist depicts the joys of gathering with loved ones, around a table of good food
As the general manager of the Jay Peak ski resort, Bill Stenger rose most days around 6 a.m. and arrived at the slopes before seven. He’d check in with his head snowmaker and the ski-patrol staff, visit the two hotels on the property, and chat with the maintenance workers, the lift operators, the food-and-beverage manager, and the ski-school instructors—a kind of management through constant motion. Stenger is seventy-five, with white hair, wire-rimmed reading glasses, and a sturdy physique that makes him look built for fuzzy sweaters.
The Perverse Policies That Fuel Wildfires
We thought we could master nature, but we were playing with fire.
With elections postponed and no end to the war with Russia in sight, Volodymyr Zelensky and his political allies are becoming like the officials they once promised to root out: entrenched.
The New Yorker (January 22, 2024): The new issue‘s cover featuresRoz Chast’s “Bird Bath” – The artist depicts her favorite antidote for dreary winter weather: a nice, hot bath.
As a young man in the nineteen-eighties, Tucker Swanson McNear Carlson set out to claim his stake in the establishment. His access to money and influence started at home. His stepmother, Patricia, was an heir to the Swanson frozen-food fortune. His father, Dick, was a California TV anchor who became a Washington fixture after a stint in the Reagan Administration. For fortunate clans like the Carlsons, it was “A Wonderful Time,” to borrow the title of a volume of contemporaneous portraits of “the life of America’s elite,” which included “the Cabots sailing off Boston’s North Shore, and Barry Goldwater on the range in Arizona.”
There are few Hollywood families in which one famous director has spawned another. Coppola says, “It’s not easy for anyone in this business, even though it looks easy for me.”
When Eleanor Coppola went into labor with her third child, on May 14, 1971, at a hospital in Manhattan, her husband, the director Francis Ford Coppola, was on location in Harlem, shooting a scene for “The Godfather.” Hearing the news, he grabbed a camcorder from the set and raced over to capture the moment. “When they say, ‘It’s a girl,’ my dad gasps and nearly drops the camera,” Sofia Coppola told me recently, of her birth video. “My mom is there, just trying to focus.” The footage—which has been screened by the family multiple times over the years, and as part of a feminist art installation designed by Eleanor—was the first of many instances in which Sofia would be seen through her father’s lens. When she was just a few months old, Francis cast her in her first official film role, as the infant in the dénouement of “The Godfather,” in which Michael Corleone, the ascendant boss of the Corleone crime family, anoints the head of his newborn nephew as his associates murder rival gangsters one by one.
The New Yorker – January 22, 2024 issue: The new issue‘s cover featuresPascal Campion’s “Winter Sun” – The artist depicts the beams of sunlight that flicker during the coldest months of the year.
Amid war with Hamas, a hostage crisis, the devastation of Gaza, and Israel’s splintering identity, the Prime Minister seems unable to distinguish between his own interests and his country’s.
To be vigilant—to live without illusions about the ever-present threat of annihilation—was a primary value at No. 4 Haportzim Street, once the Jerusalem address of the Netanyahu family. This wariness had ancient roots. In the Passover Haggadah, the passage beginning “Vehi Sheamda” reminds everyone at the Seder table that in each generation an enemy “rises up to destroy” the Jewish people. “But the Holy One, Blessed be He, delivers us from their hands,” the Haggadah continues. Benzion Netanyahu, the family patriarch and a historian of the Spanish Inquisition, was a secular man. For deliverance, he looked not to faith but to the renunciation of naïveté and the strength of arms. This creed became his middle son’s inheritance, the core of his self-conception as the uniquely unillusioned defender of the State of Israel.
In the early months of the pandemic, joggers on the Bear Creek Greenway, in southern Oregon, began to notice tents cropping up by the path. The Greenway, which connects towns and parks along a tributary of the Rogue River, was beloved for its wetlands and for stands of oaks that attracted migrating birds. Now, as jobs disappeared and services for the poor shut down, it was increasingly a last-ditch place to live. Tents accumulated in messy clusters, where people sometimes smoked fentanyl, and “the Greenway” became a byword for homelessness and drug use. On a popular local Facebook page, one typical comment read, “Though I feel sorry for some of the people in that situation, most of them are just pigs.” In Medford, the largest city along the trail, police demolished encampments and ticketed people for sleeping rough.
The New Yorker – January 15, 2024 issue: The new issue‘s cover featuresBarry Blitt’s “Back to the Future” – The artist depicts a goose-stepping Donald Trump, determined to march back into political relevance.
Absenteeism underlies much of what has beset young people, including falling school achievement, deteriorating mental health, and elevated youth violence.
What Frantz Fanon and Ian Fleming Agreed On
From opposite directions, the revolutionary intellectual and the creator of James Bond saw violence as essential—psychologically and strategically—to solving the crisis of colonialism.
More than fifty years later, Zohra Drif could still picture the Milk Bar in Algiers on September 30, 1956. It was white and shining, she recalled, awash in laughter, young voices, “summer colors, the smell of pastries, and even the distant twittering of birds.” Drif, a well-coiffed law student in a stylish lavender dress, ordered a peach-Melba ice cream and wedged her beach bag against the counter. She paid, tipped, and left without her bag. The bomb inside it exploded soon afterward.
The New Yorker – January 1 & 8, 2024 issue: The new issue‘s cover featuresBianca Bagnarelli’s “Deadline” – The artist evokes a moment suspended between the old and the new.
He began as more of a tutor than a talent. But in his final decade he lent a keen eye-in-the-sky view to the Paris streets, rendering miracles of kinetic characterization.
It’s one of the stranger anomalies of French intellectual life that Impressionist painting—by far the most influential of French cultural enterprises—has received so little attention from the most ambitious French critics and philosophers. One can page through André Gide’s journal entries, a lot of them on art, or through Albert Camus’s, and find very little on Claude Monet or Edgar Degas (and much more on the Symbolists, a group that was far easier for a literary man to “get”). Marcel Proust cared passionately for painting, and his hero-painter Elstir has touches of Monet, but in order to make him interesting Proust had to model him on the more histrionic James McNeill Whistler, with samplings from a forgotten American painter added in.
Following Hamas’s October 7th attack and Israel’s invasion, Mosab Abu Toha fled his home with his wife and three children. Then I.D.F. soldiers took him into custody.
The New Yorker – December25, 2023 issue: The new issue‘s cover features“The Flip Side” – The annual Cartoons & Puzzles Issue, inhabitants of a colorless New York coexist with their doppelgängers in a topsy-turvy reality.
The puzzles spread from the United States across the globe, but the American crossword today doesn’t always reflect the linguistic changes that immigration brings.
Root around in the alphanumeric soup of the U.S. visa system for long enough and you’ll discover the EB-1A, sometimes known as the Einstein visa. Among the hardest permanent-resident visas to obtain, it is reserved for noncitizens with“extraordinary ability.” John Lennon got a forerunner of it, in 1976, after a deportation scare that could have sent him back to Britain. (His case, which spotlighted prosecutorial discretion in immigration law, forms the legal basis for the Deferred Action for Childhood Arrivals program, or daca.) Modern-day recipients include the tennis star Monica Seles and—in a tasteless bit of irony—the Slovenian model Melania Knauss, in 2001, four years before she became Melania Trump.
A Bugatti Chiron Super Sport, near the company’s factory, in Molsheim, France. The car, which has lusciously curved side panels, has been produced in a limited run of five hundred. Although its engine is as big as a Shetland pony, the interior is eerily quiet.
Return to New York City
Revisiting old haunts leads to revelations about “real life.”
The New Yorker – December18, 2023 issue: The new issue‘s cover featuresOlimpia Zagnoli’s “Let There Be Lights” – The artist discusses strands of brilliance amid dark days.
We routinely test for chemicals that cause mutations. What about the dark matter of carcinogens—substances that don’t create cancer cells but rouse them from their slumber?
In the nineteen-seventies, Bruce Ames, a biochemist at Berkeley, devised a way to test whether a chemical might cause cancer. Various tenets of cancer biology were already well established. Cancer resulted from genetic mutations—changes in a cell’s DNA sequence that typically cause the cell to divide uncontrollably. These mutations could be inherited, induced by viruses, or generated by random copying errors in dividing cells. They could also be produced by physical or chemical agents: radiation, ultraviolet light, benzene. One day, Ames had found himself reading the list of ingredients on a package of potato chips, and wondering how safe the chemicals used as preservatives really were.
In March, 1940, Edmund Carl Heine, a forty-nine-year-old American automobile executive, reached an understanding with a company then known as Volkswagenwerk GmbH. Heine, who immigrated to the United States from Germany as a young man, had spent years at Ford, first in Michigan and then in its international operations in South America and Europe, landing finally in Germany. In 1935, two years after the Nazi regime came to power, Ford fired him, for reasons that are unclear. Heine next signed on with Chrysler, in Spain, but the Spanish Civil War was tough on the car business. And so he was out of a job again.
The New Yorker – December11, 2023 issue: The new issue‘s cover featuresBarry Blitt’s “Special Delivery” – The artist discusses holiday shopping and his prized Popeye punching bag.
After the Civil War, Jefferson Davis, the President of the Confederacy, was to be tried for treason. Does the debacle hold lessons for the trials awaiting Donald Trump?
Jefferson Davis, the half-blind ex-President of the Confederate States of America, leaned on a cane as he hobbled into a federal courthouse in Richmond, Virginia. Only days before, a Chicago Tribune reporter, who’d met Davis on the boat ride to Richmond, had written that “his step is light and elastic.” But in court, facing trial for treason, Davis, fifty-eight, gave every appearance of being bent and broken. A reporter from Kentucky described him as “a gaunt and feeble-looking man,” wearing a soft black hat and a sober black suit, as if he were a corpse. He’d spent two years in a military prison. He wanted to be released. A good many Americans wanted him dead. “We’ll hang Jeff Davis from a sour-apple tree,” they sang to the tune of “John Brown’s Body.”
The companies had honed a protocol for releasing artificial intelligence ambitiously but safely. Then OpenAI’s board exploded all their carefully laid plans.
At around 11:30 a.m. on the Friday before Thanksgiving, Microsoft’s chief executive, Satya Nadella, was having his weekly meeting with senior leaders when a panicked colleague told him to pick up the phone. An executive from OpenAI, an artificial-intelligence startup into which Microsoft had invested a reported thirteen billion dollars, was calling to explain that within the next twenty minutes the company’s board would announce that it had fired Sam Altman, OpenAI’s C.E.O. and co-founder. It was the start of a five-day crisis that some people at Microsoft began calling the Turkey-Shoot Clusterfuck.
The New Yorker – December 4, 2023 issue: The new issue‘s cover features Sergio García Sánchez’s “Ready to Soar” – The artist discusses rhythm, rigor, and the linguistic capabilities of art.
The revelation that ChatGPT, the astonishing artificial-intelligence chatbot, had been trained on an Nvidia supercomputer spurred one of the largest single-day gains in stock-market history. When the Nasdaq opened on May 25, 2023, Nvidia’s value increased by about two hundred billion dollars. A few months earlier, Jensen Huang, Nvidia’s C.E.O., had informed investors that Nvidia had sold similar supercomputers to fifty of America’s hundred largest companies. By the close of trading, Nvidia was the sixth most valuable corporation on earth, worth more than Walmart and ExxonMobil combined. Huang’s business position can be compared to that of Samuel Brannan, the celebrated vender of prospecting supplies in San Francisco in the late eighteen-forties. “There’s a war going on out there in A.I., and Nvidia is the only arms dealer,” one Wall Street analyst said.
On November 6th, Donald Trump emerged from a New York City courtroom, where he had testified in a civil trial alleging that he and others in the Trump Organization had committed fraud, and gave himself a great review. “I think it went very well,” he told reporters. “If you were there, and you listened, you’d see what a scam this is.” He meant that the case was a scam and not that his company was. “Everybody saw what happened today,” he went on. “And it was very conclusive.”
The German actress Sandra Hüller probes characters with unusual depth. But to portray a Fascist wife, in “The Zone of Interest,” she reversed her usual approach—and withheld her empathy.
In “Anatomy of a Fall,” Hüller stars as a successful novelist accused of murdering her husband. The camera often lingers on her face as it shifts like quicksilver between playfulness, defiance, and evasion.Photograph by Mark Peckmezian for The New Yorker
The New Yorker – November 27, 2023 issue: The new issue‘s cover features Chris Ware’s “Harvest” – The artist discusses the rituals of gathering and building memories.
hen Joyce Carol Oates was thirty-four, she started a journal. “Query,” she wrote on the first page. “Does the individual exist?” She felt that she knew little about herself—for instance, whether she was honest or a hypocrite. “I don’t know the answer to the simplest of questions,” she wrote. “What is my personal nature?”
Seventy years ago, before she was galactically famous, before she dropped an “a” from her first name, before she was a Broadway ingénue, before her nose bump was aspirational, before she changed the way people hear the word “butter,” before she was a macher or a mogul or a decorated matron of the arts, Barbra Streisand was, by her own admission, “very annoying to be around.” She was born impatient and convinced of her potential—the basic ingredients of celebrity, and of an exquisitely obnoxious child. When Streisand was growing up in Brooklyn, in the nineteen-forties, she used to crawl onto the fire escape of her shabby apartment building and conduct philosophical debates with her best friend, Rosyln Arenstein, who was a staunch atheist.
News, Views and Reviews For The Intellectually Curious
Boomers Daily 