The Writer’s Voice
Allegra Goodman Reads “Ambrose”
The author reads her story from the September 30, 2024, issue of the magazine.
Critics at Large
“The Substance” and the New Horror of the Modified Body
In the age of Botox and Ozempic, we have countless ways to tweak, boost, and polish our unwieldy physical forms. Two new films ask: at what cost?
The Writer’s Voice
Joshua Cohen Reads “My Camp”
The author reads his story from the October 21st, 2024, issue of the magazine.
Page-Turner
The 2024 National Book Awards Longlist
The New Yorker presents the longlists for Young People’s Literature, Translated Literature, Poetry, Fiction, and Nonfiction.
By The New Yorker
Fiction Podcast
Rebecca Makkai Reads Jhumpa Lahiri
The author joins Deborah Treisman to read and discuss “The Third and Final Continent,” which was published in The New Yorker in 1999.
Annals of Inquiry
What Kind of Writer Is ChatGPT?
Chatbots have been criticized as perfect plagiarism tools. The truth is more surprising.
By Cal Newport
The Political Scene Podcast
What Motivates Kamala Harris?
Navigating San Francisco politics made the Vice-President a “very pragmatic politician,” Evan Osnos argues.
This Week in Fiction
Allegra Goodman on Fairy Tales and the Old Days
The author discusses her story “Ambrose.”
By Cressida Leyshon
Books
Color, Class, and Carnality Collide in Alan Hollinghurst’s New Novel
In his previous novels about gay life, Hollinghurst has eroticized racial difference; in “Our Evenings,” he politicizes it.
By Giles Harvey
Life and Letters
Coming Alive
In the nineteen-sixties, the English neurologist treated patients who had encephalitis lethargica and wrote constant updates about their progress, and his own.
By Oliver Sacks
Goings On
The Press-on-Nail Renaissance
Also: Elizabeth Marvel and Amber Iman star in “The Ford/Hill Project,” American Ballet Theatre dances Dostoyevsky, Hilton Als picks Lower East Side galleries, and more.
Critics at Large
A Controversial Trump Bio-Pic and the Villains We Make
“The Apprentice” looks at the early career of the former President. Why are we so enamored with such origin stories, and what—if anything—do they have to teach us?