Search Results for: New Yorker

“Factory Girls.” — John Seabrook, New Yorker

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Top 5 Longreads of the Week: GQ, Allure magazine, The Rumpus, 5280 Magazine, New York Magazine, fiction from The New Yorker, plus a guest pick from Scott Young.

“Mugglemarch.” — Ian Parker, New Yorker

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[Fiction] A young boy and his nuclear family leave their extended family in a remote village for the city slums:

One cold, dewy morning, you are huddled, shivering, on the packed earth under your mother’s cot. Your anguish is the anguish of a boy whose chocolate has been thrown away, whose remote controls are out of batteries, whose scooter is busted, whose new sneakers have been stolen. This is all the more remarkable since, wealth-obsessed though you will come to be, you’ve never in your life seen any of these things.

The whites of your eyes are yellow, a consequence of spiking bilirubin levels in your blood. The virus afflicting you is called hepatitis E. Its typical mode of transmission is fecal-oral. Yum. It kills only about one in fifty, so you’re likely to recover. But right now you feel like you’re going to die.

Your mother has encountered this condition many times, or conditions like it, anyway. So maybe she doesn’t think you’re going to die. Then again, maybe she fears it.

“The Third-Born.” — Mohsin Hamid, New Yorker

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Top 5 Longreads of the Week: Sports Illustrated, Esquire, Narratively, The New Yorker, Vanity Fair, fiction from New England Review, and a guest pick from Matthew Herper.

“The Lie Factory.” — Jill Lepore, New Yorker

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Top 5 Longreads of the Week: Stories from Vanity Fair, The Billfold, The New Yorker, Wired and New York magazine, plus fiction from Electric Literature and a guest pick by Brittany Shoot. 

The author of The Satanic Verses on the fatwa issued against him in 1989 by Iran’s Ayatollah Khomeini.

“The Disappeared.” — Salman Rushdie, New Yorker

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A mistake on a Wikipedia entry for one of his novels leads an author to set the record straight:

My novel ‘The Human Stain’ was described in the entry as ‘allegedly inspired by the life of the writer Anatole Broyard.’ (The precise language has since been altered by Wikipedia’s collaborative editing, but this falsity still stands.)

This alleged allegation is in no way substantiated by fact. ‘The Human Stain’ was inspired, rather, by an unhappy event in the life of my late friend Melvin Tumin, professor of sociology at Princeton for some thirty years. One day in the fall of 1985, while Mel, who was meticulous in all things large and small, was meticulously taking the roll in a sociology class, he noted that two of his students had as yet not attended a single class session or attempted to meet with him to explain their failure to appear, though it was by then the middle of the semester.

Having finished taking the roll, Mel queried the class about these two students whom he had never met. ‘Does anyone know these people? Do they exist or are they spooks?’—unfortunately, the very words that Coleman Silk, the protagonist of ‘The Human Stain,’ asks of his classics class at Athena College in Massachusetts.

“An Open Letter to Wikipedia.” — Philip Roth, New Yorker

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The “two bodies, one brain” of Lana and Andy Wachowski, creators of The Matrix and co-directors, with Tom Tykwer, of the new film Cloud Atlas:

Since Costa Rica, the Wachowskis and Tykwer had viewed the dramatic trajectory of the script as an evolution from the sinister avarice of Dr. Goose to the essential decency of Zachry, with both characters embodying something of the Everyman. Tom Hanks, they agreed, was the ‘ultimate Everyman of our age.’ ‘Our Jimmy Stewart,’ Lana called him. They sent their script to Hanks, and he agreed to meet with them. On the way to his office in Santa Monica, the siblings received a phone call from their agent, who told them that Warner Bros. had decided to hold off on a distribution deal. ‘Cloud Atlas’ had been subjected to an economic-modelling process and the numbers had come back too low. The template that had been used, according to the Wachowskis, was Darren Aronofsky’s ‘The Fountain’ (2006), because it had three autonomous story lines set in different eras; ‘The Fountain,’ which had a mixed critical response, had lost almost twenty million dollars.

‘The problem with market-driven art-making is that movies are green-lit based on past movies,’ Lana told me. ‘So, as nature abhors a vacuum, the system abhors originality. Originality cannot be economically modelled.’ The template for ‘The Matrix,’ the Wachowskis recalled, had been ‘Johnny Mnemonic,’ a 1995 Keanu Reeves flop.

“Beyond the Matrix.” — Aleksander Hemon, The New Yorker

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