The Brutalist Report

The New Yorker

• Nope” Is One of the Great Movies About Moviemaking [1096d]
• The Age of Algorithmic Anxiety [1096d]
• The Queen of England, Activated [1097d]
• Summer Reading Assignments for Adults [1097d]
• Hawley Concerned That Being a Coward Is Overshadowing His Work as a Fascist [1097d]
• Daily Cartoon: Monday, July 25th [1097d]
• Briefly Noted Book Reviews [1097d]
• How to Relive the Pleasures of a Landline [1097d]
• “Drills,” by Rae Armantrout [1097d]
• The Abortion Debate Comes to Barnard [1097d]
• The Adele of Audiobooks [1097d]
• Clare Sestanovich on Passion and Agency [1097d]
• The Reclusive Giant of Australian Fiction [1097d]
• “You Tell Me,” by Clare Sestanovich [1097d]
• Is Selling Shares in Yourself the Way of the Future? [1097d]
• The Mail [1097d]
• Scientists Ask: Are Mice People? [1097d]
• “Black Frasier Crane” [1097d]
• Daniel Fish’s Latest Experiment, “Most Happy in Concert” [1097d]
• An Iranian Actor’s Journey to Broadway [1097d]
• How a Mormon Housewife Turned a Fake Diary Into an Enormous Best-Seller [1097d]
• Splash Down in the Hamptons [1097d]
• Sergio García Sánchez’s “Central Park Lark” [1097d]
• Will Wisconsin’s Republicans Make Voting Meaningless, or Just Difficult? [1097d]
• Living Through India’s Next-Level Heat Wave [1097d]
• Clare Sestanovich Reads “You Tell Me” [1097d]
• Slide Show: New Yorker Cartoons August 1, 2022 [1097d]
• The Reclusive Giant of Australian Letters [1097d]
• Cartoon Caption Contest [1097d]