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Anthony Hopkins’s Beckettian Memoir | The New Yorker
Hamlet finds himself in a similar position, to put it mildly, and it is almost comically appropriate that Hopkins' memoir ...
Rosalía Album Review: “Lux” | The New Yorker
Sometimes it seems like everyone wants to be a pop girl. Last year, Taylor Swift counted herself among the “tormented ...
A Bulgarian Novelist Explores What Dies When Your Father Does
This is where time noticeably slows down, it slumbers in the corners, blinking like a cat looking through thin blinds. ...
At Ninety, Arvo Pärt and Terry Riley Still Sound Vital
In the spring of 1976, Latvian architecture student Hardijs Lediņš organized a music festival at the Riga Polytechnic Institute. The ...
Laurie Metcalf’s Stunning Return to Broadway in “Little Bear Ridge Road”
Samuel D. Hunter's Little Bear Ridge Road, directed by Joe Mantello at Botte's on Broadway, is a small, quiet drama ...
Why Immanuel Kant Still Has More to Teach Us
This may not exactly sound like a call to arms, but being called an expert and having an interesting new ...
In the Dark Releases “Blood Relatives,” an Examination of a Notorious British Crime
On an August night in 1985, five members of the same family were shot dead at Whitehouse Farm, a country ...
How Corporate Feminism Went from “Love Me” to “Buy Me”
In retrospect, the book seems an artifact of a fleetingly optimistic moment and time when feminism became mainstream—think of Beyoncé's ...
Tame Impala Is an Obsessive, Not a Perfectionist
The magic of Parker's music – what makes his recordings so restless, hesitant and dynamic – is based on the ...
