The Brutalist Report

The New Yorker

• Kendrick Lamar Doesn’t Want to Be a Savior [1192d]
• The Larger Meaning of China’s Crackdown on School Tutoring [1192d]
• The Battle After Roe v. Wade [1192d]
• Mary-Louise Parker and the Pleasure of Speech [1192d]
• Nobody Plays Guitar Like Bill Frisell [1192d]
• Overheard in New York: Riding the L Train [1192d]
• Twitter in Chaos After the Elon Musk Who Offered to Buy It Turns Out to Be a Bot [1192d]
• Daily Cartoon: Monday, May 16th [1192d]
• A Ukrainian City Under a Violent New Regime [1193d]
• The Spiritual Conflicts of “Atlanta” [1193d]
• Ana Juan’s “Making Mischief” [1193d]
• José Andrés Feeds Ron Howard, Then Feeds Him Some More [1193d]
• “Landscape with Double Bow,” by Diane Mehta [1193d]
• How to Build a Twenty-first-Century Tyrant [1193d]
• The War on Economics [1193d]
• How the South Dakota Symphony Became One of America’s Boldest Orchestras [1193d]
• “Occupational Hazards,” by Jamil Jan Kochai [1193d]
• The Mail [1193d]
• Paolo Pellegrin’s Photographic Quest for the Sublime [1193d]
• The Stanley Cup Comes to Visit, Accompanied by a Handler in White Gloves [1193d]
• Slide Show: New Yorker Cartoons May 23, 2022 [1193d]
• Jack Antonoff’s Gift for Pop-Music Collaboration [1193d]
• Jamil Jan Kochai on Résumés as Stories [1193d]
• Jamil Jan Kochai Reads “Occupational Hazards” [1193d]
• Austin Pendleton Is Still on Broadway, Still a Babe Magnet [1193d]
• How Some Movers Rediscovered a Neglected Abstractionist [1193d]
• The Therapist Remaking Our Love Lives on TV [1193d]
• “The Mercy Supermarket,” by Campbell McGrath [1193d]
• Briefly Noted Book Reviews [1193d]
• Cartoon Caption Contest [1193d]
• American Racism and the Buffalo Massacre [1193d]