World
In “Jetty,” a Grand Infrastructure Project Becomes Both Visually and Politically Compelling
The algorithm has been feeding me industrial-strength A.S.M.R.: short videos of computer-controlled lathes, in extreme closeup, doing elaborate milling of wood or metal rods. Sam Fleischner’s modest yet ambitious...
Our Favorite “Only in New York” Spots
“Only in New York” may be a cliché, but only because it’s so true. For Goings On, in our New York-themed centenary issue, we asked staff writers to share...
Sigrid Nunez on the Beauty of Narrative Restraint
“Plot, shmot,” the writer and editor William Maxwell once said to John Updike. Sigrid Nunez couldn’t agree more. She used to tell her students, “You don’t need a plot,...
How Cory Arcangel Recovered a Late Artist’s Digital Legacy
In 2002, the thirty-five-year-old, Luxembourg-born painter Michel Majerus was on a short flight from Berlin, where he lived, to his native country, when the plane crashed, killing him and...
On “Hacks” and “The Studio,” Hollywood Confronts Its Flop Era
For years now, Hollywood has been on a losing streak. In the film and television business, good news has been harder to come by than original stories, with the...
The Battling Memoirs of The New Yorker
In the beginning God created the Heaven and the Earth. Before doing so, however, he sat around with the boys in the bar and thrashed out what exactly he...
Why I Can’t Quit the New York Post
Worse, I’m not sure I want to. If I’m away and something big happens, I usually ask a friend if he can stop by a newsstand so I don’t...
Keith McNally’s Guide to Making a Scene
McNally seemed to enjoy occupying a place in New York’s cultural landscape; he describes McInerney asking for permission to use the restaurant’s image and giving him a manuscript to...