The Brutalist Report - newyorker

The New Yorker

What Does “Woke” Mean, and How Did the Term Become So Powerful? [1063d]
Patricia Highsmith’s New York Years [1063d]
Dear Pepper: Avert Your Eyes [1063d]
He Was Tom Verlaine [1063d]
The Two Best Films I Saw at Sundance [1063d]
A New TV Show That’s a Real Slap in the Face [1063d]
Daily Cartoon: Monday, January 30th [1063d]
Trump Says DeSantis Lacks the Classified Documents Necessary to Be President [1063d]
A George Santos Guide to Lying [1063d]
Slide Show: New Yorker Cartoons February 6, 2023 [1063d]
The Hunt for Russian Collaborators in Ukraine [1063d]
Briefly Noted Book Reviews [1063d]
The Mail [1063d]
Tots vs. Cop City [1063d]
When Americans Lost Faith in the News [1063d]
Meat Pies (One Meatless) with “Sweeney Todd” ’s Newest Stars [1063d]
“The Middle Voice,” by Han Kang [1063d]
Malika Favre’s “Connected” [1063d]
What Does Writing Smell Like? [1063d]
The Ageless Exuberance of Michael Tilson Thomas [1063d]
When Law Enforcement Alone Can’t Stop the Violence [1063d]
“Simple,” by Laura Kolbe [1063d]
“Head of Orpheus,” by Timothy Donnelly [1063d]
Han Kang on How Language Misses Its Mark [1063d]
Hildegard of Bingen Composes the Cosmos [1063d]
It’s Sunny with a Chance of Murder in Natasha Lyonne’s “Poker Face” [1063d]
What Became of the Oscar Streaker? [1063d]
Meet the Man Who Brought You George Santos [1063d]
Your Food’s Alter Ego [1063d]
Cartoon Caption Contest [1064d]