The New Yorker
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.
If a slain Muslim war hero had expressed the same views about other religions as Chris Kyle did, a profile of him would have called him an Islamist.
He's apologized for intellectual dishonesty. But not for intellectual laziness.
Journalists love to bust one another for quantifiable crimes like plagiarism. But they have a much harder time dealing with intangible questions like whether a piece of work is any good. Jonah Lehrer's apology tour—long on analyses of his plagiarism, short on discussion of his mediocrity—is a pretty good case in point.
BuzzFeed constructs its political content for the Twitter-fied world.