The Brutalist Report

The New Yorker

• Trump Says He Did Not Know Identity of Dinner Guest, Owing to White Hood [1138d]
• Greer Lankton’s Lonely Dolls [1138d]
• I’m Free(lance)falling [1138d]
• Constance Debré’s Deviant, Defiant Performance of Motherhood [1138d]
• Kari Lake Storms Out of Thanksgiving After Losing Battle for Wishbone [1138d]
• Daily Cartoon: Monday, November 28th [1138d]
• Slide Show: New Yorker Cartoons December 5, 2022 [1138d]
• The Enduring Metal Genius of Metallica [1138d]
• Danielle Dutton Reads “My Wonderful Description of Flowers” [1138d]
• Gender Critique Meets Lewd Spectacle in “The Patient Gloria” [1138d]
• How Hospice Became a For-Profit Hustle [1138d]
• What Hollywood’s Ultimate Oral History Reveals [1138d]
• Meghann Fahy Stans Out Over Eminem [1138d]
• A Board-Game Auteur Makes His Next Move [1138d]
• Briefly Noted Book Reviews [1138d]
• “The Frantic Adding Machine,” by Simon Armitage [1138d]
• The Mail [1138d]
• Jorge Colombo’s “Off-Season” [1138d]
• Is Mick Herron the Best Spy Novelist of His Generation? [1138d]
• The Best TV Shows of 2022 [1138d]
• “My Wonderful Description of Flowers,” by Danielle Dutton [1138d]
• Danielle Dutton on What a Narrative Can Hold [1138d]
• Predicting the Earthquake That Could Wreck New York [1138d]
• Yam Karkai’s Illustrations Made Her an N.F.T. Sensation. Now What? [1138d]
• “Law of the Body,” by Lizzie Harris [1138d]
• My Last Will and Testament, on VHS [1138d]
• The Great Masking Cycle [1138d]
• Kathy Acker’s Art of Identity Theft [1138d]
• Steve-O Appreciates Fine Art [1138d]
• Cartoon Caption Contest [1139d]