The Brutalist Report

The New Yorker

• Unchosen: Eleven Signs That You’re a Former Gifted Kid [882d]
• Why Josh Paul Lost Hope in Israel and Quit the U.S. State Department [882d]
• Daily Cartoon: Monday, November 6th [882d]
• The Agony of Waiting for a Ceasefire That Never Comes [882d]
• Ridley Scott’s “Napoleon” Complex [883d]
• A New Comb-over for an Old Woolly Mammoth [883d]
• “Our Time Is Up,” by Clare Sestanovich [883d]
• How Can Determinists Believe in Free Will? [883d]
• When the World’s Most Famous Writer Visits a Hotbed of Amorous Intrigue [883d]
• “Obit,” by Mosab Abu Toha [883d]
• Coping Mechanisms in “Sabbath’s Theater” and “I Need That” [883d]
• Kadir Nelson’s “Dumbo” [883d]
• Eclipsed in his Era, Bayard Rustin Gets to Shine in Ours [883d]
• Raiders of the Lost Archival Jazz Recordings [883d]
• Slide Show: New Yorker Cartoons November 13, 2023 [883d]
• The Kingpin Who Kidnapped Migrants for Ransom [883d]
• The Mail [883d]
• Clare Sestanovich Reads “Our Time Is Up” [883d]
• “Hell or High Water,” by Ada Limón [883d]
• Sybrina Fulton: “Trayvon Martin Could Have Been Anybody’s Son” [883d]
• Carlos (El Guapo) Goffmán, Fact Checker [883d]
• Briefly Noted Book Reviews [883d]
• An Asylum Seeker Sings His Song [883d]
• Lee Miller’s Surrealist Lunch [883d]
• Clare Sestanovich on Routine and Rupture [883d]
• Reinventing the Dinosaur [883d]