The New Yorker - November 04, 2024

この問題で

The Last Mile - How aid workers risk their lives in Gaza.

The Convert - Is J. D. Vance the new face of MAGA?

Take Me Home - Mati Diop and the cinema of impossible returns...

TAKE ME HOME

The filmmaker Mati Diop turns her gaze on plundered art.

10+ mins

THE LAST MILE

The aid workers who risk their lives to bring relief to Gaza.

10+ mins

THE CONVERT

The sudden rise of J. D. Vance has transfixed conservative élites. Is he the future of Trumpism?

10+ mins

THE BIG DEAL

Joe Biden's economic policies are starting to transform America. Will anyone notice?

10+ mins

From the Wilderness

One morning in the rainy season, I went to bed at 6 a.m. after working all night and was on the verge of falling asleep when I was startled by the sound of my father’s voice coming through the air-conditioner next to my bed.

10+ mins

EACH MORTAL THING

What other creatures understand about death.

10+ mins

A PIECE OF HER MIND

Does the Enlightenment’s great female intellect need rescuing?

10+ mins

THE PUPPET MASTERS

Compulsion, complicity, and the art of Bunraku.

6 mins

STAR-CROSSED

“Sunset Blud.” and Romeo Juliet,” on Broadway.

5 mins

SONGS OF WAR

Early on in “Blitz,” Rita Hanway (Saoirse Ronan), a London factory worker, puts her nine-year-old son, George (Elliott Heffernan), aboard a train. Rather, George puts himself aboard; he twists angrily free of his mother’s grasp—“I hate you!” he cries—and tears off down the platform.

6 mins

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