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An Austrian heiress selected 50 people by lottery and tasked them with redistributing 25 million euros from her inheritance. “If politicians don’t do their job and redistribute, then I have to redistribute my wealth myself,” she said at a press conference.
An Austrian heiress recruited fifty people from all walks of life to redistribute twenty-five million euros—if they could agree on how to spend it.
The cover for this week’s issue, “A Mother’s Work,” by R. Kikuo Johnson.
https://newyorkermag.visitlink.me/zky0KU
In New Yorker Humor, a guide to help you easily identify the main subspecies of bro in their natural environments.
This guide will help you easily identify the main subspecies of bro in their natural environments.
A short story about an unrelenting case of déjà vu in the Florida Keys, by Stephen King, from 1998: “They were, after all, on their second honeymoon.”
Fiction, from 1998: “There were ordinary miracles; there were also ordinary ghosts. You found these things out as you got older.”
Today, millions of Americans will joyfully stay home, fire up a grill, or head to the beach— traditions enshrined, indirectly, in 1894, when Congress made Labor Day a national holiday. For many, the day is now so deeply entwined with leisure, pleasure, and department-store sales that it’s easy to forget its origins in the labor movement.
In 1969, The New Yorker’s Peter Matthiessen profiled one of that movement’s most famous contemporary leaders: the organizer Cesar Chavez, who had attracted significant attention the previous year by subsisting on nothing but water for 25 days. The son of Mexican American migrant workers, Chavez had served in the Navy during the Second World War, and had returned home afterward to an arduous life as a farm laborer. For reasons that remain relevant today, agricultural workers were easy to exploit, and Chavez’s eventual activism would require strategic choices about stolen pay, how to fight racism, and the risks and advantages of unionizing. In the California vineyards previously immortalized in John Steinbeck’s “The Grapes of Wrath,” Chavez persuaded a nation to care about some of its poorest workers. He was, in the words of Robert F. Kennedy, “one of the heroic figures of our time.” Read the Profile: https://newyorkermag.visitlink.me/N0EpSd
From 1969: In his fight for California farm workers, the labor organizer took on wage theft, racism, and the threat of automation. His activism changed everything.
Four years ago, the Democrats made big promises to address racial and economic injustice. Will voters remember?
From 2014: How the labor leader disserved his dream.
Revisit Thomas Wolfe’s 1935 short story about the difficulty of knowing Brooklyn “t’roo an’ t’roo.”
Thomas Wolfe’s classic short story about the difficulty of knowing Brooklyn "t'roo an' t'roo."
By drawing data out of tampons and pads, startups hope to shed light on poorly understood diseases.
Uou could say that the story of Henry David Thoreau and Ralph Waldo Emerson was a love story. It was complicated, however, by Thoreau’s growing attachment to his mentor’s wife.
The writer had a deep bond with his mentor, Ralph Waldo Emerson. But he also had a profound connection with Emerson’s wife.
The contest for an obscure political office partly responsible for administering elections has become the race behind the race, with stakes that could determine the Presidency.
From 1954: A short story by John Cheever, about an affair and its surprising aftermath.
A short story by John Cheever about an affair and its surprising aftermath.
On John Lennon’s 40th birthday—two months before his death—Yoko Ono gave him a Patek Philippe 2499. It ended up in the hands of an Italian collector. Lennon and Ono’s son, Sean, says he wants the rare watch back “because of all we’ve been through over it.”
For decades, Yoko Ono thought that the birthday gift was in her Dakota apartment. But it had been removed and sold—and now awaits a court ruling in Geneva.
Disturbances on the sun may have the potential to devastate our power grid and communication systems. When the next big storm arrives, will we be prepared for it?
The average American celebrates just one healthy birthday after the age of 65. Peter Attia argues that it doesn’t have to be this way.
The average American celebrates just one healthy birthday after the age of sixty-five. Peter Attia argues that it doesn’t have to be this way.
From “Reasons to Log Off,” by Kate Baer. Read the full poem: http://nyer.cm/nyDvEmV
A cartoon by Jason Patterson, from 2009. https://newyorkermag.visitlink.me/U5xQ6b
Fire Island, in New York, has earned a reputation as a paradise that is also an inferno, a place that embodies a certain kind of gay utopianism. Matthew Leifheit’s photo collection “To Die Alive” gives arresting visual life to the island’s vitality, eroticism, and morbidity. See more of the photographer’s intimate work: http://nyer.cm/zKfFVBf
“Neoliberalism” gets blamed for pretty much every socioeconomic ill we have—but for 40 years it was the principal economic doctrine of the American government.
The free market used to be touted as the cure for all our problems; now it’s taken to be the cause of them.
Spontaneity—a lighthearted kind of recklessness—feels crucial to MJ Lenderman’s vision as an artist. “Every time I sit down to write, it’s like starting from scratch again,” he says, in a new interview. “Sometimes I surprise myself.”
The artist discusses resisting the neutering effects of technology, his breakup with a bandmate, and his new album, “Manning Fireworks.”
“In New York City, land of bodegas and corner delis, to find your meal at a branded gas-station convenience store verges on the perverse,” Helen Rosner writes. But Blue Hour, a short-order joint inside a BP gas station, brings a flavor-packed scene to Bushwick. https://newyorkermag.visitlink.me/7yq0eh
In the Soviet Union, in 1983, a warning system detected a missile launch. An officer was charged with reporting it, but the probability of an attack was low and the quality of the alert unconvincing. Bayesian reasoning—an approach to statistics—helped him save the world.
The real challenge isn’t being right but knowing how wrong you might be.
Republicans and Democrats have long fought over the Black vote, the evangelical vote, and the middle-class vote. But recently they’ve been warring over the Swiftie vote. Taylor Swift has not endorsed either Donald Trump or Kamala Harris, but the question of whether she will has become a subplot in an election seemingly so tight that something as small as the right endorsement—or the wrong meme—threatens to shift the balance.
“Coolness has long been relevant to Presidential elections,” Tyler Foggatt writes. Ronald Reagan, a former actor, easily bested Jimmy Carter, who couldn’t even go fishing without being attacked by a swamp rabbit. Bill Clinton played the sax. Obama was good at basketball. But, if coolness is the goal, then the most effective celebrity endorsements are arguably the ones that speak to a candidate’s vibes. Perhaps that’s why the most important celebrity endorsement that Harris has received was not a real endorsement at all: it was the pop star Charli XCX tweeting, apparently on a whim, that “kamala IS brat.” Read about the Presidential cool factor, and whether celebrity endorsements can tip the scales: https://newyorkermag.visitlink.me/BraIK3
From what Kamala Harris said in her campaign’s first major interview, it’s clear that she and her advisers believe that being accused of flip-flopping is a lesser threat than being cast as too radical, John Cassidy writes.
The Vice-President and her advisers clearly believe that being accused of flip-flopping is a lesser threat to her campaign than being cast as too radical.
Read the full short story, “Greensleeves,” by Sigrid Nunez: https://newyorkermag.visitlink.me/HJduKr
Brené Brown is a best-selling writer, researcher, professor, social worker, podcast host, C.E.O., and consultant-guru to organizations including Pixar, Google, and the U.S. Special Forces. Her 2011 TEDx talk, “The Power of Vulnerability,” is one of the top five TED talks of all time. In her work, Brown’s conclusions tend to surprise, then resonate, like a Zen koan: “When perfectionism is driving us, shame is always riding shotgun,” she says.
Read about why Brown has always felt like an outsider, even in her own family; how she differentiates herself from other best-selling gurus by reconciling the tangible (data) with the intangible (emotion); and how she built an empire around the concept of vulnerability: http://nyer.cm/saLw2pI
From 2019: A quarter century after John Williams’s death, his novel “Stoner” was acclaimed a “perfect novel.” Does it belong to a larger lineage of neglected modern literature?
A quarter century after his death, his austere, unflashy masterpiece was acclaimed a “perfect novel.” Does it belong to a larger lineage of neglected modern literature?
“Sometimes I find that it can be interesting to begin a story with some ambiguity about what’s going on,” Sigrid Nunez says. “It happens in real life all the time: you perceive something one way and then, with a little more information, you discover you’ve read it all wrong.” https://newyorkermag.visitlink.me/Z9nI9F
For many, Sarah Jessica Parker is inseparable from Carrie Bradshaw—but Parker still seems somewhat confounded by Carrie’s life style. “I could never do any of that stuff in my life,” she said. “It would be immoral. It would be unprincipled. An affair, husbands, kissing, buying, drinking—whims, whims, whims!” Read a Profile of the actor, who continues to play the beloved character two decades after “Sex and the City” ’s end: http://nyer.cm/KOZT4p7
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If you love ice cream, then a visit to Caffé Panna’s new outpost in Greenpoint is a must. Join our Goings On editor Shauna Lyon for a look inside the new location, and at the many delectable frozen treats they offer there. For more restaurant reviews and recommendations, sign up for our Food Scene newsletter: https://newyorkermag.visitlink.me/gkSOw7
At last year’s #NewYorkerFest, Julia Louis-Dreyfus reflected on how her breast cancer diagnosis changed her life. “I’m just so happy to be here,” she said. “I’m just very focussed on enjoying this time.” Learn more about this year’s Festival and get tickets to select events: https://newyorkermag.visitlink.me/VM1fwV
You did it! You finally booked that long-awaited vacation. Now it’s time for your most important travel decision: picking your seat on the airplane. The comedian Ellen Harrold breaks down what it says about you if you chose an aisle seat. Sign up for our Humor newsletter: https://newyorkermag.visitlink.me/t-tLX2
Stéphane Bourgoin established himself as an expert on serial killers—then true-crime fans began digging into his story. “Killer Lies: Chasing a True Crime Con Man,” a new series based on the investigative report by The New Yorker writer Lauren Collins premieres tonight on National Geographic. Stream it on Hulu, and read Collins’s story on the unravelling of Bourgoin here: https://newyorkermag.visitlink.me/-sgTFK
In 2018, Harith (Snoop) Augustus had left work at a barbershop when he was shot by a Chicago police officer. Bill Morrison’s short documentary “Incident” captures the final moments of Augustus’s life, and the actions and reactions of the police and neighbors who were there when it happened. Using police body-cam footage to create a multifaceted record of the shooting, along with simple onscreen text to place the shooting in its local political context, the film is a powerful record of one man’s death and of the ongoing crisis of police violence. Watch it here: https://newyorkermag.visitlink.me/z_fBiI
Is A.I. a tool for self exploration or “a knife sharpener for the blade of capitalism?” At last year’s New Yorker Festival, the writer Ted Chiang and the philosopher Daniel Dennett discussed why people want A.I. Learn more about this year’s Festival: https://newyorkermag.visitlink.me/FkVu3f
The 31-year-old Brazilian artist Tadáskía has taken up the very tall walls of the Museum of Modern Art’s Projects Room to create an intimate yet expansive atmosphere. Her installation, which is being shown through October 14th, produces a narrative that coheres through her investment in Brazil’s political and spiritual life, and in the history of her ancestors. For more N.Y.C. recommendations, sign up for our Goings On newsletter: https://newyorkermag.visitlink.me/rMgprv
In “Fratelli Carbonai,” the filmmakers Felix Bazalgette and Josh Hughes capture the ancient art of making coal and the workers who make it, known in southern Italy as carbonai. The short documentary, filmed during the nation’s 2022 election, follows a young man from Mali who joins the trade. While his friendships with other workers were developing, viciously dehumanizing attitudes toward people of his background were being normalized in national debates. “As we filmed, we became interested in how this tough group of men, working an exhausting job in the mountains, seemed to have built a fragile sense of community that resisted the relentlessly xenophobic logic of the far right,” Bazalgette writes—“but, we wondered, was it really a community of equals, and would it last?” Watch the film in its entirety: https://newyorkermag.visitlink.me/uvry7g
Katherine Propper’s 2022 fictional short “Birds,” which takes place in Austin, Texas, is a film as much about a particular place as it is about a particular time of life. The film follows a group of teens—from a trio of cheerleaders, filming a TikTok, to a couple, falling in love for what may be the first time—as they experience the tedium and magic of a boundless summer day. Watch “Birds” in its entirety: https://www.newyorker.com/culture/screening-room/a-love-letter-to-a-teen-age-summer-vacation-in-birds?utm_source=facebook&utm_medium=social&utm_campaign=dhfacebook&utm_content=app.dashhudson.com%2Fnewyorkermag%2Flibrary%2Fmedia%2F221580754
In the 2022 short film “Souvenir,” a young girl and her father embark on a series of dreamlike adventures. The film contains no dialogue, but it expresses volumes, conveying the depth of the relationship and the lasting power of shared memories. Watch it in full: https://newyorkermag.visitlink.me/2kiK3k
Pegah Ahangarani’s 2023 documentary short “I Am Trying to Remember” is composed entirely of archival photos and videos. The Iranian filmmaker’s personal memories blend with historical events when the images of her youth give way to footage of the Islamic Revolution, a decade earlier. Though Ahangarani began the film three years ago, she sees poignant resonances between the events of 1988 and the scenes playing out in Iran today, as the regime imposes death sentences on citizens protesting women’s oppression. Her film, she says, is a “reminder that what happened then is happening today and that we should not be indifferent.” Watch the documentary short: https://newyorkermag.visitlink.me/-p6_sp
In “Act of God,” a 2023 short film written and directed by Spencer Cook and Parker Smith, a man named Stuart sees a $100 bill on a sidewalk during his commute. He can’t maneuver his wheelchair to pick up the money, so he continues on to the office. On the way home, Stuart (played with quiet intensity by Cook, who is himself disabled) spots the bill again, and this time he is determined not to give up so easily. Picking up the money isn’t the struggle in his life that matters, Doug Watson writes. “Rather, it is a type of challenge recognizable to almost anyone: he needs a certain kind of help and has a hard time accepting it.” Watch the film: https://newyorkermag.visitlink.me/vdl-aw
It’s estimated that the desert tortoise has roamed the area in and around the Mojave Desert for more than 15 million years. Within the past century, their existence has been threatened by climate change, habitat loss, and a peculiar import that arrived with human encroachment—ravens. A conservation biologist and a Mojave native have come up with a novel approach to mitigate the problem: booby-trapping the desert to train the ravens to leave the tortoises alone. The short documentary “Eco-Hack!” follows their experiment. Watch the full documentary short: https://newyorkermag.visitlink.me/bhoRB3
The Central Park Boathouse has long been a place of nostalgia. The restaurant reopened this spring, after a little more than a year of closure. How does its latest incarnation measure up? Join our food critic Helen Rosner as she samples its stuffed mushrooms, oysters Rockefeller, spaghetti with lobster, and more. For more restaurant reviews and recommendations, sign up for the Food Scene newsletter: https://newyorkermag.visitlink.me/mbaJRw
In 1985, a nightmarish killing at the Whitehouse Farm, a rural estate in England, transfixed the U.K. Jeremy Bamber was found guilty of the crime and sentenced to life in prison for murdering his mother, father, sister, and twin six-year-old nephews. Bamber was portrayed in the media as a greedy young man after his family’s fortune. But many of the people who were instrumental in securing his conviction were enriched by the crime. The New Yorker reporter Heidi Blake investigates the case—and uncovers revelations that could point to Britain’s longest-running miscarriage of justice. Read the story: https://newyorkermag.visitlink.me/hjnCZX
Nevia No’s New Jersey farm has supplied some of the top chefs and farmers’ markets in New York City. In a 2022 short film, which follows a year of production on the farm, Nevia reflects on her immigrant experience and the ideas of tradition and legacy that stem from it. “I know my mom doesn’t plan on doing this for too much longer. Physically, I don’t think she can,” says Nevia’s daughter Euni Park, who began working on the farm in the pandemic. “At least I know that I had a part of this vision with her and for her.” Watch the full documentary: https://newyorkermag.visitlink.me/p3Af0z
When the neuroscientist and composer David Sulzer taught Thai elephants to play music, he discovered that the animals were naturals, needing little encouragement beyond the occasional apple or banana. Read about Sulzer’s work—and what different species can tell us about how we make meaning from music: https://www.newyorker.com/magazine/2023/04/03/david-sulzer-profile-neuroscience-music?utm_source=facebook&utm_medium=social&utm_campaign=dhfacebook&utm_content=app.dashhudson.com%2Fnewyorkermag%2Flibrary%2Fmedia%2F302181170
Margie Soudek came into her first set of salt and pepper shakers—a pair of ducks “dressed like ladies”—around 1946. Over the next seven decades, Soudek amassed more than 2,000 sets. In 2018, Soudek’s granddaughter, Meredith Moore, began filming the collection. Her 2023 short documentary “Margie Soudek’s Salt and Pepper Shakers” combines old family videos, visual effects, and screen recordings of her own computer to explore the ways that art-making and obsessiveness enhance our realities. But the film is more than a display of digital effects, Julia Bush writes. It's also “an artifact of family connection, an illustration of the way that objects can hold memories, and a portrait of how the act of sustained attention brings people together.” Watch the film: https://newyorkermag.visitlink.me/V6T2z4
“Requiem for a Whale,” is a 2023 short documentary by Ido Weisman that captures the aftermath of a whale’s death—capturing the range of responses of human observers. For some, the decomposing animal becomes a backdrop for selfies, as the park authorities perform an autopsy and journalists report at the scene. Shot in two days in February, 2021, the film combines visual material from the period after the whale washed ashore with the voice-over conversations that were conducted later on. To Weisman, the whale is a message about our behavior as human beings. “That we need to be better, and more kind to this place,” he said. Watch the film: https://newyorkermag.visitlink.me/RpvIp2
In an interview with David Remnick on The New Yorker Radio Hour, Nancy Pelosi reveals that she has not been in contact with Joe Biden since he exited the race, and opens up about whether she thinks her long relationship with him will survive. “I hope so,” the former Speaker said. “I pray so. I cry so.” Listen to the full conversation: https://link.chtbl.com/psfjg9xq?utm_source=facebook&utm_medium=social&utm_campaign=dhfacebook&utm_content=app.dashhudson.com%2Fnewyorkermag%2Flibrary%2Fmedia%2F441648093
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