tag:blogger.com,1999:blog-82103171554778331552011-10-01T14:22:43.386-04:00<b>Discussion Group for The New Yorker Magazine.</b> <br><br> <i>&quot;Pulling The New Yorker out of the mailbox every week<br>is like getting a bouquet of civilization.&quot;</i>TalkTNYhttp://www.blogger.com/profile/05797015784111273828noreply@blogger.comBlogger1671100tag:blogger.com,1999:blog-8210317155477833155.post-32688201189159734142011-05-08T09:09:00.000-04:002011-05-08T09:09:37.787-04:00<div><br /><blockquote></blockquote></div><blockquote><div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px;"></span><br /><blockquote></blockquote><blockquote></blockquote></div></blockquote><blockquote><blockquote><div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px;"></span><br /><blockquote></blockquote><blockquote></blockquote><blockquote></blockquote><blockquote></blockquote></div></blockquote></blockquote><div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><img alt="April 25, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_04_25_g.gif" /></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><img alt="April 25, 2011" src="http://www.newyorker.com/images/2011/04/25/p154/110425_2011_p154.jpg" /></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/talk/comment/2011/04/25/110425taco_talk_packer" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="COMMENT"><img alt="COMMENT" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_COMMENT_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><br /><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/talk/comment/2011/04/25/110425taco_talk_packer" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Deepest Cuts<br /><i>Obama and the budget war.</i><br />by George Packer</a></dt></dl></div><br /><br /><a href="http://www.newyorker.com/talk" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="THE TALK OF THE TOWN"><img alt="THE TALK OF THE TOWN" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><br /><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /><a href="http://www.newyorker.com/talk/2011/04/25/110425ta_talk_winer" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Reality Replay<br /><i>A second look at “An American Family.”</i><br />by Laurie Winer</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/04/25/110425fa_fact_mcgrath" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="THE SPORTING SCENE"><img alt="THE SPORTING SCENE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_SPORTING_SCENE_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><br /><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/04/25/110425fa_fact_mcgrath" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><em class="de" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-origin: initial; background-position: 0px 2px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 10px;"></em>Queen of the D-League<br /><i>A woman coach in the N.B.A.</i><br />by Ben McGrath</a><br /><br /><em class="wo" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-origin: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 55px;"></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2011/04/nancy-lieberman-basketball-video.html" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Video: Ben McGrath looks back on Nancy Lieberman’s trailblazing basketball career.</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/04/25/110425fa_fact_konigsberg" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="ANNALS OF INNOVATION"><img alt="ANNALS OF INNOVATION" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_INNOVATION_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><br /><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/04/25/110425fa_fact_konigsberg" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><em class="de" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-origin: initial; background-position: 0px 2px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 10px;"></em>Kuwait on the Prairie<br /><i>At long last, oil gushes in North Dakota.</i><br />by Eric Konigsberg</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: 14px; line-height: 16px;"></span></span><br /><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><span class="Apple-style-span" style="font-family: Times;"><img alt="BOOKS" src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" /></span></dl><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><span class="Apple-style-span" style="font-family: Times;"><i style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Manning Marable’s “Malcolm X: A Life of Reinvention.”</i><br /><span class="Apple-style-span" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><span class="Apple-style-span" style="outline-color: initial; outline-style: initial;">by David Remnick</span></span></span></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px;"><span style="color: black;"><a href="http://www.newyorker.com/arts/critics/cinema/2011/04/25/110425crci_cinema_denby" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="THE CURRENT CINEMA"><img alt="THE CURRENT CINEMA" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a></span></span><br /><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px;"><span style="color: black;"><a href="http://www.newyorker.com/arts/critics/cinema/2011/04/25/110425crci_cinema_denby" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><em class="de" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-origin: initial; background-position: 0px 2px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 10px;"></em><i>“Hanna,” “Arthur,” “The Princess of Montpensier.”</i><br />by David Denby</a></span></span></dt></dl></div></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-3268820118915973414?l=talktny.blogspot.com' alt='' /></div>TalkTNYhttp://www.blogger.com/profile/05797015784111273828noreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-8864251772088525232011-04-18T00:00:00.005-04:002011-04-21T09:21:04.219-04:00<span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><div class="feature imageBottom first" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><div class="featurePhoto" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_04_18_g.gif" alt="April 18, 2011" /></div><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><br /></div><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/2011/04/18/p154/110418_2011_p154.jpg" alt="April 18, 2011" /></div><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><br /></div><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "> <img src="http://www.newyorker.com/images/headers/hese_JOURNEYS_r.gif" alt="" class="featureimg" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></div></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /><br /><a href="http://www.newyorker.com/talk/2011/04/18/110418ta_talk_gopnik" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 2px; background-repeat: no-repeat no-repeat; "></em>Harvest Time<br /><i>James Taylor is honored at Carnegie Hall.</i><br />by Adam Gopnik</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/financial/2011/04/18/110418ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Pumped Up?<br /><i>The oil-price panic.</i><br />by James Surowiecki</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/reporting/2011/04/18/110418fa_fact_osnos" title="DEPT. OF TRAVEL" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_DEPT_OF_TRAVEL_g.gif" alt="DEPT. OF TRAVEL" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2011/04/18/110418fa_fact_osnos" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">The Grand Tour<br /><i>Chinese vacations in Europe.</i><br />by Evan Osnos<br /><br /><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em></a><a href="http://www.newyorker.com/online/blogs/ask/2011/04/china-tourists-europe-evan-osnos.html" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Join a live chat with Evan Osnos about Chinese tourists in Europe on Thursday, April 14th, at 11 <small>A.M.</small> E.T.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_REFLECTIONS_g.gif" alt="REFLECTIONS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /><br /><span class="Apple-style-span" style="color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2011/04/18/110418fa_fact_franzen" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Farther Away</a></span><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2011/04/18/110418fa_fact_franzen" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><i>“Robinson Crusoe” and the art of solitude.</i><br />by Jonathan Franzen</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><br /></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><br /></dt><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /><br /><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/atlarge/2011/04/18/110418crat_atlarge_pierpont" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Freya Stark’s Arabian adventures.</a></i></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/atlarge/2011/04/18/110418crat_atlarge_pierpont" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></i></span><span class="Apple-style-span" style="color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/atlarge/2011/04/18/110418crat_atlarge_pierpont" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">by Claudia Roth Pierpont</a></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); font-style: italic; "><br /></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); font-style: italic; "><br /></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); font-style: italic; "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/artworld/2011/04/18/110418craw_artworld_schjeldahl" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_ART_WORLD_g.gif" alt="THE ART WORLD" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a></i></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); font-style: italic; "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/artworld/2011/04/18/110418craw_artworld_schjeldahl" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></i></span><a href="http://www.newyorker.com/arts/critics/artworld/2011/04/18/110418craw_artworld_schjeldahl" style="font-style: italic; text-decoration: none; color: rgb(0, 0, 0); ">The Peacock Room’s new incarnation.</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="text-decoration: none; color: rgb(136, 136, 136); "><span class="Apple-style-span" style="outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/artworld/2011/04/18/110418craw_artworld_schjeldahl" style="text-decoration: none; color: rgb(136, 136, 136); ">by Peter Schjeldahl</a></span></span></dt></dl></div></div><span><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; text-decoration: none; color: rgb(136, 136, 136); background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/multimedia/2011/04/18/110418_audioslideshow_peacock-room" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Audio Slide Show: Peter Schjeldahl on the recent reinstallation of the Peacock Room at the Freer Gallery, in Washington, D.C.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/arts/critics/cinema/2011/04/18/110418crci_cinema_lane" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2011/04/18/110418crci_cinema_lane" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><i>“The Conspirator.”</i><br />by Anthony Lane</a></dt></dl></div></div></span></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-886425177208852523?l=talktny.blogspot.com' alt='' /></div>TalkTNYhttp://www.blogger.com/profile/05797015784111273828noreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-73409362804176206652011-04-11T00:00:00.001-04:002011-04-21T09:02:34.994-04:00<span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_04_11_g.gif" alt="April 11, 2011" /></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><img src="http://www.newyorker.com/images/2011/04/11/p154/110411_2011_p154.jpg" alt="April 11, 2011" /></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><a href="http://www.newyorker.com/talk/financial/2011/04/11/110411ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><a href="http://www.newyorker.com/talk/financial/2011/04/11/110411ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></span><a href="http://www.newyorker.com/talk/financial/2011/04/11/110411ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">In Praise of Distraction</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/talk/financial/2011/04/11/110411ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Why you should be allowed to surf the Web at work.</a></i></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/talk/financial/2011/04/11/110411ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></i><a href="http://www.newyorker.com/talk/financial/2011/04/11/110411ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">by James Surowiecki</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/reporting/2011/04/11/110411fa_fact_auletta" title="ANNALS OF COMMUNICATIONS" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_COMMUNICATIONS_g.gif" alt="ANNALS OF COMMUNICATIONS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2011/04/11/110411fa_fact_auletta" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 2px; background-repeat: no-repeat no-repeat; "></em>Murdoch’s Best Friend<br /><i>Robert Thomson at the Wall Street Journal.</i><br />by Ken Auletta</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/reporting/2011/04/11/110411fa_fact_friend" title="ANNALS OF COMEDY" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_COMEDY_g.gif" alt="ANNALS OF COMEDY" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2011/04/11/110411fa_fact_friend" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 2px; background-repeat: no-repeat no-repeat; "></em>Funny Like a Guy<br /><i>Anna Faris wants to get laughs her way.</i><br />by Tad Friend</a><br /><br /><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2011/04/anna-faris-video-tad-friend.html" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Video: Tad Friend looks at the career of the comic actress Anna Faris.</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><br /></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><br /></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/dancing/2011/04/11/110411crda_dancing_acocella" title="DANCING" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_DANCING_g.gif" alt="DANCING" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/dancing/2011/04/11/110411crda_dancing_acocella" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Eiko and Koma’s “Naked.”</a></i></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/dancing/2011/04/11/110411crda_dancing_acocella" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">by Joan Acocella</a></span></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/arts/critics/atlarge/2011/04/11/110411crat_atlarge_parks" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/atlarge/2011/04/11/110411crat_atlarge_parks" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><i>Italy’s unhappy anniversary.</i><br />by Tim Parks<br /></a></dt></dl></div></div><span ><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/arts/critics/musical/2011/04/11/110411crmu_music_ross" title="MUSICAL EVENTS" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_MUSICAL_EVENTS_g.gif" alt="MUSICAL EVENTS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/musical/2011/04/11/110411crmu_music_ross" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><i>Bach’s sacred music.</i><br />by Alex Ross<br /></a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/arts/critics/cinema/2011/04/11/110411crci_cinema_denby" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2011/04/11/110411crci_cinema_denby" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 2px; background-repeat: no-repeat no-repeat; "></em><i>“Source Code,” “Meek’s Cutoff.”</i><br />by David Denby</a></dt></dl></div></div></span></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-7340936280417620665?l=talktny.blogspot.com' alt='' /></div>TalkTNYhttp://www.blogger.com/profile/05797015784111273828noreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-71097792894463364972011-02-28T11:14:00.000-05:002011-02-28T11:32:03.389-05:00<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: bold;"><img alt="February 28, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_02_28_g.gif" /></span><br /><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: bold;"><br /></span><br /><div id="inthisissue" style="background-color: white;"><div class="captionedphoto" style="background-color: white;"><div class="img-shadow" style="background-color: white;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="February 28, 2011" id="inThisIssuePhoto" src="http://www.newyorker.com/images/2011/02/28/p154/110228_2011_p154.jpg" /></span><br /><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div></div><div id="features1" style="background-color: white;"><div class="feature imageTop" style="background-color: white;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN"><img alt="THE TALK OF THE TOWN" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" /></a></span><br /><div class="featureBlurbText" style="background-color: white;"><dl><dt><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.newyorker.com/talk/2011/02/28/110228ta_talk_frankel">Author, Author<br /><i>A former staffer uncovers an early draft of J.F.K.’s inaugural address.</i><br />by Adam Frankel</a><br /><br /><em class="wo"></em><a href="http://documents.newyorker.com/2011/02/jfk-inaugural-address/">Primary Sources: An early draft of President Kennedy’s Inaugural Address.</a></span></dt></dl></div></div><div class="feature imageTop" style="background-color: white;"><a href="http://www.newyorker.com/reporting/2011/02/28/110228fa_fact_friend" title="DEPT. OF COSMIC DEBRIS"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="DEPT. OF COSMIC DEBRIS" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_DEPT_OF_COSMIC_DEBRIS_g.gif" /></span></a><br /><div class="featureBlurbText" style="background-color: white;"><dl><dt><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.newyorker.com/reporting/2011/02/28/110228fa_fact_friend"><em class="de"></em>Vermin of the Sky<br /><i><small>NASA</small>’s Chicken Little problem.</i><br />by Tad Friend</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/2011/02/28/110228on_audio_friend">Audio: Tad Friend on the asteroid threat.</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2011/01/tad-friend-asteroids-video.html">Video: Tad Friend looks at the threat of asteroids and strategies for avoiding a collision.</a></span></dt></dl></div></div><div class="feature imageTop" style="background-color: white;"><a href="http://www.newyorker.com/humor/2011/02/28/110228sh_shouts_martin" title="SHOUTS &amp; MURMURS"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="SHOUTS &amp; MURMURS" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_SHOUTS_MURMURS_g.gif" /></span></a><br /><div class="featureBlurbText" style="background-color: white;"><dl><dt><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.newyorker.com/humor/2011/02/28/110228sh_shouts_martin">Who Am I?<br />by Demetri Martin</a></span></dt></dl></div></div><div class="feature imageTop" style="background-color: white;"><div class="featureBlurbText" style="background-color: white;"><dl><span style="color: black; font-family: Georgia, 'Times New Roman', serif;"></span></dl><span style="color: black; font-family: Georgia, 'Times New Roman', serif;"></span></div><span style="color: black; font-family: Georgia, 'Times New Roman', serif;"></span></div><span style="color: black;"></span><br /><div class="feature imageTop" style="background-color: white;"><span style="color: black;"><a href="http://www.newyorker.com/arts/critics/theatre/2011/02/28/110228crth_theatre_lahr" title="THE THEATRE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="THE THEATRE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_THEATRE_g.gif" /></span></a></span><br /><div class="featureBlurbText" style="background-color: white;"><dl><span style="color: black;"><a href="http://www.newyorker.com/arts/critics/theatre/2011/02/28/110228crth_theatre_lahr"><dt><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>“Spider-Man: Turn Off the Dark.”</i><br />by John Lahr</span></dt></a></span></dl></div></div><span style="color: black;"></span><br /><div class="feature imageTop" style="background-color: white;"><div class="featureBlurbText" style="background-color: white;"><dl><span style="color: black;"></span></dl></div></div><span style="color: black;"><div class="feature imageTop" style="background-color: white;"><a href="http://www.newyorker.com/arts/critics/cinema/2011/02/28/110228crci_cinema_lane" title="THE CURRENT CINEMA"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="THE CURRENT CINEMA" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" /></span></a><br /><div class="featureBlurbText" style="background-color: white;"><dl><dt><a href="http://www.newyorker.com/arts/critics/cinema/2011/02/28/110228crci_cinema_lane"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><em class="de"></em><i>“Cedar Rapids,” “Of Gods and Men.”</i><br />by Anthony Lane</span></a></dt><div><br /></div></dl></div></div></span></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-7109779289446336497?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-2342304087048178932011-02-21T00:00:00.018-05:002011-02-25T15:46:43.604-05:00<div class="w"><b><span class="Apple-style-span" style="font-weight: normal;"></span></b><br /><div id="index_headers" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><h3 class="subhed_right"><b><img alt="February 14 &amp; 21, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_02_14_g.gif" /></b></h3></div><div id="inthisissue" style="background-color: white;"><div class="captionedphoto" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><div class="img-shadow" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><b><img alt="February 14 &amp; 21, 2011" id="inThisIssuePhoto" src="http://www.newyorker.com/images/2011/02/14/p154/110214_2011_p154.jpg" /></b></div></div><div id="features1" style="background-color: white;"><div class="feature imageBottom first" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><div class="featureBlurbText" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><dl></dl></div><div class="featurePhoto" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><div class="w" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><b><img alt="" class="featureimg" src="http://www.newyorker.com/images/headers/hese_THE_ANNIVERSARY_ISSUE_r.gif" /></b></div></div></div><div class="feature imageTop" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><div class="featureBlurbText" style="background-color: white; font-family: verdana, helvetica, arial, sans-serif; font-size: 10px;"><dl></dl></div></div><div class="feature imageTop" style="background-color: white;"><b><a href="http://www.newyorker.com/talk/financial/2011/02/14/110214ta_talk_surowiecki" title="THE FINANCIAL PAGE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="THE FINANCIAL PAGE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" /></span></a><div class="featureBlurbText" style="background-color: white;"><dl><dt><a href="http://www.newyorker.com/talk/financial/2011/02/14/110214ta_talk_surowiecki"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Sputnikonomics<br /><i>Should America be funding investments with more debt?</i><br />by James Surowiecki</span></a></dt></dl></div></b></div><div class="feature imageTop" style="background-color: white;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="ALBUM" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ALBUM_g.gif" /></span><div class="featureBlurbText" style="background-color: white;"><dl><dt><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Your Eustace, 2011<br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/2011/02/14/slideshow_110214_eustacetilley">Slide Show: Twelve new takes on Tilley.</a></span></dt></dl></div></b></div><div class="feature imageTop" style="background-color: white;"><b><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_filkins" title="LETTER FROM KABUL"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="LETTER FROM KABUL" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_LETTER_FROM_KABUL_g.gif" /></span></a><div class="featureBlurbText" style="background-color: white;"><dl><dt><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_filkins">The Afghan Bank Heist<br /><i>The corruption of Karzai’s officials exposed.</i><br />by Dexter Filkins</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/ask/2011/02/dexter-filkins-afghanistan.html">Join a live chat with Dexter Filkins about Afghanistan on Tuesday, February 8th, at 4&nbsp;<small>P.M.</small>&nbsp;E.T.</a></span></dt></dl></div></b></div><div class="feature imageTop" style="background-color: white;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></b></div><div class="feature imageTop" style="background-color: white;"><b><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_mead" title="LIFE AND LETTERS"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="LIFE AND LETTERS" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_LIFE_AND_LETTERS_g.gif" /></span></a><div class="featureBlurbText" style="background-color: white;"><dl><dt><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_mead"><em class="de"></em>Middlemarch and Me<br /><i>What George Eliot teaches us.</i><br />by Rebecca Mead</a><br /><br /><em class="wo"></em><a href="http://www.documentcloud.org/documents/31712-gems-from-george-eliot.html">Primary Sources: “Gems from George Eliot,” as featured in the June, 1881, edition of&nbsp;<i>The Literary News</i>.</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/ask/2011/02/rebecca-mead-george-eliot-middlemarch.html">Join a live chat with Rebecca Mead about George Eliot and “Middlemarch” on Thursday, February 17th, at 3&nbsp;<small>P.M.</small>&nbsp;E.T.</a></span></dt></dl></div></b></div><div class="feature imageTop" style="background-color: white;"><b><b><span class="Apple-style-span" style="font-weight: normal;"><div id="inthisissue" style="background-color: white; display: inline !important;"><div id="features1" style="background-color: white; display: inline !important;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div></div></span></b></b></div><div class="feature imageTop" style="background-color: white;"><b><b><span class="Apple-style-span" style="font-weight: normal;"><div id="inthisissue" style="background-color: white; display: inline !important;"><div id="features1" style="background-color: white; display: inline !important;"><div class="feature imageTop" style="background-color: white; display: inline !important;"><a href="http://www.newyorker.com/arts/critics/atlarge/2011/02/14/110214crat_atlarge_gopnik" title="A CRITIC AT LARGE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><img alt="A CRITIC AT LARGE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" /></span></a></div></div></div></span></b></b></div><div class="feature imageTop" style="background-color: white;"><div class="featureBlurbText" style="background-color: white;"><dl><dt><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.newyorker.com/arts/critics/atlarge/2011/02/14/110214crat_atlarge_gopnik"><i>Does the Internet change how we think?</i><br />by Adam Gopnik</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/ask/2011/02/adam-gopnik-internet.html">Join a live chat with Adam Gopnik about the Internet on Wednesday, February 16th, at 2&nbsp;<small>P.M.</small>&nbsp;E.T.</a></span></b></dt></dl></div></div><div class="feature imageTop" style="background-color: white;"><b><b><span class="Apple-style-span" style="font-weight: normal;"><div id="inthisissue" style="background-color: white; display: inline !important;"><div id="features1" style="background-color: white; display: inline !important;"><span style="color: black; font-family: Georgia, 'Times New Roman', serif;"><br /></span></div></div></span></b></b></div><div class="feature imageTop" style="background-color: white;"><b><b><span class="Apple-style-span" style="font-weight: normal;"><div id="inthisissue" style="background-color: white; display: inline !important;"><div id="features1" style="background-color: white; display: inline !important;"><span style="color: black; font-family: Georgia, 'Times New Roman', serif;"><div class="feature imageTop" style="background-color: white; display: inline !important;"><a href="http://www.newyorker.com/arts/critics/cinema/2011/02/14/110214crci_cinema_lane" title="THE CURRENT CINEMA"><img alt="THE CURRENT CINEMA" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" /></a></div></span></div></div></span></b></b></div><b><span style="color: black;"><div class="feature imageTop" style="background-color: white;"><div class="featureBlurbText" style="background-color: white;"><dl><dt><a href="http://www.newyorker.com/arts/critics/cinema/2011/02/14/110214crci_cinema_lane"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><em class="de"></em><i>“The Eagle,” “Into Eternity.”</i><br />by Anthony Lane</span></a></dt><div><br /></div></dl></div></div></span></b></div></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl><span style="color: black;"></span></dl></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-234230408704817893?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-46580208675631616142011-02-11T08:41:00.001-05:002011-02-11T09:41:10.802-05:00<span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px;"></span><br /><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><img alt="February 14 &amp; 21, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_02_14_g.gif" /><br /><br /><img alt="February 14 &amp; 21, 2011" src="http://www.newyorker.com/images/2011/02/14/p154/110214_2011_p154.jpg" /><br /><br /><img src="http://www.newyorker.com/images/headers/hese_THE_ANNIVERSARY_ISSUE_r.gif" /><br /><br /><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_fey" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="PERSONAL HISTORY"><br /><img alt="PERSONAL HISTORY" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_PERSONAL_HISTORY_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_fey" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><em class="de" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-origin: initial; background-position: 0px 2px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 10px;"></em>Confessions of a Juggler<br /><i>Motherhood and show biz after forty.</i><br />by Tina Fey</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_gladwell" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="DEPT. OF EDUCATION"><img alt="DEPT. OF EDUCATION" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_DEPT_OF_EDUCATION_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><br /><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_gladwell" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><em class="de" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-origin: initial; background-position: 0px 2px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 10px;"></em>The Order of Things<br /><i>The problem with college rankings.</i><br />by Malcolm Gladwell</a></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_gladwell" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"></a><span class="Apple-style-span" style="color: black;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_wright" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="PROFILES"><img alt="PROFILES" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_PROFILES_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a></span></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/02/14/110214fa_fact_wright" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">The Apostate<br /><i>A former Scientologist speaks out.</i><br />by Lawrence Wright</a><br /><br /><em class="wo" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-origin: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 55px;"></em><a href="http://www.newyorker.com/online/2011/02/14/110214on_audio_wright" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Audio: Lawrence Wright talks about Paul Haggis and Scientology.</a><br /><br /><em class="wo" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-origin: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 55px;"></em><a href="http://www.documentcloud.org/documents/31766-legal-documents.html" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Primary Sources: Documents from legal cases involving Scientology.</a></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><span style="color: black;"><a href="http://www.newyorker.com/arts/critics/cinema/2011/02/14/110214crci_cinema_lane" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"></a></span></dt><span style="color: black;"> <div></div></span></dl></div></div><span style="color: black;"></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-4658020867563161614?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-64621086774553297342011-02-07T00:00:00.062-05:002011-02-11T08:27:19.017-05:00<img alt="February 7, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_02_07_g.gif" /><br /><br /><img alt="February 7, 2011" src="http://www.newyorker.com/images/2011/02/07/p154/110207_2011_p154.jpg" /><br /><div id="inthisissue"><h2><div class="feature imageTop"><div class="featureBlurbText"><dl><dt><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/online/blogs/ask/2011/01/hendrik-hertzberg-sotu.html"></a></span></dt></dl></div></div><div class="feature imageTop"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN"><img alt="THE TALK OF THE TOWN" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" /></a> </span><br /><div class="featureBlurbText"><dl><dt><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/talk/2011/02/07/110207ta_talk_paumgarten">Interesting<br /><i>The Dos Equis spokesman’s real life.</i><br />by Nick Paumgarten</a><br /><br /><a href="http://www.newyorker.com/talk/2011/02/07/110207ta_talk_mead"><em class="de"></em>Horseplay<br /><i>Putting a life-size equine puppet onstage.</i><br />by Rebecca Mead</a><br /><br /><a href="http://www.newyorker.com/talk/2011/02/07/110207ta_talk_mcphee">Pat Crow<br /><i>Remembering a deft editor and fisherman.</i><br />by John McPhee</a></span></dt></dl></div></div><div class="feature imageTop"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/reporting/2011/02/07/110207fa_fact_groopman" title="MEDICAL DISPATCH"><img alt="MEDICAL DISPATCH" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_MEDICAL_DISPATCH_g.gif" /></a> </span><br /><div class="featureBlurbText"><dl><dt><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/reporting/2011/02/07/110207fa_fact_groopman"><em class="de"></em>The Peanut Puzzle<br /><i>Is there a better way to prevent food allergies?</i><br />by Jerome Groopman</a></span></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl></dl></div></div><div class="feature imageTop"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/reporting/2011/02/07/110207fa_fact_seabrook" title="ANNALS OF DISASTER"><img alt="ANNALS OF DISASTER" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_DISASTER_g.gif" /></a> </span><br /><div class="featureBlurbText"><dl><dt><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/reporting/2011/02/07/110207fa_fact_seabrook"><em class="de"></em>Crush Point<br /><i>The science of crowd control.</i><br />by John Seabrook</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/ask/2011/01/john-seabrook-crowd-dynamics.html">Join a live chat with John Seabrook about crowds on Tuesday, February 1st, at 3 <small>P.M.</small> E.T.</a> <br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2011/01/seabrook-crowd-dynamics.html">Video: John Seabrook on why stampedes occur—and what can be done to prevent them.</a></span></dt></dl></div></div><div class="feature imageTop"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/reporting/2011/02/07/110207fa_fact_goldman" title="PERSONAL HISTORY"><img alt="PERSONAL HISTORY" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_PERSONAL_HISTORY_g.gif" /></a> </span><br /><div class="featureBlurbText"><dl><dt><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/reporting/2011/02/07/110207fa_fact_goldman"><em class="de"></em>The Wave<br /><i>Tragedy on a Mexican beach.</i><br />by Francisco Goldman</a></span></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl><dt></dt></dl></div></div><div class="feature imageTop"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/arts/critics/books/2011/02/07/110207crbo_books_acocella" title="BOOKS"><img alt="BOOKS" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" /></a> </span><br /><div class="featureBlurbText"><dl><dt><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><a href="http://www.newyorker.com/arts/critics/books/2011/02/07/110207crbo_books_acocella"><i>J. R. Ackerley and his dog.</i><br />by Joan Acocella</a><br /><span style="color: black;"><br /> </span></span></dt></dl><span style="color: black; font-size: small; font-weight: normal;"> </span></div><span style="color: black; font-size: small; font-weight: normal;"> </span></div><span style="color: black; font-size: small; font-weight: normal;"> </span><div class="feature imageTop"><span style="color: black; font-size: small; font-weight: normal;"> <a href="http://www.newyorker.com/arts/critics/cinema/2011/02/07/110207crci_cinema_denby" title="THE CURRENT CINEMA"><img alt="THE CURRENT CINEMA" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" /></a> </span><br /><div class="featureBlurbText"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><span style="color: black;"> </span></span><br /><dl><span style="color: black;"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"></span><dt><a href="http://www.newyorker.com/arts/critics/cinema/2011/02/07/110207crci_cinema_denby"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><em class="de"></em><i>“No Strings Attached,” “Cold Weather,” “Uncle Kent.”</i><br />by David Denby</span></a></dt></span></dl></div></div></h2><div id="features1"><div class="feature imageTop"><div class="featureBlurbText"><dl><span style="color: black;"></span></dl></div></div><span style="color: black;"><span style="color: black;"></span></span><br /><div class="feature imageTop last"><div class="featureBlurbText"><dl><span style="color: black;"><span style="color: black;"> </span></span></dl></div></div><span style="color: black;"><span style="color: black;"></span></span></div><span style="color: black;"><span style="color: black;"> </span></span></div><span style="color: black;"><span style="color: black;"> </span></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-6462108677455329734?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-40785063752935914092011-01-31T00:00:00.000-05:002011-01-31T15:01:50.187-05:00<h3 class="subhed_right"><img alt="January 31, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_01_31_g.gif" /></h3><div class="captionedphoto"><div class="img-shadow"><img alt="January 31, 2011" id="inThisIssuePhoto" src="http://www.newyorker.com/images/2011/01/31/p154/110131_2011_p154.jpg" /><br /><div class="feature imageTop"><div class="featureBlurbText"><br /><dl></dl></div></div><div class="feature imageTop"><a href="http://www.newyorker.com/reporting/2011/01/31/110131fa_fact_hoffman" title="ANNALS OF SCIENCE"><img alt="ANNALS OF SCIENCE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_SCIENCE_g.gif" /></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/reporting/2011/01/31/110131fa_fact_hoffman"><i class="de"></i>Going Viral<br /><i>The Pentagon takes on swine flu.</i><br />by David E. Hoffman</a><br /></dt></dl></div></div><div class="feature imageTop"><a href="http://www.newyorker.com/humor/2011/01/31/110131sh_shouts_odenkirk" title="SHOUTS &amp; MURMURS"><br /></a></div><div class="feature imageTop"><a href="http://www.newyorker.com/reporting/2011/01/31/110131fa_fact_marx" title="ON AND OFF THE AVENUE"><img alt="ON AND OFF THE AVENUE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ON_AND_OFF_THE_AVE_g.gif" /></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/reporting/2011/01/31/110131fa_fact_marx"><i class="de"></i>The Borrowers<br /><i>A rage for renting.</i><br />by Patricia Marx</a><br /></dt><dt><br /></dt></dl></div></div><div class="feature imageTop"><a href="http://www.newyorker.com/reporting/2011/01/31/110131fa_fact_mcgrath" title="THE SPORTING SCENE"><img alt="THE SPORTING SCENE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_SPORTING_SCENE_g.gif" /></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/reporting/2011/01/31/110131fa_fact_mcgrath">Does Football Have a Future?<br /><i>The concussion crisis.</i><br />by Ben McGrath</a><br /><br /><i class="wo"></i><a href="http://www.newyorker.com/online/blogs/ask/2011/01/ben-mcgrath-football.html">Join a live chat with Ben McGrath about football on Wednesday, January 26th, at 3 <small>P.M.</small> E.T.</a><br /><br /><i class="wo"></i><a href="http://www.newyorker.com/online/blogs/newsdesk/2011/01/mcgrath-football.html">Video: Ben McGrath on head and neck injuries in the N.F.L.</a></dt><dt>&nbsp;</dt></dl></div></div><div class="feature imageTop"><a href="http://www.newyorker.com/arts/critics/books/2011/01/31/110131crbo_books_kolbert" title="BOOKS"><img alt="BOOKS" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" /></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/arts/critics/books/2011/01/31/110131crbo_books_kolbert"><i>Amy Chua’s “Battle Hymn of the Tiger Mother.” </i><br />by Elizabeth Kolbert</a><span style="color: black;"><br /></span></dt></dl><span style="color: black;"> </span></div><span style="color: black;"> </span></div><span style="color: black;"> </span><br /><div class="feature imageTop"><span style="color: black;"> <a href="http://www.newyorker.com/arts/critics/artworld/2011/01/31/110131craw_artworld_schjeldahl" title="THE ART WORLD"><br /></a></span><span style="color: black;"></span></div><span style="color: black;"> </span><br /><div class="feature imageTop"><span style="color: black;"> <a href="http://www.newyorker.com/arts/critics/cinema/2011/01/31/110131crci_cinema_lane" title="THE CURRENT CINEMA"><img alt="THE CURRENT CINEMA" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" /></a> </span><br /><div class="featureBlurbText"><span style="color: black;"> </span><br /><dl><span style="color: black;"><dt><a href="http://www.newyorker.com/arts/critics/cinema/2011/01/31/110131crci_cinema_lane"><i>“The Way Back,” “Biutiful.”</i><br />by Anthony Lane</a></dt></span></dl></div></div></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-4078506375293591409?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-46898002952002814882011-01-24T00:00:00.003-05:002011-01-25T15:58:07.701-05:00<img alt="January 24, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_01_24_g.gif" /><span style="font-weight: bold;"><br /><br /></span> <br /><div class="captionedphoto"><div class="img-shadow"><img alt="January 24, 2011" id="inThisIssuePhoto" src="http://www.newyorker.com/images/2011/01/24/p154/110124_2011_p154.jpg" /> </div></div><br /><div class="feature imageTop"><a href="http://www.newyorker.com/reporting/2011/01/24/110124fa_fact_auletta" title="ANNALS OF COMMINICATIONS"><img alt="ANNALS OF COMMINICATIONS" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_COMMUNICATIONS_g.gif" /></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/reporting/2011/01/24/110124fa_fact_auletta"><i class="de"></i>You’ve Got News<br /><i>AOL sees a future in journalism.</i><br />by Ken Auletta</a><br /><br /><i class="wo"></i><a href="http://www.newyorker.com/online/2011/01/24/110124on_audio_auletta">Audio: Ken Auletta on the Internet portal’s reinvention.</a></dt><dt>&nbsp;</dt></dl></div></div><div class="feature imageTop"><a href="http://www.newyorker.com/reporting/2011/01/24/110124fa_fact_gawande" title="ANNALS OF MEDICINE"><img alt="ANNALS OF MEDICINE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_MEDICINE_g.gif" /></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/reporting/2011/01/24/110124fa_fact_gawande"><i class="de"></i>The Hot Spotters<br /><i>A solution for health care’s costliest cases.</i><br />by Atul Gawande</a><br /><br /><i class="wo"></i><a href="http://www.newyorker.com/online/blogs/ask/2011/01/atul-gawande-medical-costs.html">Join a live chat with Atul Gawande about medical costs on Thursday, January 20th, at 1 <small>P.M.</small> E.T.</a></dt><dt>&nbsp;</dt></dl></div></div><img alt="BOOKS" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" /><br /><div class="feature imageTop"><a href="http://www.newyorker.com/arts/critics/books/2011/01/24/110124crbo_books_menand" title="BOOKS"></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/arts/critics/books/2011/01/24/110124crbo_books_menand"><i>The power of “The Feminine Mystique.”</i><br />by Louis Menand</a><span style="color: black;"></span></dt><dt><span style="color: black;"><br /></span></dt></dl><span style="color: black;"> </span></div><span style="color: black;"> </span></div><span style="color: black;"></span><br /><div class="feature imageTop"><span style="color: black;"> <a href="http://www.newyorker.com/arts/critics/cinema/2011/01/24/110124crci_cinema_denby" title="THE CURRENT CINEMA"><img alt="THE CURRENT CINEMA" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" /></a> </span><br /><div class="featureBlurbText"><span style="color: black;"> </span><br /><dl><span style="color: black;"><dt><a href="http://www.newyorker.com/arts/critics/cinema/2011/01/24/110124crci_cinema_denby"><i>“The Green Hornet,” “The Dilemma.”</i><br />by David Denby</a></dt></span></dl></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-4689800295200281488?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-85014490565084253512011-01-17T00:00:00.000-05:002011-01-25T15:51:16.262-05:00<img alt="January 17, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_01_17_g.gif" /><span style="font-weight: bold;"><br /><br /></span> <br /><div class="captionedphoto"><div class="img-shadow"><img alt="January 17, 2011" id="inThisIssuePhoto" src="http://www.newyorker.com/images/2011/01/17/p154/110117_2011_p154.jpg" /> </div></div><br /><div class="feature imageTop"><a href="http://www.newyorker.com/arts/critics/atlarge/2011/01/17/110117crat_atlarge_lepore" title="A CRITIC AT LARGE"><img alt="A CRITIC AT LARGE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" /></a> <br /><div class="featureBlurbText"><br /><dl><dt><a href="http://www.newyorker.com/arts/critics/atlarge/2011/01/17/110117crat_atlarge_lepore"><i>The cult of the Constitution.</i><br />by Jill Lepore<br /><br /><i class="wo"></i></a><a href="http://documents.newyorker.com/2011/01/us-constitution/">Primary Sources: The Constitution of the United States.</a></dt><dt>&nbsp;</dt></dl></div></div><span style="color: black;"> </span><br /><div class="feature imageTop"><span style="color: black;"> <a href="http://www.newyorker.com/arts/critics/theatre/2011/01/17/110117crth_theatre_lahr" title="THE THEATRE"><img alt="THE THEATRE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_THEATRE_g.gif" /></a> </span><br /><div class="featureBlurbText"><span style="color: black;"> </span><br /><dl><span style="color: black;"><dt><a href="http://www.newyorker.com/arts/critics/theatre/2011/01/17/110117crth_theatre_lahr"><i class="de"></i><i>Adam Bock’s “A Small Fire.”</i><br />by John Lahr</a></dt><dt><br /></dt></span></dl><span style="color: black;"> </span></div><span style="color: black;"> </span></div><span style="color: black;"> </span> <span style="color: black;"> </span><br /><div class="feature imageTop"><span style="color: black;"> <a href="http://www.newyorker.com/arts/critics/cinema/2011/01/17/110117crci_cinema_lane" title="THE CURRENT CINEMA"><img alt="THE CURRENT CINEMA" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" /></a> </span><br /><div class="featureBlurbText"><span style="color: black;"> </span><br /><dl><span style="color: black;"><dt><a href="http://www.newyorker.com/arts/critics/cinema/2011/01/17/110117crci_cinema_lane"><i>“The Time That Remains,” “Another Year.”</i><br />by Anthony Lane</a></dt></span></dl></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-8501449056508425351?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-22917544357675181282011-01-10T00:00:00.058-05:002011-01-13T18:09:36.845-05:00<div id="index_headers"><h2 id="indhed"><span class="Apple-style-span" style="font-size: 19px; "><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_01_10_g.gif" alt="January 10, 2011" /></span></h2></div><div id="inthisissue"> <!-- start photo --> <div class="captionedphoto"> <div class="img-shadow"> <img src="http://www.newyorker.com/images/2011/01/10/p154/110110_2011_p154.jpg" alt="January 10, 2011" id="inThisIssuePhoto" /></div></div></div><br /><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN"><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a href="http://www.newyorker.com/talk/2011/01/10/110110ta_talk_frazier">Woolly<br /><i>A mammoth specimen comes to America.</i><br />by Ian Frazier</a><br /><br /><a href="http://www.newyorker.com/talk/2011/01/10/110110ta_talk_stevenson">Rehearsal<br /><i>Antonia Fraser remembers Harold Pinter.</i><br />by Peter Stevenson</a><br /><br /><a href="http://www.newyorker.com/talk/2011/01/10/110110ta_talk_mead"><em class="de"></em>The Pipeline<br /><i>A plan to get more women elected to public office.</i><br />by Rebecca Mead</a></dt></dl> </div> <div class="feature imageTop"><a href="http://www.newyorker.com/reporting/2011/01/10/110110fa_fact_buruma" title="POSTCARD FROM EUROPE"><img src="http://www.newyorker.com/images/rubrics/ru_POSTCARD_FROM_EUROPE_g.gif" alt="POSTCARD FROM EUROPE" class="featurehed" /></a></div><div class="feature imageTop"><div class="featureBlurbText"> <dl><dt><a href="http://www.newyorker.com/reporting/2011/01/10/110110fa_fact_buruma"><em class="de"></em>Le Divorce<br /><i>Is Belgium heading for a breakup?</i><br />by Ian Buruma</a><br /></dt></dl> </div> </div> <div class="feature imageTop"> <a href="http://www.newyorker.com/reporting/2011/01/10/110110fa_fact_maass" title="THE WAYWARD PRESS"><img src="http://www.newyorker.com/images/rubrics/ru_THE_WAYWARD_PRESS_g.gif" alt="THE WAYWARD PRESS" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a href="http://www.newyorker.com/reporting/2011/01/10/110110fa_fact_maass">The Toppling<br /><i>The media and Saddam’s statue.</i><br />by Peter Maass</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/ask/2011/01/peter-maass-baghdad.html">Join a live chat with Peter Maass about Baghdad on Wednesday, January 5th, at 3 <small>P.M.</small> E.T.</a></dt></dl> </div> </div> <div class="feature imageTop"> <a href="http://www.newyorker.com/reporting/2011/01/10/110110fa_fact_osnos" title="LETTER FROM CHINA"><img src="http://www.newyorker.com/images/rubrics/ru_LETTER_FROM_CHINA_g.gif" alt="LETTER FROM CHINA" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a href="http://www.newyorker.com/reporting/2011/01/10/110110fa_fact_osnos"><em class="de"></em>Meet Dr. Freud<br /><i>Psychoanalysis comes to a traumatized nation.</i><br />by Evan Osnos</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/2011/01/10/110110on_audio_osnos">Audio: Psychoanalysis finds a new breeding ground.</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2011/01/evan-osnos-china-therapy.html">Video: Evan Osnos looks at the Chinese television program “Psychological Sessions.”</a></dt><dt><br /></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl></dl> </div> </div> <div class="feature imageTop"> <a href="http://www.newyorker.com/arts/critics/atlarge/2011/01/10/110110crat_atlarge_acocella" title="A CRITIC AT LARGE"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a href="http://www.newyorker.com/arts/critics/atlarge/2011/01/10/110110crat_atlarge_acocella"><i>The Stieg Larsson boxed set.</i><br />by Joan Acocella<br /></a></dt></dl> </div> </div> <div class="feature imageTop"><br /></div><div class="feature imageTop"><div class="featureBlurbText"> <span style="color: rgb(0, 0, 0);"> </span></div> <span style="color: rgb(0, 0, 0);"> </span></div> <span style="color: rgb(0, 0, 0);"> </span><div class="feature imageTop"> <span style="color: rgb(0, 0, 0);"> <a href="http://www.newyorker.com/arts/critics/theatre/2011/01/10/110110crth_theatre_als" title="THE THEATRE"><img src="http://www.newyorker.com/images/rubrics/ru_THE_THEATRE_g.gif" alt="THE THEATRE" class="featurehed" /></a> </span><div class="featureBlurbText"> <span style="color: rgb(0, 0, 0);"> </span><dl><span style="color: rgb(0, 0, 0);"> <dt><a href="http://www.newyorker.com/arts/critics/theatre/2011/01/10/110110crth_theatre_als"><em class="de"></em><i>Justin Bond’s cabaret.</i><br />by Hilton Als<br /></a></dt> </span></dl> <span style="color: rgb(0, 0, 0);"> </span></div> <span style="color: rgb(0, 0, 0);"> </span></div> <span style="color: rgb(0, 0, 0);"> </span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-2291754435767518128?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-17373492866259591302011-01-03T00:00:00.031-05:002011-01-13T17:26:31.092-05:00<img alt="January 3, 2011" src="http://www.newyorker.com/images/rubrics/tocissuedates/2011/ru_2011_01_03_g.gif" /><br /><div><br /></div><div><img alt="January 3, 2011" src="http://www.newyorker.com/images/2011/01/03/p154/110103_2011_p154.jpg" /><br /><br /><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px;"></span><br /><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/talk/comment/2011/01/03/110103taco_talk_gopnik" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="COMMENT"><img alt="COMMENT" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_COMMENT_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/talk/comment/2011/01/03/110103taco_talk_gopnik" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">All Alike<br /><i>The truth about snowflakes.</i><br />by Adam Gopnik</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/talk" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="THE TALK OF THE TOWN"><img alt="THE TALK OF THE TOWN" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/talk/2011/01/03/110103ta_talk_mead" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Family Style<br /><i>Laurie David’s new cookbook.</i><br />by Rebecca Mead</a></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/talk/2011/01/03/110103ta_talk_mead" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"></a><span class="Apple-style-span" style="color: black;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_colapinto" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="PROFILES"><img alt="PROFILES" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_PROFILES_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a></span></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_colapinto" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Just Have Less</a></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><i style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_colapinto" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Bottega Veneta’s Tomas Maier.</a></i></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><i style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_colapinto" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"></a></i><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_colapinto" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">by John Colapinto</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_toobin" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="ANNALS OF LAW"><img alt="ANNALS OF LAW" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_LAW_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_toobin" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><em class="de" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-origin: initial; background-position: 0px 2px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 10px;"></em>Casualties of Justice<br /><i>Two investigations and a suicide.</i><br />by Jeffrey Toobin</a><br /><br /><em class="wo" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-origin: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 55px;"></em><a href="http://documents.newyorker.com/2010/12/indictment-of-ted-stevens/" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Primary Sources: The indictment of Ted Stevens.</a><br /><br /><em class="wo" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-origin: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 55px;"></em><a href="http://documents.newyorker.com/2010/12/4_7_09_hearing_transcript/" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Primary Sources: Transcript of the hearing in which Ted Stevens’s conviction was vacated</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_gopnik" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="NOTES OF A GASTRONOME"><img alt="NOTES OF A GASTRONOME" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_NOTES_OF_A_GASTRONOME_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a><div class="featureBlurbText" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><a href="http://www.newyorker.com/reporting/2011/01/03/110103fa_fact_gopnik" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Sweet Revolution<br /><i>What’s dessert for?</i><br />by Adam Gopnik</a><br /><br /><em class="wo" style="background-attachment: scroll; background-clip: initial; background-color: transparent; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-origin: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; display: block; float: left; height: 8px; margin-right: 3px; padding-top: 5px; text-indent: -9999px; width: 55px;"></em><a href="http://www.newyorker.com/online/2011/01/03/110103on_audio_gopnik" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">Audio: Adam Gopnik on the state of dessert.</a></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><br /></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><span class="Apple-style-span" style="color: black;"><a href="http://www.newyorker.com/arts/critics/atlarge/2011/01/03/110103crat_atlarge_denby" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;" title="A CRITIC AT LARGE"><img alt="A CRITIC AT LARGE" class="featurehed" src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" /></a></span></dt><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><i style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none; "><a href="http://www.newyorker.com/arts/critics/atlarge/2011/01/03/110103crat_atlarge_denby" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">The Joan Crawford problem.</a><br /></i><a href="http://www.newyorker.com/arts/critics/atlarge/2011/01/03/110103crat_atlarge_denby" style="color: black; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;">by David Denby</a></dt></dl></div></div><div class="feature imageTop" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 15px; padding-left: 20px; padding-right: 20px; padding-top: 15px; text-decoration: none;"><div class="featureBlurbText" style="text-indent: -9999px;border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none; "><i><br /></i><dl style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><dt style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #888888; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"></dt></dl></div></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-1737349286625959130?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-25799104251110386902010-12-20T00:00:00.012-05:002010-12-30T14:40:33.130-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_12_20_g.gif" alt="December 20 &amp; 27, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/12/20/p154/101220_2010_p154.jpg" alt="December 20 &amp; 27, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/headers/hese_WORLD_CHANGERS_r.gif" /></div><div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/talk/financial/2010/12/20/101220ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/financial/2010/12/20/101220ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Groupon Clipping<br /><i>What’s the right price for the hot new thing?</i><br />by James Surowiecki</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_specter" title="LETTER FROM CAMEROON" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_LETTER_FROM_CAMEROON.gif" alt="LETTER FROM CAMEROON" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_specter" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>The Doomsday Strain<br /><i>Virus hunting in Central Africa.</i><br />by Michael Specter</a><br /></dt></dl></div></div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: 14px; line-height: 16px;"><br /></span></span><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_owen" title="ANNALS OF ENVIRONMENTALISM" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_ENVIRONMENTALISM_g.gif" alt="ANNALS OF ENVIRONMENTALISM" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_owen" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>The Efficiency Dilemma<br /><i>What’s the best way to use less energy?</i><br />by David Owen</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_paumgarten" title="PROFILES" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_PROFILES_g.gif" alt="PROFILES" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_paumgarten" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Master of Play<br /><i>The imagination behind Nintendo.</i><br />by Nick Paumgarten</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><br /></dt> <a href="http://www.newyorker.com/online/blogs/newsdesk/2010/12/nick-paumgarten-shigeru-miyamoto.html" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Slide Show: Photographs from Sonobe.</a><br /></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_hessler" title="A REPORTER AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_A_REPORTER_AT_LARGE_g.gif" alt="A REPORTER AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/20/101220fa_fact_hessler" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>Village Voice<br /><i>Reinvigorating the Peace Corps.</i><br />by Peter Hessler</a><br /><br /><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/2010/12/20/101220on_audio_hessler" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Audio: A Peace Corps volunteer goes to Washington.</a><br /><br /><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2010/12/peter-hessler-peace-corps-video.html" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Video: Peter Hessler discusses Rajeev Goyal and his water-pump project.</a></dt></dl></div></div><br /><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/arts/critics/skyline/2010/12/20/101220crsk_skyline_goldberger" title="THE SKY LINE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_SKY_LINE_g.gif" alt="THE SKY LINE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/skyline/2010/12/20/101220crsk_skyline_goldberger" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em><i>Eric Owen Moss and Culver City.</i><br />by Paul Goldberger</a></dt></dl></div></div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><span><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/12/20/101220crci_cinema_denby" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/12/20/101220crci_cinema_denby" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em><i>“True Grit;” “The Company Men;” “Somewhere;” “The Tempest.”</i><br />by David Denby</a></dt></dl></div></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-2579910425111038690?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-5246276596455146952010-12-13T00:00:00.006-05:002010-12-13T00:00:01.899-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_12_13_g.gif" alt="December 13, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/12/13/p154/101213_2010_p154.jpg" alt="December 13, 2010" /></div><div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/2010/12/13/101213ta_talk_collins" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>Skivvies 101<br /><i>The history of men’s underwear.</i><br />by Lauren Collins</a><br /><br /><i></i><a href="http://www.newyorker.com/talk/2010/12/13/101213ta_talk_goodyear" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Supercalifragilistic<br /><i>Dick Van Dyke’s musical memories.</i><br />by Dana Goodyear</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><br /></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/2010/12/13/101213ta_talk_goodyear" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><a href="http://www.newyorker.com/reporting/2010/12/13/101213fa_fact_lehrer" title="ANNALS OF SCIENCE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_SCIENCE_g.gif" alt="ANNALS OF SCIENCE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/13/101213fa_fact_lehrer" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">The Truth Wears Off</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/reporting/2010/12/13/101213fa_fact_lehrer" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">An odd twist in the scientific method.</a></i></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/reporting/2010/12/13/101213fa_fact_lehrer" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></i><a href="http://www.newyorker.com/reporting/2010/12/13/101213fa_fact_lehrer" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">by Jonah Lehrer</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/online/blogs/ask/2010/12/peter-j-boyer-john-boehner.html" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="font-size: 14px; "></span></a><a href="http://www.newyorker.com/reporting/2010/12/13/101213fa_fact_oates" title="PERSONAL HISTORY" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_PERSONAL_HISTORY_g.gif" alt="PERSONAL HISTORY" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/online/blogs/ask/2010/12/peter-j-boyer-john-boehner.html" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" style="font-size: 14px; color: rgb(136, 136, 136); "></span></a><a href="http://www.newyorker.com/reporting/2010/12/13/101213fa_fact_oates" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">A Widow’s Story<br /><i>A long marriage comes to an end. </i><br />by Joyce Carol Oates</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/2010/12/13/101213_slideshow_oates" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Slide Show: Photographs of Joyce Carol Oates and her husband, Raymond Smith.</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><br /></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/online/2010/12/13/101213_slideshow_oates" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><a href="http://www.newyorker.com/arts/critics/atlarge/2010/12/13/101213crat_atlarge_lahr" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><span class="Apple-style-span" style="color: rgb(0, 0, 0); outline-style: initial; outline-color: initial;"></span><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/atlarge/2010/12/13/101213crat_atlarge_lahr" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">The life and work of Elia Kazan</a></i></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/arts/critics/atlarge/2010/12/13/101213crat_atlarge_lahr" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></i><a href="http://www.newyorker.com/arts/critics/atlarge/2010/12/13/101213crat_atlarge_lahr" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">by John Lahr</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://documents.newyorker.com/2010/12/a_statement_by_elia_kazan/" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><br />Primary Sources: An advertisement that Elia Kazan took out in the New York <em>Times</em> of April 12, 1952.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/12/13/101213crci_cinema_lane" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/12/13/101213crci_cinema_lane" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><i>“The Fighter,” “I Love You Phillip Morris.”</i><br />by Anthony Lane</a></dt></dl></div></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-524627659645514695?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-58101982202791409672010-12-06T00:00:00.008-05:002010-12-12T19:56:13.057-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_12_06_g.gif" alt="December 6, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/12/06/p154/101206_2010_p154.jpg" alt="December 6, 2010" /></div><div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/2010/12/06/101206ta_talk_widdicombe" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Tongue Twister<br /><i>Colin Firth on being English.</i><br />by Lizzie Widdicombe</a><br /><br /><a href="http://www.newyorker.com/talk/2010/12/06/101206ta_talk_mead" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>Waxworks<br /><i>Women’s fashion past and present.</i><br />by Rebecca Mead</a><br /><br /><a href="http://www.newyorker.com/talk/2010/12/06/101206ta_talk_parker" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Tootling<br /><i>The man behind the slow-driving movement.</i><br />by Ian Parker</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/talk/financial/2010/12/06/101206ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/financial/2010/12/06/101206ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">The Big Uneasy<br /><i>A backlash against the Federal Reserve.</i><br />by James Surowiecki</a><br /><br /><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/ask/2010/11/james-surowiecki-ben-bernanke.html" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Join a live chat with James Surowiecki about Ben Bernanke and the economy on Wednesday, December 1st, at 3 <small>P.M.</small> E.T.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_bissell" title="ANNALS OF ENTERTAINMENT" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_ENTERTAINMENT.gif" alt="ANNALS OF ENTERTAINMENT" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_bissell" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>A Simple Medium<br /><i>The man behind “Two and a Half Men.”</i><br />by Tom Bissell</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_marx" title="ON AND OFF THE AVENUE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_ON_AND_OFF_THE_AVE_g.gif" alt="ON AND OFF THE AVENUE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_marx" title="ON AND OFF THE AVENUE" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></span><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_marx" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Toy Stories</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_marx" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">The perfect gift for every child.</a></i></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><i style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_marx" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "></a></i><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_marx" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><span class="Apple-style-span" ><span class="Apple-style-span" style="outline-style: initial; outline-color: initial;">by Patricia Marx</span></span></a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_bruck" title="PROFILES" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_PROFILES_g.gif" alt="PROFILES" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_bruck" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">The Art of the <em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>Billionaire<br /><i>Eli Broad’s investment in L.A.</i><br />by Connie Bruck</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_talese" title="ONWARD AND UPWARD WITH THE ARTS" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_ONWARD_AND_UPWARD_WITH_T_g.gif" alt="ONWARD AND UPWARD WITH THE ARTS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/12/06/101206fa_fact_talese" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><em class="de" style="display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-image: url(http://www.newyorker.com/css/i/icons/lock.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 10px; background-position: 0px 1px; background-repeat: no-repeat no-repeat; "></em>Travels with a Diva<br /><i>Russia’s next great soprano.</i><br />by Gay Talese</a><br /><br /><em class="wo" style="background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: scroll; background-origin: initial; background-clip: initial; background-color: transparent; height: 8px; width: 55px; display: block; float: left; margin-right: 3px; padding-top: 5px; text-indent: -9999px; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/2010/12/06/101206on_audio_talese" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; ">Audio: On the road with the soprano Marina Poplavskaya.</a></dt></dl></div></div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><span ><br /><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 15px; padding-right: 20px; padding-bottom: 15px; padding-left: 20px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; clear: both; float: left; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/12/06/101206crci_cinema_denby" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/12/06/101206crci_cinema_denby" style="color: rgb(0, 0, 0); text-decoration: none; outline-width: 0px; outline-style: initial; outline-color: initial; "><i>“Black Swan,” “Love and Other Drugs.”</i><br />by David Denby</a></dt></dl></div></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-5810198220279140967?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-54705625550491510562010-11-29T00:00:00.002-05:002010-12-05T17:39:05.829-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_11_29_g.gif" alt="November 29, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/11/29/p154/101129_2010_p154.jpg" alt="November 29, 2010" /></div><div><br /></div><div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none; font-family: Times; font-size: 14px; line-height: 16px; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/talk/2010/11/29/101129ta_talk_mead" style="color: rgb(0, 0, 0); text-decoration: none; font-family: Times; font-size: 14px; line-height: 16px; ">Setting It Straight<br /><i>A memoir of McCarthyism, sixty years later.</i><br />by Rebecca Mead</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/11/29/101129fa_fact_cassidy" title="ANNALS OF ECONOMICS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_ECONOMICS_g.gif" alt="ANNALS OF ECONOMICS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/29/101129fa_fact_cassidy" style="color: rgb(0, 0, 0); text-decoration: none; ">What Good Is Wall Street?<br /><i>The financial sector tries to justify itself.</i><br />by John Cassidy</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/ask/2010/11/john-cassidy-wall-street.html" style="color: rgb(0, 0, 0); text-decoration: none; ">Join a live chat with John Cassidy about Wall Street on Wednesday, November 24th, at 11<small>A.M.</small> E.T.</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://documents.newyorker.com/2010/11/the-future-of-finance-excerpt" style="color: rgb(0, 0, 0); text-decoration: none; ">Primary Sources: Paul Woolley’s chapter from “The Future of Finance: The LSE Report.”</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/11/29/101129fa_fact_wood" title="PERSONAL HISTORY" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_PERSONAL_HISTORY_g.gif" alt="PERSONAL HISTORY" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/29/101129fa_fact_wood" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>The Fun Stuff<br /><i>Drumming like Keith Moon.</i><br />by James Wood</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/2010/11/29/101129on_audio_wood" style="color: rgb(0, 0, 0); text-decoration: none; ">Audio: The unhinged power of Keith Moon.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><span ></span></dl><span ></span></div><span ></span></div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><span ><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/atlarge/2010/11/29/101129crat_atlarge_gopnik" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/atlarge/2010/11/29/101129crat_atlarge_gopnik" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em><i>“Autobiography of Mark Twain: Volume 1.”</i><br />by Adam Gopnik</a></dt></dl></div></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-5470562555049151056?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-77732452467875542562010-11-22T00:00:00.005-05:002010-11-27T15:52:32.076-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_11_22_g.gif" alt="November 22, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/covers/2010/2010_11_22_p154.jpg" alt="NOVEMBER 22, 2010" /></div><div><br /></div><div><div class="feature imageBottom first" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featurePhoto" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><img src="http://www.newyorker.com/images/headers/hese_THE_FOOD_ISSUE_r.gif" alt="" class="featureimg" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></div></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_trillin" title="U.S. JOURNAL" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_US_JOURNAL_g.gif" alt="U.S. JOURNAL" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_trillin" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>No Daily Specials<br /><i>A New Orleans roadhouse.</i><br />by Calvin Trillin</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/ask/2010/11/lauren-collins-burkhard-bilger-food-issue.html" style="color: rgb(0, 0, 0); text-decoration: none; ">Join a live chat with Burkhard Bilger, Lauren Collins, and Calvin Trillin about the Food Issue on Wednesday, November 17th, at 11 <small>A.M.</small>E.T.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_kramer" title="PERSONAL HISTORY" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_PERSONAL_HISTORY_g.gif" alt="PERSONAL HISTORY" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_kramer" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Down Under<br /><i>In praise of root vegetables.</i><br />by Jane Kramer</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://documents.newyorker.com/2010/11/root-vegetable-recipes/" style="color: rgb(0, 0, 0); text-decoration: none; ">Primary Sources: Root-vegetable recipes from the story.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_collins" title="PROFILES" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_PROFILES_g.gif" alt="PROFILES" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_collins" style="color: rgb(0, 0, 0); text-decoration: none; ">Burger Queen<br /><i>April Bloomfield’s gastropub revolution.</i><br />by Lauren Collins</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_bilger" title="A REPORTER AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_A_REPORTER_AT_LARGE_g.gif" alt="A REPORTER AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/22/101122fa_fact_bilger" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Nature’s Spoils<br /><i>The delights of fermented food.</i><br />by Burkhard Bilger</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/2010/11/22/101122on_audio_bilger" style="color: rgb(0, 0, 0); text-decoration: none; ">Audio: Food, bacteria, and us.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><span ></span></dl><span ></span></div><span ></span></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-7773245246787554256?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-11821788482141401922010-11-15T00:00:00.008-05:002010-12-02T13:43:53.703-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_11_15_g.gif" alt="November 15, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/11/15/p154/101115_2010_p154.jpg" alt="November 15, 2010" /></div><div><div class="feature imageTop"><div class="featureBlurbText"><dl> </dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN"><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" /></a><div class="featureBlurbText"><dl><dt><a href="http://www.newyorker.com/talk/2010/11/15/101115ta_talk_mead">Black Hole<br /><i>The Russian magazine <em>Snob</em> hits American newsstands.</i><br />by Rebecca Mead</a><br /><br /><a href="http://www.newyorker.com/talk/2010/11/15/101115ta_talk_friend"><em class="de"></em>Detour<br /><i>A Hollywood director’s humble second act.</i><br />by Tad Friend</a><br /><br /><a href="http://www.newyorker.com/talk/2010/11/15/101115ta_talk_schulman">Roommates<br /><i>Backstage with Patrick Stewart.</i><br />by Michael Schulman</a></dt> </dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a href="http://www.newyorker.com/reporting/2010/11/15/101115fa_fact_mead" title="ONWARD AND UPWARD WITH THE ARTS"><img src="http://www.newyorker.com/images/rubrics/ru_ONWARD_AND_UPWARD_WITH_T_g.gif" alt="ONWARD AND UPWARD WITH THE ARTS" class="featurehed" /></a> <div class="featureBlurbText"> <dl> <dt><a href="http://www.newyorker.com/reporting/2010/11/15/101115fa_fact_mead"><em class="de"></em>Downtown’s Daughter<br /><i>A young director puts her loft life onscreen.</i><br />by Rebecca Mead</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2010/11/lena-dunham.html">Watch videos by Lena Dunham.</a></dt> </dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"><br /></div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a href="http://www.newyorker.com/reporting/2010/11/15/101115fa_fact_wilkinson" title="THE MUSIC SCENE"><img src="http://www.newyorker.com/images/rubrics/ru_THE_MUSIC_SCENE_g.gif" alt="THE MUSIC SCENE" class="featurehed" /></a> <div class="featureBlurbText"> <dl> <dt><a href="http://www.newyorker.com/reporting/2010/11/15/101115fa_fact_wilkinson"><em class="de"></em>Long Time Coming<br /><i>Bettye LaVette takes the stage.</i><br />by Alec Wilkinson</a></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl> </dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a href="http://www.newyorker.com/arts/critics/atlarge/2010/11/15/101115crat_atlarge_thurman" title="A CRITIC AT LARGE"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" /></a> <div class="featureBlurbText"> <dl> <dt><a href="http://www.newyorker.com/arts/critics/atlarge/2010/11/15/101115crat_atlarge_thurman"><em class="de"></em><i>Creating Cleopatra.</i><br />by Judith Thurman</a><br /><br /><em class="wo"></em><a href="http://www.newyorker.com/online/2010/11/15/101115on_audio_thurman">Audio: The eternal reign of Cleopatra.</a></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl><span></span></dl></div></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-1182178848214140192?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-78632980692114247862010-11-08T00:00:00.005-05:002010-11-15T10:58:08.908-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_11_08_g.gif" alt="November 8, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/11/08/p154/101108_2010_p154.jpg" alt="November 8, 2010" /></div><div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/2010/11/08/101108ta_talk_chast" style="color: rgb(0, 0, 0); text-decoration: none; ">Leo Cullum<br /><i>The high-flying cartoonist’s greatest gags.</i><br />by Roz Chast</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/talk/financial/2010/11/08/101108ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/financial/2010/11/08/101108ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; ">Back-Office Blues<br /><i>How bad is Foreclosuregate?</i><br />by James Surowiecki</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/reporting/2010/11/08/101108fa_fact_kahn" title="THE SPORTING SCENE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_SPORTING_SCENE_g.gif" alt="THE SPORTING SCENE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/08/101108fa_fact_kahn" style="color: rgb(0, 0, 0); text-decoration: none; ">The Perfect Stride<br /><i>A trainer chases marathon greatness.</i><br />by Jennifer Kahn</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2010/11/video-alberto-salazar-dathan-ritzenhein.html" style="color: rgb(0, 0, 0); text-decoration: none; ">Video: Jennifer Kahn explains the mechanics of a perfect stride.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/humor/2010/11/08/101108sh_shouts_chast" title="SHOUTS &amp; MURMURS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_SHOUTS_MURMURS_g.gif" alt="SHOUTS &amp; MURMURS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/humor/2010/11/08/101108sh_shouts_chast" style="color: rgb(0, 0, 0); text-decoration: none; ">Bananas<br />by Roz Chast</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/reporting/2010/11/08/101108fa_fact_paumgarten" title="PROFILES" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_PROFILES_g.gif" alt="PROFILES" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/11/08/101108fa_fact_paumgarten" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Brilliant Mistakes<br /><i>Elvis Costello’s winding path.</i><br />by Nick Paumgarten</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/newsdesk/2010/11/elvis-costello-national-ransom.html" style="color: rgb(0, 0, 0); text-decoration: none; ">Audio: Costello’s new album, “National Ransom.”</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/books/2010/11/08/101108crbo_books_shapin" title="BOOKS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" alt="BOOKS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/books/2010/11/08/101108crbo_books_shapin" style="color: rgb(0, 0, 0); text-decoration: none; "><i>The history, and future, of cancer.</i><br />by Steven Shapin</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/ask/2010/11/steven-shapin-cancer.html" style="color: rgb(0, 0, 0); text-decoration: none; ">Join a live chat with Steven Shapin about cancer on Thursday, November 4th, at 3<small>P.M.</small> E.T.</a><br /><div style="text-indent: -9999px;"><i><br /></i></div></dt></dl></div></div><span><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/11/08/101108crci_cinema_denby" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/11/08/101108crci_cinema_denby" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em><i>“Fair Game,” “127 Hours.”</i><br />by David Denby</a></dt></dl></div></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-7863298069211424786?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-10237207841399677862010-11-01T00:00:00.004-04:002010-11-10T18:01:41.942-05:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_11_01.gif" alt="November 1, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/covers/2010/2010_11_01_p154.jpg" alt="NOVEMBER 1, 2010" /></div><div><br /></div><div><div class="feature imageBottom first" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><div class="featurePhoto" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><img src="http://www.newyorker.com/images/headers/hese_THE_CARTOON_ISSUE_r.gif" alt="" class="featureimg" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></div></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><img src="http://www.newyorker.com/images/rubrics/ru_CARTOONS_g.gif" alt="CARTOONS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/humor/2010/11/01/101101sh_shouts_chast" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>“Garden of Earthly Delights”<br />by Roz Chast<br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em></a><a href="http://www.newyorker.com/online/2010/11/01/101101on_audio_chast" style="color: rgb(0, 0, 0); text-decoration: none; ">Audio: Chast on her career at <i>The New Yorker</i>.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><a href="http://www.newyorker.com/humor/issuecartoons/2010/11/01/cartoons_20101025" title="THE FUNNIES" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FUNNIES_g.gif" alt="THE FUNNIES" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/humor/issuecartoons/2010/11/01/cartoons_20101025" style="color: rgb(0, 0, 0); text-decoration: none; ">“The Funnies”<br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em></a><a href="http://www.newyorker.com/online/blogs/ask/2010/10/bob-mankoff-humor-cartoon-issue.html" style="color: rgb(0, 0, 0); text-decoration: none; ">Join a live chat with Bob Mankoff about humor and the Cartoon Issue on Wednesday, October 27th, at 3 <small>P.M.</small> E.T.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><a href="http://www.newyorker.com/humor/2010/11/01/101101sh_shouts_kanin" title="COMIC STRIP" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_COMIC_STRIP_g.gif" alt="COMIC STRIP" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/humor/2010/11/01/101101sh_shouts_kanin" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Noah’s Ark<br />by Zachary Kanin</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><a href="http://www.newyorker.com/humor/2010/11/01/101101sh_shouts_bestofcaptioncontest" title="BEST OF THE CAPTION CONTEST" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_BEST_OF_THE_CAPTION_CONTEST_g.gif" alt="BEST OF THE CAPTION CONTEST" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/humor/2010/11/01/101101sh_shouts_bestofcaptioncontest" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em><i>After a million and a half entries.</i></a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 17px; line-height: 20px; "><a href="http://www.newyorker.com/arts/critics/books/2010/11/01/101101crbo_books_remnick" title="BOOKS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" alt="BOOKS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/books/2010/11/01/101101crbo_books_remnick" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em><i>Keith Richards’s “Life.”</i><br />by David Remnick</a><span ><br /><br /><a href="http://www.newyorker.com/arts/critics/books/2010/11/01/101101crbo_books_gladwell" style="color: rgb(0, 0, 0); text-decoration: none; "><i>Steven Rattner’s “Overhaul.”</i><br />by Malcolm Gladwell</a></span></dt></dl></div></div><span class="Apple-style-span" style="font-family: Times; font-size: 17px; line-height: 20px; "><span ><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/11/01/101101crci_cinema_lane" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/11/01/101101crci_cinema_lane" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em><i>“Inspector Bellamy,” “Red.”</i><br />by Anthony Lane</a></dt></dl></div></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-1023720784139967786?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-58045830079507200192010-10-25T00:00:00.003-04:002010-10-31T19:18:32.349-04:00<img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_10_25_g.gif" alt="October 25, 2010" /><div><br /></div><div><img src="http://www.newyorker.com/images/2010/10/25/p154/101025_2010_p154.jpg" alt="October 25, 2010" /></div><div><span class="Apple-style-span" style="font-family: Times; font-size: 17px; line-height: 20px; "><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/2010/10/25/101025ta_talk_gopnik" style="color: rgb(0, 0, 0); text-decoration: none; ">A Way Out<br /><i>Chilean miner madness grips New York.</i><br />by Adam Gopnik</a><br /><br /><a href="http://www.newyorker.com/talk/2010/10/25/101025ta_talk_mead" style="color: rgb(0, 0, 0); text-decoration: none; ">Behind Bars<br /><i>On Rikers Island, a painter reclaims her work.</i><br />by Rebecca Mead</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/reporting/2010/10/25/101025fa_fact_friend" title="LETTER FROM CALIFORNIA" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_LETTER_FROM_CALIFORNIA_g.gif" alt="LETTER FROM CALIFORNIA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/10/25/101025fa_fact_friend" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Blowback<br /><i>The great leaf-blower wars.</i><br />by Tad Friend</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/reporting/2010/10/25/101025fa_fact_frazier" title="A REPORTER AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_A_REPORTER_AT_LARGE_g.gif" alt="A REPORTER AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/10/25/101025fa_fact_frazier" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Fish Out of Water<br /><i>The Asian-carp invasion.</i><br />by Ian Frazier</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/books/2010/10/25/101025crbo_books_hertzberg" title="BOOKS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" alt="BOOKS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/books/2010/10/25/101025crbo_books_hertzberg" style="color: rgb(0, 0, 0); text-decoration: none; "><i>The letters of Daniel Patrick Moynihan.</i><br />by Hendrik Hertzberg</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://documents.newyorker.com/2010/10/selection-of-daniel-patrick-moynihan-letters/" style="color: rgb(0, 0, 0); text-decoration: none; ">Primary Sources: A selection of Moynihan’s letters.</a></dt></dl></div></div><span ><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/25/101025crci_cinema_lane" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/25/101025crci_cinema_lane" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em><i>“Nowhere Boy,” “Carlos.”</i><br />by Anthony Lane</a></dt></dl></div></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-5804583007950720019?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-62683997313159155642010-10-18T00:00:00.003-04:002010-10-25T15:16:35.224-04:00<img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_10_18_g.gif" alt="October 18, 2010" /><div><br /></div><div><img src="http://www.newyorker.com/images/2010/10/18/p154/101018_2010_p154.jpg" alt="October 18, 2010" /></div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/talk/financial/2010/10/18/101018ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/financial/2010/10/18/101018ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; ">The Next Level<br /><i>Why didn’t superstores colonize the Web the way they colonized suburbia?</i><br />by James Surowiecki</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/reporting/2010/10/18/101018fa_fact_mcgrath" title="THE WAYWARD PRESS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_WAYWARD_PRESS_g.gif" alt="THE WAYWARD PRESS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/10/18/101018fa_fact_mcgrath" style="color: rgb(0, 0, 0); text-decoration: none; ">Search and Destroy<br /><i>Nick Denton’s idea of journalism.</i><br />by Ben McGrath</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/reviews/brieflynoted/2010/10/18/101018crbn_brieflynoted1" title="BOOKS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" alt="BOOKS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><span ><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/arts/critics/books/2010/10/18/101018crbo_books_gopnik" style="color: rgb(0, 0, 0); text-decoration: none; "><i>What Adam Smith really believed.</i><br />by Adam Gopnik</a><i><span class="Apple-style-span" style="font-style: normal;"><br /></span></i></span></dt><span ></span></dl><span ></span></div><span ></span></div><span ><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/atlarge/2010/10/18/101018crat_atlarge_lepore" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/atlarge/2010/10/18/101018crat_atlarge_lepore" style="color: rgb(0, 0, 0); text-decoration: none; "><i>Birds-and-bees books for kids.</i><br />by Jill Lepore</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/blogs/books/2010/10/sex-ed-books.html" style="color: rgb(0, 0, 0); text-decoration: none; ">A slide show of sex-ed books from the past three decades.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/18/101018crci_cinema_denby" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/18/101018crci_cinema_denby" style="color: rgb(0, 0, 0); text-decoration: none; "><i>“Hereafter”; “Inside Job.”</i><br />by David Denby</a></dt></dl></div></div></span></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-6268399731315915564?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-82857945138746480332010-10-11T00:00:00.009-04:002010-10-16T16:52:43.140-04:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_10_11_g.gif" alt="October 11, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/covers/2010/2010_10_11_p154.jpg" alt="October 11, 2010" /></div><div><br /></div><span class="Apple-style-span" style="font-family: Times; font-size: 14px; line-height: 16px; "><div class="feature imageBottom first" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featurePhoto" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="w" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><img src="http://www.newyorker.com/images/headers/hese_THE_MONEY_ISSUE.r.gif" alt="" class="featureimg" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></div></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/2010/10/11/101011ta_talk_widdicombe" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Wall Street Vérité<br /><i>Finance workers rate “Inside Job.”</i><br />by Lizzie Widdicombe</a><br /><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><br /><a href="http://www.newyorker.com/talk/financial/2010/10/11/101011ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; "></a></span></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><br /></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><a href="http://www.newyorker.com/talk/financial/2010/10/11/101011ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a></span><a href="http://www.newyorker.com/talk/financial/2010/10/11/101011ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; ">The Business-Movie Business</a></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><i><a href="http://www.newyorker.com/talk/financial/2010/10/11/101011ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; ">Big money on the big screen.</a></i></dt><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><i><a href="http://www.newyorker.com/talk/financial/2010/10/11/101011ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; "></a></i><a href="http://www.newyorker.com/talk/financial/2010/10/11/101011ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; ">by James Surowiecki</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/reporting/2010/10/11/101011fa_fact_ephron" title="PERSONAL HISTORY" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_PERSONAL_HISTORY_g.gif" alt="PERSONAL HISTORY" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/10/11/101011fa_fact_ephron" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>My Life as an Heiress<br /><i>The will that wouldn’t.</i><br />by Nora Ephron</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/reporting/2010/10/11/101011fa_fact_gladwell" title="ANNALS OF BUSINESS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_BUSINESS_g.gif" alt="ANNALS OF BUSINESS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/10/11/101011fa_fact_gladwell" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Talent Grab<br /><i>How come stars earn so much?</i><br />by Malcolm Gladwell</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/reviews/brieflynoted/2010/10/11/101011crbn_brieflynoted1" title="BOOKS" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_BOOKS_g.gif" alt="BOOKS" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><span ><a href="http://www.newyorker.com/arts/critics/books/2010/10/11/101011crbo_books_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; "><i>The philosophy of procrastination.</i><br />by James Surowiecki</a></span></dt></dl></div></div><span ><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/11/101011crci_cinema_denby" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/11/101011crci_cinema_denby" style="color: rgb(0, 0, 0); text-decoration: none; ">“Waiting for ‘Superman.’ ”<br />by David Denby</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><img src="http://www.newyorker.com/images/rubrics/ru_SOMETHING_BORROWED_g.gif" alt="SOMETHING BORROWED" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/10/11/101011fa_fact_bromell" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Honor Bound<br />by Henry Bromell</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 4px; background-repeat: no-repeat no-repeat; "></em><a href="http://www.newyorker.com/online/2010/10/11/101011on_audio_bromell" style="color: rgb(0, 0, 0); text-decoration: none; ">Audio: Henry Bromell, from short stories to “Rubicon.”</a><i><span class="Apple-style-span" style="font-style: normal;"><br /></span></i><br /><a href="http://www.newyorker.com/reporting/2010/10/11/101011fa_fact_egan" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: 0px 3px; background-repeat: no-repeat no-repeat; "></em>Dealing with the Dead<br />by Jennifer Egan</a><br /><br /><a href="http://www.newyorker.com/reporting/2010/10/11/101011fa_fact_franzen" style="color: rgb(0, 0, 0); text-decoration: none; ">Hissing of Summer Lawns<br />by Jonathan Franzen</a><br /></dt></dl></div></div></span></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-8285794513874648033?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-77086978452445608412010-10-04T00:00:00.005-04:002010-10-04T00:00:05.777-04:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_10_04_g.gif" alt="October 4, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/10/04/p154/101004_2010_p154.jpg" alt="October 4, 2010" /></div><div><br /></div><div><div class="feature imageTop" face="Times" size="14px" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; line-height: 16px;"><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><span style="font-size:100%;"><br /></span><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><span style="font-size:100%;"><a href="http://www.newyorker.com/talk/2010/10/04/101004ta_talk_mead" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em>The Real Thing<br /><i>Melinda Gates crusades for better toilets.</i><br />by Rebecca Mead</a><br /><br /><a href="http://www.newyorker.com/talk/2010/10/04/101004ta_talk_acocella" style="color: rgb(0, 0, 0); text-decoration: none;">East Room Recital<br /><i>A precarious dance performance at the White House.</i><br />by Joan Acocella</a><a href="http://www.newyorker.com/talk/2010/10/04/101004ta_talk_editors" style="color: rgb(0, 0, 0); text-decoration: none;"><br /></a></span></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><span style="font-size:100%;"><a href="http://www.newyorker.com/reporting/2010/10/04/101004fa_fact_gladwell" title="ANNALS OF INNOVATION" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_INNOVATION_g.gif" alt="ANNALS OF INNOVATION" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a></span><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/10/04/101004fa_fact_gladwell" style="color: rgb(0, 0, 0); text-decoration: none;">Small Change<br /><i>The truth about the Twitter Revolution.</i><br />by Malcolm Gladwell</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/index/webonly.gif&quot;); background-position: 0px 4px;"></em><a href="http://www.newyorker.com/online/blogs/ask/2010/09/malcolm-gladwell-twitter-social-media.html" style="color: rgb(0, 0, 0); text-decoration: none;">Join a live chat with Malcolm Gladwell about social media on Wednesday, September 29th, at 3 <small>P.M.</small> E.T.</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><span style="font-size:100%;"><a href="http://www.newyorker.com/reporting/2010/10/04/101004fa_fact_toobin" title="ANNALS OF LAW" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_LAW_g.gif" alt="ANNALS OF LAW" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a></span><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/10/04/101004fa_fact_toobin" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em>The Scholar<br /><i>Why was a brilliant student in a safe house?</i><br />by Jeffrey Toobin</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/index/webonly.gif&quot;); background-position: 0px 4px;"></em><a href="http://documents.newyorker.com/2010/09/rachel-hall-yould-presentencing-memo/" style="color: rgb(0, 0, 0); text-decoration: none;">Documents: Rachel Yould’s plea for leniency.</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/index/webonly.gif&quot;); background-position: 0px 4px;"></em><a href="http://documents.newyorker.com/2010/09/us-attorney-rachel-yould-sentencing-memorandum/" style="color: rgb(0, 0, 0); text-decoration: none;">Document: The U.S. Attorney’s sentencing memorandum.</a></dt></dl></div></div><span class="Apple-style-span" style="line-height: 16px;font-family:Times;font-size:14px;" ><span style="color: rgb(0, 0, 0);"><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"><span style="font-size:100%;"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/10/04/101004crat_atlarge_denby" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a></span><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><span style="font-size:100%;"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/10/04/101004crat_atlarge_denby" style="color: rgb(0, 0, 0); text-decoration: none;"><i>David Fincher and “The Social Network.”</i><br />by David Denby</a></span><br /></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/04/101004crci_cinema_lane" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/arts/critics/cinema/2010/10/04/101004crci_cinema_lane" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em><span style="font-size:100%;"><i>“Let Me In,” “Wall Street: Money Never Sleeps.”</i><br />by Anthony Lane</span></a></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-7708697845244560841?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-49349922590853062992010-09-27T00:00:00.004-04:002010-10-02T19:18:51.994-04:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_09_27_g.gif" alt="September 27, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/09/27/p154/100927_2010_p154.jpg" alt="September 27, 2010" /></div><div><br /></div><div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/talk/financial/2010/09/27/100927ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none;">In Praise of Inflation<br /><i>Why a little of what we fear might do us good.</i><br />by James Surowiecki</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_LAW_g.gif" alt="ANNALS OF LAW" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/09/27/100927fa_fact_toobin" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em>Without a Paddle<br /><i>Stephen Breyer and the liberal agenda.</i><br />by Jeffrey Toobin</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><img src="http://www.newyorker.com/images/rubrics/ru_ONWARD_AND_UPWARD_WITH_T_g.gif" alt="ONWARD AND UPWARD WITH THE ARTS" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/09/27/100927fa_fact_mead" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em>Adaptation<br /><i>Elevator Repair Service’s novel approach.</i><br />by Rebecca Mead</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/index/webonly.gif&quot;); background-position: 0px 4px;"></em><a href="http://www.newyorker.com/online/2010/09/27/100927on_audio_mead" style="color: rgb(0, 0, 0); text-decoration: none;">Audio: Reading and staging F. Scott Fitzgerald’s “The Great Gatsby.”</a></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/09/27/100927crat_atlarge_lepore" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/09/27/100927crat_atlarge_lepore" style="color: rgb(0, 0, 0); text-decoration: none;"><i>What to make of George Washington?</i><br />by Jill Lepore</a><br /></dt></dl></div></div><span class="Apple-style-span" style="line-height: 16px;font-family:Times;font-size:14px;" ><span style="color:#000000;"><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-4934992259085306299?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-1776056482143975202010-09-23T00:00:00.003-04:002010-10-02T19:30:20.488-04:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_09_20_g.gif" alt="September 20, 2010" /></div><div><br /></div><div><img src="http://www.newyorker.com/images/covers/2010/2010_09_20_p154.jpg" alt="SEPTEMBER 20, 2010" /></div><div><br /></div><div><div class="feature imageBottom first" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><div class="featurePhoto" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><div class="w" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><img src="http://www.newyorker.com/images/headers/hese_THE_STYLE_ISSUE_r.gif" alt="" class="featureimg" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; display: block;" /></div></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/talk/financial/2010/09/20/100920ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/talk/financial/2010/09/20/100920ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none;">Second Helpings<br /><i>How did “stimulus” become a dirty word?</i><br />by James Surowiecki</a></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/reporting/2010/09/20/100920fa_fact_vargas" title="LETTER FROM PALO ALTO" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_LETTER_FROM_PALO_ALTO_g.gif" alt="LETTER FROM PALO ALTO" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/09/20/100920fa_fact_vargas" style="color: rgb(0, 0, 0); text-decoration: none;">The Face of Facebook<br /><i>Mark Zuckerberg, friends, and foes.</i><br />by Jose Antonio Vargas</a><br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/index/webonly.gif&quot;); background-position: 0px 4px;"></em><a href="http://www.newyorker.com/online/blogs/ask/2010/09/jose-antonio-vargas-facebook.html" style="color: rgb(0, 0, 0); text-decoration: none;">Join a live chat with Jose Antonio Vargas about Facebook on Wednesday, September 15, at 3 <small>P.M.</small> E.T.</a></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/reporting/2010/09/20/100920fa_fact_seabrook" title="ANNALS OF INVENTION" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_INVENTION_g.gif" alt="ANNALS OF INVENTION" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/09/20/100920fa_fact_seabrook" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em>How to Make It<br /><i>Lessons of a sexy vacuum cleaner.</i><br />by John Seabrook</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/reporting/2010/09/20/100920fa_fact_paumgarten" title="PROFILES" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_PROFILES_g.gif" alt="PROFILES" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/09/20/100920fa_fact_paumgarten" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em>The Merchant<br /><i>A man who listens to clothes.</i><br />by Nick Paumgarten<br /></a></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/09/20/100920crat_atlarge_menand" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/09/20/100920crat_atlarge_menand" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em><i>“The Oxford Book of Parodies.”</i><br />by Louis Menand<br /></a><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/index/webonly.gif&quot;); background-position: 0px 4px;"></em><a href="http://www.newyorker.com/online/2010/09/20/100920on_audio_menand" style="color: rgb(0, 0, 0); text-decoration: none;">Audio: The pleasure of parody.</a></dt></dl></div></div><span class="Apple-style-span" style="line-height: 16px;font-family:Times;font-size:14px;" ><span style="color:#000000;"><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"><span style="font-size:100%;"><a href="http://www.newyorker.com/arts/critics/cinema/2010/09/20/100920crci_cinema_lane" title="THE CURRENT CINEMA" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a></span><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><span style="font-size:100%;"><a href="http://www.newyorker.com/arts/critics/cinema/2010/09/20/100920crci_cinema_lane" style="color: rgb(0, 0, 0); text-decoration: none;"><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(&quot;http://www.newyorker.com/css/i/icons/de_square.gif&quot;); background-position: 0px 3px;"></em><span style="font-size:100%;"><i>“The Town,” “Jack Goes Boating.”</i></span></a></span></dt><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><span style="font-size:100%;"><a href="http://www.newyorker.com/arts/critics/cinema/2010/09/20/100920crci_cinema_lane" style="color: rgb(0, 0, 0); text-decoration: none;"><span style="font-style: italic;"></span>by Anthony Lane</a></span></dt><div><br /></div></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-177605648214397520?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-45300875549726175662010-09-13T00:00:00.002-04:002010-10-02T18:57:55.413-04:00<div><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_09_13_g.gif" alt="September 13, 2010" /> </div><div><br /></div><div><img src="http://www.newyorker.com/images/2010/09/13/p154/100913_2010_p154.jpg" alt="September 13, 2010" /></div><div><br /></div><div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><br /><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/talk/2010/09/13/100913ta_talk_friend" style="color: rgb(0, 0, 0); text-decoration: none;">Trekking Midtown<br /><i>The Empire State Building to Rockefeller Center, no avenues.</i><br />by Tad Friend</a></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px; font-family: Times; font-size: 14px; line-height: 16px;"><a href="http://www.newyorker.com/reporting/2010/09/13/100913fa_fact_boyer" title="THE POLITICAL SCENE" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_THE_POLITICAL_SCENE_g.gif" alt="THE POLITICAL SCENE" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><a href="http://www.newyorker.com/reporting/2010/09/13/100913fa_fact_boyer" style="color: rgb(0, 0, 0); text-decoration: none;">Frat House for Jesus<br /><i>The Fellowship and C Street.</i><br />by Peter J. Boyer</a><br /></dt></dl></div></div><span class="Apple-style-span" style="line-height: 16px;font-family:Times;font-size:14px;" ><span style="color:#000000;"><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/09/13/100913crat_atlarge_sanneh" title="A CRITIC AT LARGE" style="color: rgb(0, 0, 0); text-decoration: none;"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" style="border-width: 0px; text-decoration: none; margin: 0px 0px 5px; padding: 0px; display: block;" /></a><div class="featureBlurbText" style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dl style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px;"><dt style="border-width: 0px; text-decoration: none; margin: 0px; padding: 0px; color: rgb(136, 136, 136);"><span style="font-size:100%;"><a href="http://www.newyorker.com/arts/critics/atlarge/2010/09/13/100913crat_atlarge_sanneh" style="color: rgb(0, 0, 0); text-decoration: none;"><i>The real power of positive thinking.</i><br />by Kelefa Sanneh</a></span><br /></dt></dl></div></div><div class="feature imageTop" style="border-width: 0px; text-decoration: none; margin: 0px 0px 26px; padding: 0px;"></div></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-4530087554972617566?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-49063896163795684422010-09-06T00:00:00.000-04:002010-09-06T09:25:51.399-04:00<h3 class="subhed_right"><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_09_06_g.gif" alt="September 6, 2010" /><!-- start photo --> </h3> <!-- End Headers --> <div id="inthisissue"><div class="captionedphoto"> <div class="img-shadow"> <img src="http://www.newyorker.com/images/2010/09/06/p154/100906_2010_p154.jpg" alt="September 6, 2010" id="inThisIssuePhoto" /> </div> </div></div><br /><div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN"><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/talk/2010/09/06/100906ta_talk_schulman">Cracked<br /><i>Which eggs are safe to eat?</i><br />by Michael Schulman</a><br /><br /><a onclick="'s_objectID=" href="http://www.newyorker.com/talk/2010/09/06/100906ta_talk_owen"><em class="de"></em>Partners<br /><i>Playing bridge through marriage and divorce.</i><br />by David Owen</a><br /><br /><a onclick="'s_objectID=" href="http://www.newyorker.com/talk/2010/09/06/100906ta_talk_wilkinson">Woman with a Van<br /><i>The singer Rebecca Pidgeon hits the road.</i><br />by Alec Wilkinson</a><br /></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/talk/financial/2010/09/06/100906ta_talk_surowiecki" title="THE FINANCIAL PAGE"><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/talk/financial/2010/09/06/100906ta_talk_surowiecki">Are You Being Served?<br /><i>The crisis in customer care.</i><br />by James Surowiecki</a></dt><dd><br /></dd></dl></div></div><div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/humor/2010/09/06/100906sh_shouts_rudnick" title="SHOUTS &amp; MURMURS"><img src="http://www.newyorker.com/images/rubrics/ru_SHOUTS_MURMURS_g.gif" alt="SHOUTS &amp; MURMURS" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/humor/2010/09/06/100906sh_shouts_rudnick">It’s Time<br />by Paul Rudnick</a></dt><dt><br /></dt></dl></div></div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/09/06/100906fa_fact_mcphee" title="THE SPORTING SCENE"><img src="http://www.newyorker.com/images/rubrics/ru_THE_SPORTING_SCENE_g.gif" alt="THE SPORTING SCENE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/09/06/100906fa_fact_mcphee"><em class="de"></em>Linksland and Bottle<br /><i>A walk around St. Andrews.</i><br />by John McPhee</a><br /></dt><dt><br /></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/09/06/100906fa_fact_boyer" title="ANNALS OF SCIENCE"><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_SCIENCE_g.gif" alt="ANNALS OF SCIENCE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/09/06/100906fa_fact_boyer">The Covenant<br /><i>Francis Collins and the stem-cell wars.</i><br />by Peter J. Boyer</a><br /><br /><em class="wo"></em><a onclick="'s_objectID=" href="http://www.newyorker.com/online/blogs/ask/2010/08/peter-j-boyer-francis-collins.html">Join a live chat with Peter J. Boyer about Francis Collins on Wednesday, September 1, at 3 <small>P.M.</small> E.T.</a></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"> <span style="color:#000000;"> </span></div> <span style="color:#000000;"> </span></div> <span style="color:#000000;"> <!-- end feature --> <!-- start feature --> </span><div class="feature imageTop"> <span style="color:#000000;"> <a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/musical/2010/09/06/100906crmu_music_frerejones" title="POP MUSIC"><br /></a></span><span style="color:#000000;"></span></div> <span style="color:#000000;"> <!-- end feature --> <!-- start feature --> </span><div class="feature imageTop"> <span style="color:#000000;"> <a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/cinema/2010/09/06/100906crci_cinema_lane" title="THE CURRENT CINEMA"><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" /></a> </span><div class="featureBlurbText"> <span style="color:#000000;"> </span><dl><span style="color:#000000;"> <dt><a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/cinema/2010/09/06/100906crci_cinema_lane">“<i>Soul Kitchen;</i>” “<i>Centurion</i>”<br />by Anthony Lane</a></dt> </span></dl></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-4906389616379568442?l=talktny.blogspot.com' alt='' /></div>TalkTNYhttp://www.blogger.com/profile/05797015784111273828noreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-72247872371535795772010-08-30T00:00:00.006-04:002010-09-03T11:16:39.343-04:00<h3 class="subhed_right"><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_08_30_g.gif" alt="August 30, 2010" /><!-- start photo --> </h3> <!-- End Headers --> <div id="inthisissue"><div class="captionedphoto"> <div class="img-shadow"> <img src="http://www.newyorker.com/images/2010/08/30/p154/100830_2010_p154.jpg" alt="August 30, 2010" id="inThisIssuePhoto" /> </div> </div></div><br /> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN"><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/talk/2010/08/30/100830ta_talk_owen">Exit Strategy<br /><i>A new device for escaping from tall buildings.</i><br />by David Owen</a><br /><br /></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"><div class="featureBlurbText"><dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/30/100830fa_fact_sacks" title="A NEUROLOGIST’S NOTEBOOK"><img src="http://www.newyorker.com/images/rubrics/ru_A_NEUROLOGISTS_NOTEBOOK.gif" alt="A NEUROLOGIST’S NOTEBOOK" class="featurehed" /></a></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/30/100830fa_fact_sacks"><em class="de"></em>Face-Blind<br /><i>The perils of prosopagnosia.</i><br />by Oliver Sacks</a><br /><br /><em class="wo"></em><a onclick="'s_objectID=" href="http://www.newyorker.com/online/2010/08/30/100830on_audio_sacks">Audio: Living with face blindness.</a></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/30/100830fa_fact_mayer" title="A REPORTER AT LARGE"><img src="http://www.newyorker.com/images/rubrics/ru_A_REPORTER_AT_LARGE_g.gif" alt="A REPORTER AT LARGE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/30/100830fa_fact_mayer">Covert Operations<br /><i>The brothers trying to bring down Obama.</i><br />by Jane Mayer</a><br /></dt><dt><br /></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/30/100830fa_fact_khatchadourian" title="LETTER FROM INDIA"><img src="http://www.newyorker.com/images/rubrics/ru_LETTER_FROM_INDIA_g.gif" alt="LETTER FROM INDIA" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/30/100830fa_fact_khatchadourian"><em class="de"></em>The Laughing Guru<br /><i>Peddling an unlikely panacea.</i><br />by Raffi Khatchadourian</a><br /><br /><em class="wo"></em><a onclick="'s_objectID=" href="http://www.newyorker.com/online/blogs/newsdesk/2010/08/video-laughter-yoga.html">Video: Raffi Khatchadourian visits a seminar led by Dr. Madan Kataria, the founder and relentless promoter of Laughter Yoga.</a></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <span style="text-decoration: underline;"><br /></span> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/atlarge/2010/08/30/100830crat_atlarge_gopnik" title="A CRITIC AT LARGE"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/atlarge/2010/08/30/100830crat_atlarge_gopnik"><i>Winston Churchill’s finest hour.</i><br />by Adam Gopnik</a></dt><dt><br /></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --><span style="color:#000000;"><!-- end feature --> <!-- start feature --> </span><div class="feature imageTop"> <span style="color:#000000;"> <a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/cinema/2010/08/30/100830crci_cinema_denby" title="THE CURRENT CINEMA"><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" /></a> </span><div class="featureBlurbText"> <span style="color:#000000;"> </span><dl><span style="color:#000000;"> <dt><a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/cinema/2010/08/30/100830crci_cinema_denby"><i>“Eat Pray Love.”</i><br />by David Denby</a></dt> </span></dl></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-7224787237153579577?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-14779389946571541342010-08-16T00:00:00.003-04:002010-08-22T12:18:09.269-04:00<h3 class="subhed_right"><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_08_16_g.gif" alt="August 16 &amp; 23, 2010" /><!-- start photo --> </h3> <!-- End Headers --> <div id="inthisissue"><div class="captionedphoto"> <div class="img-shadow"> <img src="http://www.newyorker.com/images/2010/08/16/p154/100816_2010_p154.jpg" alt="August 16, 2010" id="inThisIssuePhoto" /> </div> </div></div><br /><!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/talk/financial/2010/08/16/100816ta_talk_surowiecki" title="THE FINANCIAL PAGE"><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/talk/financial/2010/08/16/100816ta_talk_surowiecki">Soak the Very, Very Rich<br /><i>Building a smarter tax code.</i><br />by James Surowiecki</a></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/16/100816fa_fact_marx" title="ON AND OFF THE AVENUE"><img src="http://www.newyorker.com/images/rubrics/ru_ON_AND_OFF_THE_AVE_g.gif" alt="ON AND OFF THE AVENUE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/16/100816fa_fact_marx"><em class="de"></em>The Driver’s Seat<br /><i>Would you rather go home in a Smart car or a Rolls?</i><br />by Patricia Marx</a><br /></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/16/100816fa_fact_goodyear" title="ANNALS OF GASTRONOMY"><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_GASTRONOMY_g.gif" alt="ANNALS OF GASTRONOMY" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/16/100816fa_fact_goodyear"><em class="de"></em>The Truffle Kid<br /><i>Feeding Vegas the finest of foods.</i><br />by Dana Goodyear</a><!-- end feature --> <!-- start feature --> </dt></dl></div></div><div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/16/100816fa_fact_friend" title="DOWNTOWN CHRONICLES"><img src="http://www.newyorker.com/images/rubrics/ru_DOWNTOWN_CHRONICLES_g.gif" alt="DOWNTOWN CHRONICLES" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/reporting/2010/08/16/100816fa_fact_friend"><em class="de"></em>Sleeping with Weapons<br /><i>A Lounge Lizard vanishes.</i><br />by Tad Friend</a><br /><br /><em class="wo"></em><a onclick="'s_objectID=" href="http://www.newyorker.com/online/blogs/newsdesk/2010/08/video-john-lurie-the-drawing-show.html">Video: Tad Friend on the disappearance of John Lurie.</a><!-- end feature --> <!-- start feature --> </dt></dl></div></div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/atlarge/2010/08/16/100816crat_atlarge_acocella" title="A CRITIC AT LARGE"><img src="http://www.newyorker.com/images/rubrics/ru_A_CRITIC_AT_LARGE_g.gif" alt="A CRITIC AT LARGE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/atlarge/2010/08/16/100816crat_atlarge_acocella"><em class="de"></em><i>Agatha Christie’s secrets.</i><br />by Joan Acocella</a></dt></dl></div></div><span style="color:#000000;"><!-- end feature --> <!-- start feature --></span><span style="color:#000000;"><!-- end feature --> <!-- start feature --> </span> <div class="feature imageTop"> <span style="color:#000000;"> <a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/cinema/2010/08/16/100816crci_cinema_lane" title="THE CURRENT CINEMA"><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" /></a> </span><div class="featureBlurbText"> <span style="color:#000000;"> </span><dl><span style="color:#000000;"> <dt><a onclick="'s_objectID=" href="http://www.newyorker.com/arts/critics/cinema/2010/08/16/100816crci_cinema_lane"><i>“Mesrine,” “Scott Pilgrim vs. the World,” “The Expendables.”</i><br />by Anthony Lane</a></dt> </span></dl></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-1477938994657154134?l=talktny.blogspot.com' alt='' /></div>anonnoreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-80648170830463261942010-08-09T00:00:00.003-04:002010-08-09T00:00:03.495-04:00<img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_08_09_g.gif" alt="August 9, 2010" /><!-- start photo --> <br /><br /> <!-- End Headers --> <div id="inthisissue"><div class="captionedphoto"> <div class="img-shadow"> <img src="http://www.newyorker.com/images/2010/08/09/p154/100809_2010_p154.jpg" alt="August 9, 2010" id="inThisIssuePhoto" /></div></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="s_objectID=&quot;http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_sedaris_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_sedaris" title="PERSONAL HISTORY"><img src="http://www.newyorker.com/images/rubrics/ru_PERSONAL_HISTORY_g.gif" alt="PERSONAL HISTORY" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="s_objectID=&quot;http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_sedaris_2&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_sedaris"><em class="de"></em>Standing By<br /><i>Fear, loathing, flying.</i><br />by David Sedaris</a></dt></dl></div></div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="s_objectID=&quot;http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_packer_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_packer" title="THE POLITICAL SCENE"><img src="http://www.newyorker.com/images/rubrics/ru_THE_POLITICAL_SCENE_g.gif" alt="THE POLITICAL SCENE" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="s_objectID=&quot;http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_packer_2&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_packer">The Empty Chamber<br /><i>Is the Senate beyond hope?</i><br />by George Packer</a><br /><br /><em class="wo"></em><a onclick="s_objectID=&quot;http://www.newyorker.com/online/blogs/ask/2010/08/george-packer-senate.html_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/online/blogs/ask/2010/08/george-packer-senate.html">Join a live chat with George Packer about the Senate on Wednesday, August 4, at 3 <small>P.M.</small> E.T.</a></dt></dl> </div> </div> <!-- end feature --> <!-- start feature --> <div class="feature imageTop"> <a onclick="s_objectID=&quot;http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_baker_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_baker" title="ANNALS OF TECHNOLOGY"><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_TECHNOLOGY_g.gif" alt="ANNALS OF TECHNOLOGY" class="featurehed" /></a> <div class="featureBlurbText"> <dl><dt><a onclick="s_objectID=&quot;http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_baker_2&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/reporting/2010/08/09/100809fa_fact_baker"><em class="de"></em>Painkiller Deathstreak<br /><i>Adventures in video games.</i><br />by Nicholson Baker</a><br /><br /><em class="wo"></em><a onclick="s_objectID=&quot;http://www.newyorker.com/online/2010/08/09/100809on_audio_baker_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/online/2010/08/09/100809on_audio_baker">Audio: Investigating violent video games.</a></dt></dl></div></div><div class="feature imageTop"><div class="featureBlurbText"><dl><span style="color:#000000;"> </span></dl> <span style="color:#000000;"> </span></div> <span style="color:#000000;"> </span></div> <span style="color:#000000;"> <!-- end feature --> <!-- start feature --> </span><div class="feature imageTop"> <span style="color:#000000;"> <a onclick="s_objectID=&quot;http://www.newyorker.com/arts/critics/skyline/2010/08/09/100809crsk_skyline_goldberger_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/arts/critics/skyline/2010/08/09/100809crsk_skyline_goldberger" title="THE SKY LINE"><img src="http://www.newyorker.com/images/rubrics/ru_THE_SKY_LINE_g.gif" alt="THE SKY LINE" class="featurehed" /></a> </span><div class="featureBlurbText"> <span style="color:#000000;"> </span><dl><span style="color:#000000;"> <dt><a onclick="s_objectID=&quot;http://www.newyorker.com/arts/critics/skyline/2010/08/09/100809crsk_skyline_goldberger_2&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/arts/critics/skyline/2010/08/09/100809crsk_skyline_goldberger"><em class="de"></em><i>Reinventing the parking garage.</i><br />by Paul Goldberger</a><br /><br /><em class="wo"></em><a onclick="s_objectID=&quot;http://www.newyorker.com/online/blogs/newsdesk/2010/08/video-herzog-de-meuron-parking-garage.html_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/online/blogs/newsdesk/2010/08/video-herzog-de-meuron-parking-garage.html">Video: Paul Goldberger discusses an elegant new parking structure in Miami.</a></dt> </span></dl> <span style="color:#000000;"> </span></div> <span style="color:#000000;"> </span></div> <span style="color:#000000;"> <!-- end feature --> <!-- start feature --> </span><div class="feature imageTop"> <span style="color:#000000;"> <a onclick="s_objectID=&quot;http://www.newyorker.com/arts/critics/cinema/2010/08/09/100809crci_cinema_lane_1&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/arts/critics/cinema/2010/08/09/100809crci_cinema_lane" title="THE CURRENT CINEMA"><img src="http://www.newyorker.com/images/rubrics/ru_THE_CURRENT_CINEMA_g.gif" alt="THE CURRENT CINEMA" class="featurehed" /></a> </span><div class="featureBlurbText"> <span style="color:#000000;"> </span><dl><span style="color:#000000;"> <dt><a onclick="s_objectID=&quot;http://www.newyorker.com/arts/critics/cinema/2010/08/09/100809crci_cinema_lane_2&quot;;return this.s_oc?this.s_oc(e):true" href="http://www.newyorker.com/arts/critics/cinema/2010/08/09/100809crci_cinema_lane"><i>“Get Low,” “Life During Wartime.”</i><br />by Anthony Lane</a></dt> </span></dl></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8210317155477833155-8064817083046326194?l=talktny.blogspot.com' alt='' /></div>TalkTNYhttp://www.blogger.com/profile/05797015784111273828noreply@blogger.comtag:blogger.com,1999:blog-8210317155477833155.post-18293328794962750572010-08-02T00:00:00.002-04:002010-08-09T15:28:02.342-04:00<p><img src="http://www.newyorker.com/images/rubrics/tocissuedates/2010/ru_2010_08_02_g.gif" alt="August 2, 2010" /></p><p><img src="http://www.newyorker.com/images/2010/08/02/p154/100802_2010_p154.jpg" alt="August 2, 2010" /></p><p></p><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/talk/comment/2010/08/02/100802taco_talk_hertzberg" title="COMMENT" style="color: rgb(0, 0, 0); text-decoration: underline; "><img src="http://www.newyorker.com/images/rubrics/ru_COMMENT_g.gif" alt="COMMENT" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/comment/2010/08/02/100802taco_talk_hertzberg" style="color: rgb(0, 0, 0); text-decoration: none; ">Open Secrets<br /><i>National security vs. too much information.</i><br />by Hendrik Hertzberg<br /><br /><em class="wo" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 55px; height: 8px; background-image: url(http://www.newyorker.com/css/i/index/webonly.gif); background-position: 0px 4px; "></em></a><a href="http://www.newyorker.com/online/blogs/ask/2010/07/questions-for-hertzberg2.html" style="color: rgb(0, 0, 0); text-decoration: none; ">Join a live chat with Hendrik Hertzberg about Comment on Monday, July 26, at 3 <small>P.M.</small>E.T.</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/talk" title="THE TALK OF THE TOWN" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_TALK_OF_THE_TOWN_g.gif" alt="THE TALK OF THE TOWN" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><br /><a href="http://www.newyorker.com/talk/2010/08/02/100802ta_talk_mcgrath" style="color: rgb(0, 0, 0); text-decoration: none; "><em class="de" style="display: block; float: left; text-indent: -9999px; margin-right: 3px; padding-top: 5px; width: 10px; height: 8px; background-image: url(http://www.newyorker.com/css/i/icons/de_square.gif); background-position: 0px 3px; "></em>Theatre Leaders<br /><i>Future power brokers learn stage presence.</i><br />by Ben McGrath</a><br /></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/talk/financial/2010/08/02/100802ta_talk_surowiecki" title="THE FINANCIAL PAGE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_THE_FINANCIAL_PAGE_g.gif" alt="THE FINANCIAL PAGE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/talk/financial/2010/08/02/100802ta_talk_surowiecki" style="color: rgb(0, 0, 0); text-decoration: none; ">Blame Games<br /><i>Could bad feeling between Wall Street and the White House be harming the recovery?</i><br />by James Surowiecki</a></dt></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></dl></div></div><div class="feature imageTop" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 26px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-family: Times; font-size: 14px; line-height: 16px; "><a href="http://www.newyorker.com/reporting/2010/08/02/100802fa_fact_gawande" title="ANNALS OF MEDICINE" style="color: rgb(0, 0, 0); text-decoration: none; "><img src="http://www.newyorker.com/images/rubrics/ru_ANNALS_OF_MEDICINE_g.gif" alt="ANNALS OF MEDICINE" class="featurehed" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; display: block; " /></a><div class="featureBlurbText" style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dl style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><dt style="border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; text-decoration: none; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; color: rgb(136, 136, 136); "><a href="http://www.newyorker.com/reporting/2010/08/02/100802fa_fact_gawande" st