The New Yorker - February 1, 2016.pdf

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FEB. 1, 2016
FEBRUARY 1, 2016
4
15
GOINGS ON ABOUT TOWN
THE TALK OF THE TOWN
David Remnick on pro football and politics;
cold-caller training; the Roca brothers;
Tedeschi and Trucks; a readymade centennial.
alec wilkinson
22
29
30
38
46
TIME IS A GHOST
Vijay Iyer’s jazz vision.
cirocco dunlap
jon lee anderson
N.Y.C. TO L.A. TO N.Y.C. TO L.A., AD INFINITUM
AFTERSHOCKS
Haiti’s rebuilding efort and its President.
ryan LIzza
THE DUEL
Understanding Trump vs. Cruz.
jill lepore
BABY DOE
How child-protection policies fail.
FICTION
adam ehrlich sachs
58
“THE PHILOSOPHERS”
THE CRITICS
A CRITIC AT LARGE
nathan heller
62
68
73
74
Air travel and the modern mind.
BOOKS
adam kirsch
What makes Goethe great?
Briefly Noted
THE CURRENT CINEMA
anthony lane
“Jane Got a Gun,” “The Fifth Wave.”
POEMS
Rosanna warren
hugh martin
34
52
“Cotillion Photo”
“.50-Cal. Gunner”
COVER
barry blitt
“Bad Reception”
DRA
WINGS
Drew Dernavich, Chris Cater, Emily Flake, Tom Toro, Tim Hamilton, Benjamin
Schwartz, Tom Chitty, David Sipress, J. C. Duffy, Roz Chast, Bruce Eric Kaplan, Zachary Kanin,
Liana Finck, Paul Noth, Will McPhail, Joe Dator, Barbara Smaller, Michael Maslin, Liam Francis
Walsh, Farley Katz
SPOTS
Miguel Porlan
THE NEW YORKER, FEBRUARY 1, 2016
1
CONTRIBUTORS
ryan lizza
(“THE DUEL,” P. 38)
is a Washington correspondent for
The New Yorker
and a political commentator for CNN.
alec wilkinson
(“TIME IS A GHOST,” P. 22)
, a regular contributor, is the author of ten
books, including “The Protest Singer” and “The Ice Balloon.”
is a staf writer who has reported
from countries around the world, including Cuba, Libya, Syria, and Afghanistan.
“Che Guevara: A Revolutionary Life” is one of his many books.
jon lee anderson
(“AFTERSHOCKS,” P. 30)
cirocco dunlap
(SHOUTS & MURMURS, P. 29)
has written for television. Her first
picture book, “This Book Will Not Be Fun,” will be published in 2017.
is a staf writer and a professor of history at Har-
vard. “The Secret History of Wonder Woman” is her latest book.
jill lepore
(“BABY DOE,” P. 46)
hugh martin
(POEM, P. 2)
, a veteran of the Iraq War, is the author of “The Stick
Soldiers.”
adam ehrlich sachs
(FICTION, P. 8)
will publish “Inherited Disorders: Stories &
Syndromes,” his début work of fiction, in May.
nathan heller
(A CRITIC AT LARGE, P. 62)
has been writing for the magazine
since 2011.
adam kirsch
(BOOKS, P. 68)
directs the M.A. program in Jewish Studies at Colum-
bia University. “Emblems of the Passing World” is his new book of poems.
barry blitt
(COVER)
drew the illustrations for the children’s book “You Never
Heard of Casey Stengel?!,” which comes out in March.
NEWYORKER.COM
Everything in the magazine, and more
than fifteen original stories a day.
ALSO:
DAILY COMMENT
/
CULTURAL COMMENT:
VIDEO:
“Shorts & Murmurs” introduces
Opinions and analysis by
Dana
Goodyear, Ryan Lizza,
and more.
PODCASTS:
On Politics and More,
Evan Osnos
joins
Dorothy Wickenden
to
discuss the water crisis in Flint. On
the Poetry Podcast,
J. D. McClatchy
talks to
Paul Muldoon
about James
Merrill’s poem “164 East 72nd Street.”
SLIDE SHOW:
Philip Larkin’s tender and
“Socially Awkward Dance Moves,”
including “The Subtle Modifying of the
Unreciprocated Wave Into a Stretch.”
Plus, this week’s episode of “Comma
Queen,” featuring
Mary Norris.
PAGE-TURNER:
Can putting your laptop
inquisitive photography.
and smartphone away for three days
teach you to be more deliberate
about device usage?
Matthew J. X.
Malady
writes about the useless
agony of going offline.
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.)
THE MAIL
THE RESTORER’S ROLE
In discussing the digital component of
the artist Josh Kline’s work, which re-
lies on technology that doesn’t yet exist,
Ben Lerner makes a comparison to the
computer-generated restoration of the
“Harvard Murals,” a suite of paintings
by Mark Rothko (“The Custodians,”
January 11th). In the early nineteen-
sixties, as an apprentice in the conser-
vation department of Harvard’s Fogg
Art Museum, I was among the crew that
worked with Rothko on the installation.
Lerner describes the murals’ recent ex-
hibition at the Harvard Art Museum,
in which color that was fading was made
more vivid by the projection of computer-
generated hues. Lerner suggests that the
original art may not be necessary if pro-
jectors could produce the same efects.
As the former head of conservation at
the Harvard University Art Museums,
I disagree. I maintain that the experi-
ment with projected color brought us
closer to that of the originals. Lerner
did not see the exhibition, but, had he
been there, he would have been able to
experience the haptic efect of Rothko’s
brushwork, seen on a huge scale. The
colored light did not obscure the paint-
er’s application of layers of various
media—egg white, glue-size, oil—that
sufuse the clouded, glowing expanse of
canvas. Hue and substance were reinte-
grated.Though Lerner questions whether
“the present’s notion of its past and fu-
ture are changeable fictions,” he gives
short shrift to the aim of conservation-
ists, which is to find ever more accurate
and responsible methods of preserving
and restoring original works of art.
Marjorie B. Cohn
Arlington, Mass.
Lerner’s article discusses the challenges
that museums face as they seek to con-
serve nontraditional art. The work in
question, Josh Kline’s “Cost of Living
(Aleyda),” at the Whitney, is made up of
3-D-printed objects whose data files
ofer a higher resolution than is attain-
able with current printers. The result is
a piece that will change as technology
develops, acquiring greater detail than
what was on display. A conservation team
is thus faced with a conundrum: as Ler-
ner writes, “Once you start replicating
parts, when is the work no longer the
work?” Although this seems like a new
concern in modern art, it’s a familiar
quandary in other artistic disciplines.
James Gleick, in “The Information,” lays
out a parallel in music. Where in a Bee-
thoven piano sonata is the music? he
asks. The music is not the printed score
or the performance, Gleick suggests;
rather, “The music is the information.”
The same can be said about Kline’s work.
The printed objects are, in a real sense,
not the point at all. The art exists in the
data—the information. Perhaps, then, it
would be more fruitful for the museum
to consider how best to preserve the data
files, rather than what is on display.
Oberon Onmura
New York City
1
SCHOOL OF ROCK
Nick Paumgarten’s piece on Ashima Shi-
raishi provided a fascinating background
story for an incredible young climber
(“The Wall Dancer,” January 11th). Many
people in the climbing community have
watched her development with great in-
terest—and not a small twinge of jeal-
ousy. Her accomplishments, as Paumgar-
ten says, may make her the first female
climber to “transcend gender.” But Shi-
raishi, as talented as she is, is part of a
long legacy of women climbers, like Lynn
Hill. Hill was the first person (male or
female) to climb the “nose” of Yosemi-
te’s El Capitan in a free ascent (that is,
without the aid of gear and with no ropes
other than those used to protect from a
fall). Hill is one of the best climbers of
all time. Shiraishi has the opportunity
to join the ranks of the élite, but she
won’t be the first female to do so.
Kevin Wehr
Sacramento, Calif.
•
Letters should be sent with the writer’s name,
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to themail@newyorker.com. Letters may be
edited for length and clarity, and may be pub-
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