The New Yorker Magazine - November 04, 2024

In this issue

The Last Mile - How aid workers risk their lives in Gaza.

The Convert - Is J. D. Vance the new face of MAGA?

Take Me Home - Mati Diop and the cinema of impossible returns...

TAKE ME HOME

The filmmaker Mati Diop turns her gaze on plundered art.

10+ mins

THE LAST MILE

The aid workers who risk their lives to bring relief to Gaza.

10+ mins

The Convert - The sudden rise of J. D. Vance has transfixed conservative élites. Is he the future of Trumpism?

Vance’s selection as Trump’s running mate had punctuated an astounding rise. Born in the small manufacturing city of Middletown, Ohio, he was raised by a drug-addicted mother and his beloved Appalachian-born grandmother, Mamaw. He worked his way up through storied American institutions: the Marine Corps, Yale Law School, Silicon Valley. “Hillbilly Elegy,” the best-selling memoir Vance published in 2016, made him famous, and his denunciations of Trump as “cultural heroin” for the white working class even more so. A few years later, he was a senator from Ohio, the Republican Party’s most effective spokesman for Trumpism as an ideology, and—both improbably and inevitably—the VicePresidential nominee. “If you think about where he came from and where he is, at forty years old,” the conservative analyst Yuval Levin, a Vance ally, said, “J.D. is the single most successful member of his generation in American politics.”

10+ mins

THE BIG DEAL

Joe Biden's economic policies are starting to transform America. Will anyone notice?

10+ mins

From the Wilderness

One morning in the rainy season, I went to bed at 6 a.m. after working all night and was on the verge of falling asleep when I was startled by the sound of my father’s voice coming through the air-conditioner next to my bed.

10+ mins

EACH MORTAL THING

What other creatures understand about death.

10+ mins

A PIECE OF HER MIND

Does the Enlightenment’s great female intellect need rescuing?

10+ mins

The Puppet Masters - Compulsion, complicity, and the art of Bunraku.

The National Bunraku Theatre, in New York recently for the first time in more than thirty years, presented an evening of suicides. The performance, at the Japan Society, consisted of excerpts from two of the company’s most celebrated productions. In the Fire Watchtower scene from “The Greengrocer’s Daughter,” by Suga Sensuke and Matsuda Wakichi, from 1773, the titular character sacrifices herself to save a temple page boy she loves. In a scene from “The Love Suicides at Sonezaki,” by Chikamatsu Monzaemon, from 1703, two lovers are driven to take their own lives. Both plays were inspired by real events, and Chikamatsu’s was followed by a wave of double suicides that led to a ban on further performances. This mirroring of life and art is all the more astonishing given the fact that the actors are not people but puppets.

6 mins

STAR-CROSSED

“Sunset Blud.” and Romeo Juliet,” on Broadway.

5 mins

SONGS OF WAR

Early on in “Blitz,” Rita Hanway (Saoirse Ronan), a London factory worker, puts her nine-year-old son, George (Elliott Heffernan), aboard a train. Rather, George puts himself aboard; he twists angrily free of his mother’s grasp—“I hate you!” he cries—and tears off down the platform.

6 mins

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