The New Yorker
How to assess the promising, posthumous work of a 22-year-old
The act of reviewing—or even just having critical thoughts about—juvenilia produced by someone who cannot defend herself seems both loathsome and pointless. But this book calls for it.
The celebrity profile reaches a new nadir in this week's New Yorker.
The New Yorker editor on difficult writers, Obama's shortcomings, and learning from Anna Wintour
The editor of the New Yorker talks Russia, Obama, and whether he is creating cultural serfdom online.
Except these people
The wary silence surrounding Amazon has ended up forcing a small handful of voices to serve as mouthpieces for the industry at large.
Because he's so busy showing us what an adult he is
Because he's so busy showing us what an adult he is.
"Pretentious is pretty much Art Spiegelman's M.O."
In a strange and unconvincing essay in The New Yorker, Lee Siegel, who made his name as a slashing and smart critic (for a time at The New Republic), writes that he is through with negative book reviews. He mentions a Clive James essay from several months back which lamented the lack of nasty reviews in American publications.
The English-speaking Internet woke up in a bad mood today after Susan Orlean, the New Yorker contributor and author of The Orchid Thief, revealed the two heretofore anonymous creators of a Twitter feed called @horse_ebooks.
The legendary magazine alters its DNA for the Internet era
The first really talked-about New Yorker cover came nearly 70 years after the magazine’s founding. In 1992, when Tina Brown took over as just the fourth editor in its history, she broke a long-standing editorial taboo by adding three brand-name visual artists to the staff: cartoonist Art Spiegelman, illustrator Edward Sorel, and photographer Richard Avedon.
Hannah Arendt exposes the threadbare hero it hallows.