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OCT. 19, 2015
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LL BOOkS
O C T O B E R 1 9, 2 0 1 5
5
25
GOINGS ON ABOUT TOWN
THE TALK OF THE TOWN
Amy Davidson on debating Hillary Clinton;
Keith Hernandez; chanting; Rogen and Woz;
James Surowiecki on the power of the N.R.A.
malcolm gladwell
30
39
40
46
58
THRESHOLDS OF VIOLENCE
What is provoking the rise in school shootings?
CORA Frazier
KATHRYN Schulz
NEW HARLEQUIN TITLES
POND SCUM
The uncool Henry David Thoreau.
JANE Kramer
ROAD WARRIOR
Gloria Steinem’s feminist journey.
ADAM Shatz
DRAWING BLOOD
Memoir of a French-Arab cartoonist.
FICTION
“COLD LITTLE BIRD”
ben marcus
68
THE CRITICS
MUSICAL EVENTS
ALEX Ross
78
81
87
88
91
93
96
98
Laurie Anderson’s “Habeas Corpus.”
A CRITIC AT LARGE
CLAUDIA ROTH Pierpont
The lives of Dietrich and Riefenstahl.
BOOKS
ED Park
DAN Chiasson
An archive of Korean literature.
Briefly Noted
The poems of Robin Coste Lewis.
THE THEATRE
hilton als
“Fool for Love.”
THE ART WORLD
PETER Schjeldahl
Shows by Jim Shaw and Maureen Gallace.
THE CURRENT CINEMA
ANTHONY Lane
“Steve Jobs,” “Pan.”
POEMS
Paul Farley
Anton Yakovlev
45
64
“Poker”
“The Exorcism”
COVER
Adrian tomine
“Recognition”
DRA
WINGS
Will McPhail, Brian McLachlan, Bruce Eric Kaplan, Drew Dernavich, Tom Toro, Joe
Dator, Avi Steinberg, Kaamran Hafeez, Liana Finck, Paul Noth, Dan Abromowitz and Eli Dreyfus,
Liam Francis Walsh, Zachary Kanin, Roz Chast, David Sipress, Barbara Smaller, Andrew Hamm,
Robert Leighton
SPOTS
R. O. Blechman
THE NEW YORKER, OCTOBER 19, 2015
1
CONTRIBUTORS
has been writing for the
magazine since 1994. His books include “David and Goliath” and “Outliers.”
malcolm gladwell
(“THRESHOLDS OF VIOLENCE,” P. 30)
amy davidson
(COMMENT, P. 25)
, a staff writer, contributes regularly to Comment.
cora frazier
(SHOUTS & MURMURS, P. 39)
has written humor pieces for
The New
Yorker
since 2012.
kathryn schulz
(“POND SCUM,” P. 40)
became a staff writer earlier this year. She
is the author of “Being Wrong: Adventures in the Margin of Error.”
author of “Europeans” and “The Poli-
tics of Memory,” has written for the magazine since 1964. A collection of her
New
Yorker
food essays is due out next year.
is a contributing editor at
The London
jane kramer
(“ROAD WARRIOR,” P. 46)
, the
adam shatz
(“DRAWING BLOOD,” P. 58)
Review of Books.
is the author of the poetry chapbooks “Neptune
Court” and “The Ghost of Grant Wood,” which comes out later this year.
anton yakovlev
(POEM, P. 64)
ben marcus
(FICTION, P. 68)
edited the anthology “New American Stories,” which
was published in July. “Leaving the Sea” is his most recent short-story collection.
claudia roth pierpont
(A CRITIC AT LARGE, P. 81)
is a staff writer and the author of
“Roth Unbound.” Her new book, “American Rhapsody,” is due out in the spring.
ed park
(BOOKS, P. 87)
, the author of the novel “Personal Days,” is an executive ed-
itor at Penguin Press.
adrian tomine
(COVER)
is a cartoonist and an illustrator. His new book, “Killing
and Dying,” has just been published.
NEWYORKER.COM
Everything in the magazine, and more
than fifteen original stories a day.
ALSO:
DAILY COMMENT
/
CULTURAL COMMENT:
DOCUMENT:
An excerpt from “The
Opinions and reflections by
Nathan
Heller, Jeffrey Toobin,
and others.
FICTION:
Ben Marcus
reads his story.
PODCASTS:
On the Political Scene,
Margaret Talbot
talks with
Dorothy
Wickenden
about Bernie Sanders.
On Out Loud,
Alex Ross
and
Richard
Brody
join
David Haglund
and
Amelia
Lester
for a discussion about the life
and work of Orson Welles.
Arab of the Future,” Riad Sattouf’s
graphic memoir of the Middle East.
VIDEO:
Gloria Steinem on why she
doesn’t drive. Plus, talks and panels
from The New Yorker Festival,
including “The Fire This Time,” about
black identity in America, with
Ta-Nehisi Coates, Danai Gurira,
Claudia Rankine, David Simon, and
Jesse Williams in conversation with
Jelani Cobb.
SUBSCRIBERS:
Get access to our magazine app for tablets and smartphones at the
App Store, Amazon.com, or Google Play. (Access varies by location and device.)
2
THE NEW YORKER, OCTOBER 19, 2015
THE MAIL
POETIC JUSTICE
I read Alec Wilkinson’s piece on the con-
ceptual poet Kenneth Goldsmith with
history in mind (“Something Borrowed,”
October 5th). The twentieth-century
Scottish poet Hugh MacDiarmid was
experimenting with poetic collage nearly
a century ago, in the nineteen-twenties;
an early example is his long poem “To
Circumjack Cencrastus” (1930).The tech-
nique became more and more apparent
in his lengthy later works, such as “The
Kind of Poetry I Want,” and “Cornish
Heroic Song for Valda Trevlyn” (1943),
reaching its culmination in “In Memo-
riam James Joyce,” published in 1955.
Where does plagiarism end and creativ-
ity (O.K., “uncreativity”) begin? Mac-
Diarmid got into some trouble for his
poem “Perfect,” lifted holus-bolus from
a short story by Glyn Jones. And yet, in
its new form and context, it has a mag-
ical identity of its own. One can always
assemble fashionable rationales for the
use of a poetic technique, but it’s rare to
find a new one. Wilkinson used as an ex-
ample of concrete poetry a poem about
an angel printed in the form of an an-
gel’s wings. George Herbert did that with
“Easter Wings”—in 1633.
John Baglow
Ottawa, Ontario
When Wilkinson wrote to me asking
about Goldsmith’s performance of “The
Body of Michael Brown,” the appropri-
ated autopsy report, I called attention
to a simple fact: conceptual poetry, as
institutionalized in academia, has in-
volved mostly white authors. The reac-
tion to Goldsmith’s reading, at Brown
University, occurred within that con-
text. Is it possible to have a construc-
tive discussion of race in relation to con-
temporary poetry? I think it is. Structural
racism persists in the academic world;
the number of people who make it to
college remains split along color lines,
and this has led
U.S. News and World
Report
to conclude that education in
America remains separate and unequal.
My comments about racism were not
grounded in feelings of individual ex-
clusion, as Wilkinson seems to suggest.
Goldsmith’s work needs to be evaluated
by taking into account the complex role
of race in contemporary poetry, and its
context within national conversations
about race. Many African-American
poets objected to Goldsmith’s perfor-
mance, and their voices are almost en-
tirely absent from Wilkinson’s piece.
The African-American poetry commu-
nity merited more serious engagement
than it got in the article. Just as trou-
bling, the piece comments on a broad
social problem having to do with racial
inequality and reduces it to an individ-
ual grudge by a person of color.
Tan Lin
Professor of English
New Jersey City University
Jersey City, N.J.
What stood out to me as I was reading
Wilkinson’s piece was a single adverb:
“ ‘He’s received more attention lately than
any other living poet,’ Cathy Park Hong,
a poet and a professor at Sarah Law-
rence, told me
resentfully.”
(The empha-
sis is mine.) I teach writing to under-
graduates, and occasionally my students
try to put their thumbs on the scales in
this fashion; I dissuade them from doing
so. Hong, with whom I am acquainted,
does not shrink from strong public state-
ments, and I don’t always agree with ev-
erything she says. But she is an acute and
perceptive thinker about poetry, an imag-
inative editor who is breathing new life
into
The New Republic,
and a formida-
ble poet. She is also quite right to sug-
gest to Wilkinson that the time for white
male writers blithely to ignore the con-
cerns of others is past. Wilkinson, with
his quote selection and commentary,
sketched a depiction of Hong that I could
not help but read resentfully.
John Beer
Portland, Ore.
•
Letters should be sent with the writer’s name,
address, and daytime phone number via e-mail
to themail@newyorker.com. Letters may be
edited for length and clarity, and may be pub-
lished in any medium. We regret that owing to
the volume of correspondence we cannot reply
to every letter or return letters.

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