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The Shiba Inu Who Became the Face of Dogecoin Cryptocurrency Preferred Napping

Kabosu, a rescue dog and unlikely internet sensation, died at 18 in Japan.

Photographer: Michiyo Yanagihara
Publisher: The Wall Street Journal
Format: Digital
Date: 2024/05/25

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Shiba Inu Kabosu, the face of cryptocurrency dogecoin, resting at home near Tokyo. Photograph by Michiyo Yanagihara for The Wall Street Journal

Shiba Inu Kabosu, the face of cryptocurrency Dogecoin, and her human Atsuko Sato at their home outside Tokyo. Photograph by Michiyo Yanagihara for The Wall Street Journal

The NYC Building Makeover Being Watched Around the Country

Building owners around the U.S. face new regulations on emissions.

Photographer: Jason Fulford
Publisher: The Wall Street Journal
Format: Digital
Date: 2024/03/14

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A 17-story office building in New York City is getting a new heating and cooling system that will produce reduced emissions. Photograph by Jason Fulford for The Wall Street Journal

The project to retrofit the property, built in 1931, is expected to cost $35 million. Photograph by Jason Fulford for The Wall Street Journal

Photograph by Jason Fulford for The Wall Street Journal

Mike Izzo, an executive at Hines, one of the building’s owners, says he thinks the investment will be worth it. Photograph by Jason Fulford for The Wall Street Journal

A heat pump at 345 Hudson St. connects to radiators along the perimeter of the 16th floor. Photograph by Jason Fulford for The Wall Street Journal

Piping at a property next door circulates water that is heated or cooled to control the building's temperature. Photograph by Jason Fulford for The Wall Street Journal

The real-estate investment manager Hines doesn't have an estimate for when its retrofit will pay off. Photograph by Jason Fulford for The Wall Street Journal

Photograph by Jason Fulford for The Wall Street Journal

How Selling Insurance Became One of the Worst Jobs in California

Agents used to find good policies for clients easily—now they struggle to get them any coverage at all.

Photographer: Jennifer Emerling
Publisher: The Wall Street Journal
Format: Digital
Date: 2024/02/17

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Brian Harper owns an insurance agency in the mountain town of Coarsegold, Calif.: ‘It’s soul-crushingly tough.’ Photograph by Jennifer Emerling for The Wall Street Journal

The Energy Transition Will Require Cobalt. America’s Only Mine Can’t Get Off the Ground.

The U.S. is playing catch-up in battery supply chains dominated by China.

Photographer: Natalie Behring
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2023/07/20

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A skeleton crew maintains the Idaho cobalt mine. Upkeep costs: about $1 million a month. Photograph by Natalie Behring for The Wall Street Journal

The mine has been decades in the making, surviving market swings, a corporate takeover and a 2000 wildfire that scorched parts of the nearby Salmon-Challis National Forest. Photograph by Natalie Behring for The Wall Street Journal

Photograph by Natalie Behring for The Wall Street Journal

Before suspending operations, Jervois planned to load cobalt from the mine into containers, truck them to a rail station, then send the supplies to a port for shipment to a processing plant abroad. Photograph by Natalie Behring for The Wall Street Journal

The mine sits in the so-called Idaho Cobalt Belt, one of the few areas of the country endowed with the silvery metal. Photograph by Natalie Behring for The Wall Street Journal

Jervois spent about $155 million to finish constructing its Idaho facility—almost double what it anticipated. Photograph by Natalie Behring for The Wall Street Journal

Executive General Manager Matthew Lengerich said he joined Jervois in part because he believes the U.S. needs more domestic mining for the energy transition. Photograph by Natalie Behring for The Wall Street Journal

The mine will be mostly quiet till the start of a Pentagon-funded drilling project. Jervois expects regulatory approval for that project in August. Photograph by Natalie Behring for The Wall Street Journal

Jervois constructed a 102-bed camp where workers could live at the remote locale. Photograph by Natalie Behring for The Wall Street Journal

Inside the ‘Great Race’ at BlackRock: Who Will Replace Larry Fink?

Fink states he has no imminent plans to retire—but he is grooming several executives who could take the reins.

Photographer: Natalie Keyssar
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2023/05/14

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At 70 years old, Larry Fink is the only person to ever hold the title of CEO at BlackRock. Photograph by Natalie Keyssar for The Wall Street Journal

Could $3,200 ‘Baby Bonds’ Help End Poverty in America?

Connecticut, California and others are considering trust accounts some call ‘baby bonds.’

Photographer: M. Levy
Publisher: The Wall Street Journal
Format: Digital
Date: 2023/05/12

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Shondell Vann and her daughter Maria playing in the backyard at Ms. Vann’s mother’s home, in Stratford, Conn. Ms. Vann says her daughter is one of the children that missed out on the state’s baby bonds program due to a funding delay. M. Levy for The Wall Street Journal

Shondell Vann's daughter Maria playing in Stratford, Conn. Ms. Vann said she was hoping the baby bonds program in her state would help her daughter when she grows up. 'An opportunity like this was just a little bit more of a leg up.' M. Levy for The Wall Street Journal

Ms. Vann in her home office fulfilling orders of customized tumblers for the small business she runs and streaming it on TikTok, in Stratford, Conn. M. Levy for The Wall Street Journal

Ancient Farming Practice Draws Cash From Carbon Credits

Biochar, which pulls carbon from the atmosphere, is embraced by companies to offset emissions.

Photographer: Alexandra Hootnick
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2023/02/25

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Companies pay handsomely for carbon-removal credits tied to biochar because of the certainty that it is sequestering the carbon and helping neutralize their emissions. Alexandra Hootnick for The Wall Street Journal

Biochar was used by farmers in South America thousands of years ago because they found that it helped soil retain water and nutrients. Alexandra Hootnick for The Wall Street Journal

Josiah Hunt, CEO of Pacific Biochar Benefit Corp., struggled to grow sales before carbon credits let him bring in extra revenue and cut prices. Alexandra Hootnick for The Wall Street Journal

Pyrolysis, the process used to make biochar, keeps most of the carbon trapped by restricting oxygen levels so the material smolders rather than burns. Alexandra Hootnick for The Wall Street Journal

Because biochar is essentially sequestering the carbon that plants absorb when they grow, it is considered an effective form of carbon removal. Alexandra Hootnick for The Wall Street Journal

Homeowners Struggle to Get Pandemic Aid Meant to Stop Foreclosures

The $10 billion Homeowner Assistance Fund has been slow to distribute funds.

Photographer: Julie Renée Jones
Publisher: The Wall Street Journal
Format: Digital
Date: 2023/01/22

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Mr. and Mrs. Rosalez learned they were eligible for federal aid in November, just before the scheduled sheriff’s sale of the house. Photograph by Julie Renée Jones for The Wall Street Journal

Family photographs, artwork and other belongings sit in piles of boxes, which have overflowed into the family garage. Photograph by Julie Renée Jones for The Wall Street Journal

The foreclosure on Mr. and Mrs. Rosalez’s home was later rescinded and they were told the aid money would be applied to reinstate their mortgage. Photograph by Julie Renée Jones for The Wall Street Journal

The $42 Billion Question: Why Aren’t Americans Ditching Big Banks?

Big banks still pay next to nothing on savings, but their customers aren’t yet moving much money to higher-yielding alternatives.

Photographer: Devin Blaskovich
Publisher: The Wall Street Journal
Format: Digital
Date: 2022/12/08

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Americans have lost out on at least $291 billion in interest since the start of 2019 by keeping their savings in the five biggest U.S. banks. Photo illustration by Devin Blaskovich for The Wall Street Journal

Audit Regulator Steps Up Enforcement Under New Leader

PCAOB is significantly increasing penalties but faces constraints.

Photographer: Alyssa Schukar
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2022/10/29

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PCAOB Chair Erica Williams took over the regulator in January. Photograph by Alyssa Schukar for The Wall Street Journal

Diamond Trading Firm Crafts Gemstones Into a Commodity

Diamond Standard envisions scenario akin to what happened once investors could buy and sell gold without hauling around bars of it.

Photographer: Amy Lombard
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2022/10/25

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Diamond Standard creates coins of equally valued clusters of the precious stones. Photograph by Amy Lombard for The Wall Street Journal

Diamond Standard’s coins each contain between about 3.125 carats and 3.4 carats. Photograph by Amy Lombard for The Wall Street Journal

Many buyers pay retail for diamonds but sell to dealers at wholesale prices, complicating the investment value. Photograph by Amy Lombard for The Wall Street Journal

Buying a Home Gets Easier in a Cooler Market—for Those Who Can Afford It

Higher mortgage rates mean fewer bidding wars. They are also pricing out many would-be purchasers.

Photographer: M. Scott Brauer
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2022/10/22

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Eric Lanser and Allison Manfreda purchased a home in Waltham, Mass., after looking around for several weeks. Photograph by M. Scott Brauer for The Wall Street Journal

The newly built property Eric Lanser and Allison Manfreda now own had been on the market for months. Photograph by M. Scott Brauer for The Wall Street Journal

The seller of the house Eric Lanser and Allison Manfreda bought had cut the price a number of times. Photograph by M. Scott Brauer for The Wall Street Journal

Ukraine Takes Unorthodox Pitch to Wall Street to Raise Billions in Debt

Officials who have negotiated international loans and a debt-payment holiday now hope to leverage foreign backing to help fund the war effort and reconstruction.

Photographer: Amir Hamja
Publisher: The Wall Street Journal
Format: Digital
Date: 2022/10/06

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Ukraine’s head of public debt management, Yuriy Butsa, visited investors in New York recently after a journey involving a roughly 500-mile car drive from Kyiv and several flights. Photograph by Amir Hamja for The Wall Street Journal

Lumber Prices Fall Back to Around Their Pre-Covid Levels

The drop has brought two-by-fours back to what they cost before the pandemic building boom and point to a sharp slowdown in construction.

Photographer: Landon Speers
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2022/09/27

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Futures prices for lumber are down more than 70% from a March peak. Photograph by Landon Speers for The Wall Street Journal

A Massachusetts facility of Sherwood Lumber, which says the urgent demand for lumber over the past two years is over. Photograph by Landon Speers for The Wall Street Journal

Lumber has led the way down for commodities since the Federal Reserve began raising interest rates to fight inflation. Photograph by Landon Speers for The Wall Street Journal

Pressure on lumber prices is down as supply issues have eased and surging mortgage rates have slowed home sales. Photograph by Landon Speers for The Wall Street Journal

The Reign of Queen Elizabeth II Has Ended

Elizabeth, who died on September 8th at ninety-six, led a life made up of privilege and sacrifice, and even those who resented the former acknowledged the latter.

Photographer: Tim Graham
Publisher: The New Yorker
Format: Digital
Date: 2022/09/08

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Photograph by Tim Graham / Getty

Harvesting Wheat in Drought-Parched Kansas

A global grain shortage has put extra pressure on American farmers. Can they navigate extreme weather and skyrocketing inflation when the world needs them most?

Photographer: Stephen Ross Goldstein
Publisher: The New Yorker
Format: Digital
Date: 2022/07/22

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David and Lisa Schemm repair a combine during the summer wheat harvest in Sharon Springs, Kansas. They’ve been contending with drought, inflation, and price shocks brought on by the Russian invasion of Ukraine. Photograph by Stephen Ross Goldstein for The New Yorker

With millions of tons of grain stuck in Ukraine, some farmers in Kansas feel a moral dimension to this year’s harvest. “That’s honestly what’s weighing on me more than anything,” David Schemm said. Photograph by Stephen Ross Goldstein for The New Yorker

Photograph by Stephen Ross Goldstein for The New Yorker

During the harvest, millions of bushels of wheat are sent to grain elevators across the state. Photograph by Stephen Ross Goldstein for The New Yorker

The Schemm family has been in Kansas since before the Dust Bowl. Photograph by Stephen Ross Goldstein for The New Yorker

Photograph by Stephen Ross Goldstein for The New Yorker

Clay, David, and Lisa Schemm farm twelve thousand acres in western Kansas. Lisa worries that drought will make fall’s crop “dismal.” Photograph by Stephen Ross Goldstein for The New Yorker

In March, the Governor of Kansas, Laura Kelly, put each of the state’s hundred and five counties under a drought watch, warning, or emergency.
Photograph by Stephen Ross Goldstein for The New Yorker

David Schemm, a fourth-generation wheat farmer. Photograph by Stephen Ross Goldstein for The New Yorker

Photograph by Stephen Ross Goldstein for The New Yorker

The draper head of a combine. Photograph by Stephen Ross Goldstein for The New Yorker

Photograph by Stephen Ross Goldstein for The New Yorker

Rose Matafeo Is Reconstructing the Rom-Com

The creator and lead of “Starstruck” has crafted a heroine who responds to outlandish tropes in recognizably human ways.

Photographer: Bridget Badore
Publisher: The New Yorker
Format: Digital
Date: 2022/03/26

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“I had an interest in writing something I could be in as who I am,” Matafeo says, of “Starstruck.” “I’m not embarrassed of emotion, and feeling things, and sharing things that don’t make me look like the most put-together person.” Photograph by Bridget Badore for The New Yorker

“I am ethnically ambiguous, and I’ve got curly hair,” Matafeo has said. “I’m the one who will say something sassy and then never be heard from again.” Photograph by Bridget Badore for The New Yorker

Russia’s Last Independent TV Channel Covers the Invasion of Ukraine

In Moscow, the small staff of TV Rain works through another endless night.

Photographer: Nanna Heitmann
Publisher: The New Yorker
Format: 2022/02/26
Date: Digital

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Denis Kataev on the news show “Here and Now” at TV Rain’s Moscow studios. Photograph by Nanna Heitmann / Magnum
for The New Yorker

Photograph by Nanna Heitmann / Magnum
for The New Yorker

Cate Le Bon’s Strange Journey Home

How a Welsh artist making sharp, mysterious songs found herself in the desert.

Photographer: Pat Martin
Publisher: The New Yorker
Format: Digital
Date: 2022/02/25

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Le Bon’s album “Pompeii” wades into bleak themes—loss, memory, legacy, the planet’s destruction—but the music often has an up-tempo eighties vibe. Photograph by Pat Martin for The New Yorker

What Min Jin Lee Wants Us to See

The author of “Pachinko” and “Free Food for Millionaires” discusses her research process, her memories of arriving in America, and why she reads the Bible before writing.

Photographer: Andrew Kung
Publisher: The New Yorker
Format: Digital
Date: 2022/02/17

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Photograph by Andrew Kung for The New Yorker

The Afterlife of a Las Vegas Spectacular

Nearly two years after “Le Rêve” went dark, cast members are still grappling with what it means to be a performer without a show.

Photographer: Mikayla Whitmore
Publisher: The New Yorker
Format: Digital
Date: 2022/02/05

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Ludivine Perrin-Stsepaniuk, a synchronized swimmer and opening cast member of “Le Rêve.” Photograph by Mikayla Whitmore for The New Yorker

The most demanding routines require not only mastery of the physics but also intangible things like trust and intuition. Photograph by Mikayla Whitmore for The New Yorker

The Outsized Entrepreneurial World of Trump Merchandise

At Trump’s first rally of the year, the former President wasn’t the only person selling a fantasy.

Photographer: Cassidy Araiza
Publisher: The New Yorker
Format: Digital
Date: 2022/01/20

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Cassidy Araiza for The New Yorker

A Married Couple’s Pictures of Longing and Repression

Ken Graves and Eva Lipman’s œuvre fixates upon the American social rites that mediate touch, particularly between men.

Photographer(s): Ken Graves and Eva Lipman
Publisher: The New Yorker
Format: Digital
Date: 2022/01/24

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Photograph by Ken Graves and Eva Lipman

The Queen of the Desert

How Susan Sorrells transformed a Death Valley mining village into a model of ecologically conscious tourism.

Photographer: Kovi Konowiecki
Publisher: The New Yorker
Format: Digital
Date: 2022/01/04

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The Shoshone Education and Research Center is led by the geologist Darrel Cowan. Photograph by Kovi Konowiecki for The New Yorker

Sorrells is the chief custodian of Shoshone; the seventy-four-year-old owns the village and a thousand acres of land around it. Photograph by Kovi Konowiecki for The New Yorker

At the Crowbar Café, you may run into biologists from U.C. Davis, race-car drivers, massage therapists, and deputies from the Inyo County Sheriff’s Office. Photograph by Kovi Konowiecki for The New Yorker

Shoshone’s market is named after Sorrells’s grandfather, Charles Brown. Photograph by Kovi Konowiecki for The New Yorker

As of the 2010 census, Shoshone’s population numbered only thirty-one. Photograph by Kovi Konowiecki for The New Yorker

The desert can be “a place not about extracting resources but about cohabiting with nature,” Sorrells said. Photograph by Kovi Konowiecki for The New Yorker

Brown kept manning the gas pumps at the market even after he became a California state senator. Photograph by Kovi Konowiecki for The New Yorker

Creatures that can survive in the desert tend to be hardy, but human destruction has pushed several species to the brink of extinction. Photograph by Kovi Konowiecki for The New Yorker

The Shoshone Museum documents the town’s scrappy past as a mining community. Photograph by Kovi Konowiecki for The New Yorker

Sorrells joined forces with state agencies and biologists to foster a habitat in Shoshone for pupfish—tiny, minnow-like fish that were once thought to be extinct there. Photograph by Kovi Konowiecki for The New Yorker

Seventy-Two Hours Under the Heat Dome

A chronicle of a slow-motion climate disaster that became one of Oregon’s deadliest calamities.

Photographer: Will Matsuda
Publisher: The New Yorker
Format: Print, Digital
Date: 2021/10/11

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Ninety-six people perished in one of Oregon’s deadliest calamities. Photograph by Will Matsuda for The New Yorker

Vivek Shandas, a professor at Portland State University, took the highest measurement he’d seen in fifteen years of recording temperatures—a hundred and eighty degrees, on a stretch of asphalt. Photograph by Will Matsuda for The New Yorker

Lents, one of Portland’s poorest communities, experienced a record high of a hundred and twenty-four degrees. Photograph by Will Matsuda for The New Yorker

Shane Brown delivered groceries to his mother and chauffeured her to medical appointments. Photograph by Will Matsuda for The New Yorker

People experiencing homelessness during the heat wave braved the elements unless they could make it to one of just three cooling shelters.
Photograph by Will Matsuda for The New Yorker

After Shane Brown’s parents separated, his mother, Jollene, had raised him alone, moving around the West as she followed work in the telecom industry. Photograph by Will Matsuda for The New Yorker

During three days in June, Portland saw the three highest temperatures in its recorded history. Photograph by Will Matsuda for The New Yorker

The Vindication of Andrew Cuomo’s Accusers

Charlotte Bennett, Lindsey Boylan, and Ron Kim discuss their roles in bringing about the New York Governor’s reckoning.

Photographer: Josefina Santos
Publisher: The New Yorker
Format: Digital
Date: 2021/10/18

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Considering what it took for Cuomo to resign, Charlotte Bennett said, she views this week’s events as more of a first step than an end point. Photograph by Josefina Santos for The New Yorker

The Author, the Work, and the No. 1 Fan

Writing didn’t serve the purpose I wanted it to, which was to fix the fundamentally broken relationship between myself and other people.

Photographer: Amanda Jasnowski Pascual
Publisher: The New Yorker
Format: Digital
Date: 2021/08/01

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Photograph by Amanda Jasnowski Pascual for The New Yorker

The Education of Melvyn Bragg

In his teens, Bragg was saved by books. He’s now spent more than fifty years championing the joy, value, and fascination of knowledge.

Photographer: Sandra Mickiewicz
Publisher: The New Yorker
Format: Digital
Date: 2021/08/01

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Sandra Mickiewicz for The New Yorker

the art of the hollywood memoir

Accounts of life in Tinseltown reveal as much as they seek to hide.

Photographer(s): Various
Publisher: The New Yorker
Format: Digital
Date: 2021/07/30
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Louise Brooks. Photograph from Getty

Esther Williams.

Cybill Shepherd. Photograph from Shutterstock

Julia Phillips. Photograph by Chris Cuffaro / AUGUST

Carrie Fisher. Photograph by Michel Delsol / Contour / Getty

Shelley Winters. Photograph by Evan Hurd / Alamy

Lauren Bacall. Photograph by Ralph Crane / The LIFE Picture Collection / Shutterstock

Bette Davis.

Eartha Kitt. Photograph from Getty

Pam Grier. Photograph from Michael Ochs Archive / Getty

Gloria Swanson. Photograph by Bert Six / Getty

A Woman’s Intimate Record of Wyoming in the Early Twentieth Century

Lora Webb Nichols created and collected some twenty-four thousand negatives documenting life in her small town.

Photographer: Lora Webb Nichols
Publisher: The New Yorker
Format: Digital
Date: 2021/07/18

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Alva Martin, 1911. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Harriet Eckerson, 1929. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Scafe and Meeker Family, 1932. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Nida Deal, Sis Heaton, Ruth Dunbar, and Nina Platte, 1913. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

1939. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Elva and Carrie Hinman, 1902. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Sweet Peas, 1907. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Mabel Wilcox and Button, 1902. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Lizzie Nichols and Perkins, 1913. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Bess Pantle, 1920. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Lizzie Nichols at Willow Glen, 1899. Photograph courtesy Lora Webb Nichols Archive / American Heritage Center

Jenny Erpenbeck Is Keeping Time

When the Berlin Wall fell, some called it the end of history. For Erpenbeck, history just needed saving.

Photographer: Vanja Bucan
Publisher: The New Yorker
Format: Digital
Date: 2021/07/14

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Erpenbeck’s enthusiasm for collecting stories, objects, and her own memories is less an indication of professionalism than of something fundamental about her understanding of time. Photograph by Vanja Bucan for The New Yorker

A lock of hair, from Erpenbeck’s youth, that she keeps in a box as a memoir. Photograph by Vanja Bucan for The New Yorker

In Erpenbeck’s Berlin apartment, an entire wall is covered with paper and artifacts from the G.D.R., collected over the course of decades. Photograph by Vanja Bucan for The New Yorker

A bust of Erpenbeck, which was given to her on one of her visits to the United States. Photograph by Vanja Bucan for The New Yorker

Who Owns Mike Disfarmer’s Photographs?

Strangers made his small-town portraits famous in the art world. Decades later, his heirs want control of the estate.

Photographer: Rachel Boillot
Publisher: The New Yorker
Format: Digital
Date: 2021/07/13

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Ellen Stewart, one of Disfarmer’s great-nieces, holds a portrait that he took of her parents on their wedding day. Photograph by Rachel Boillot for The New Yorker

The group of relatives fighting for control of Disfarmer’s estate, including Ruth Kirkemier, one of Disfarmer’s great-nieces, is now about sixty strong. Photograph by Rachel Boillot for The New Yorker

Fred Stewart, who is leading his fellow-heirs in their legal effort, said, “What really got to me was the thought of other people benefitting from our family.” Photograph by Rachel Boillot for The New Yorker

Disfarmer’s relatives examine some of his original photographs. Similar ones have sold for more than twenty thousand dollars in the art world. Photograph by Rachel Boillot for The New Yorker

A movie theatre in downtown Heber Springs sits across the street from the site of Disfarmer’s old studio. Photograph by Rachel Boillot for The New Yorker

Bridging the Divide Between the Police and the Policed

In New York, the Mayor and police leadership have repeatedly voiced commitments to “create a bond” between cops and communities of color. The problem, according to high-level officials, is that the city chose the wrong people for the right job.

Photographer: Dawit N. M.
Publisher: The New Yorker
Format: Digital
Date: 2021/04/28

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The Brownsville neighborhood of Brooklyn has long had one of the highest homicide rates in the city. Photograph by Dawit N. M. for The New Yorker

Only one other Brooklyn precinct made more arrests for gun possession in 2019 than the Seventy-third. Photograph by Dawit N. M. for The New Yorker

In May, 2020, a struggle ensued outside a Brownsville apartment complex in which officers wrestled Jerry Akbar to the ground and repeatedly shocked him with a Taser. Photograph by Dawit N. M. for The New Yorker

“As a Black woman, growing up where I did, I had to deal with a lot,” Alicka Ampry-Samuel said, of Brownsville, an area she now represents on the City Council. Photograph by Dawit N. M. for The New Yorker

Latrice Walker, who represents Brownsville in the State Assembly, warned Craig Edelman that there would be “some type of blowup” if he didn’t ease tensions in the neighborhood. Photograph by Dawit N. M. for The New Yorker

White cops still account for three-quarters of the N.Y.P.D.’s roughly four hundred executives at the ranks of inspector and chief. Photograph by Dawit N. M. for The New Yorker

On Mother Gaston Boulevard, outside a nail salon where Kwesi Ashun was killed by police, in 2019, a team of violence interrupters now keep watch over the block. Photograph by Dawit N. M. for The New Yorker

Mary Kathryn Nagle Changes the Story, in Court and Onstage

Nagle is one of the leading lawyers advocating for tribal sovereignty—and one of the country’s most-produced Native playwrights.

Photographer: Gabriella Demczuk
Publisher: The New Yorker
Format: Digital
Date: 2021/04/08

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Photograph by Gabriella Demczuk for The New Yorker

My Life as a Film Critic

From 1994: Writing for The New Yorker from 1967 to 1991, Pauline Kael changed the way people talk about movies. But it wasn’t always easy.

Photographer: Richard Avedon
Publisher: The New Yorker
Format: Digital
Date: 2021/03/15 (originally published 1994/03/13)

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Photograph by Richard Avedon / © The Richard Avedon Foundation

"The Swimmer" by John Cheever

Fiction, from 1964: “Making his way home by an uncommon route gave him the feeling that he was a pilgrim, an explorer, a man with a destiny.”

Photographer: H. Armstrong Roberts
Publisher: The New Yorker
Format: Digital
Date: 2021/02/16 (originally published 1964/07/10)

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Photograph by H. Armstrong Roberts / Getty

“Dream Pictures” by Kenzaburo Oe

Fiction, from 1998: During a typhoon, a father and his young son, who suffers from seizures, think about death and dreaming.

Photographer: Unknown
Publisher: The New Yorker
Format: Digital
Date: 2021/02/08 (originally published 1998/07/05)

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Photograph from Getty

Corky Lee’s Photographs Helped Generations of Asian-Americans See Themselves

His simple passion to document took him everywhere.

Photographer: Corky Lee
Publisher: The New Yorker
Format: Digital
Date: 2021/01/30

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Lee’s photography, which he viewed as an extension of his activism, helped Asian-Americans recognize their shared yearnings and struggles. Photograph by Corky Lee

Lee took some of the only photos that survive of Chinatown back when it was a nexus of activism: protests against the Vietnam War, or police brutality, or miserly bosses and cruel landlords. Photograph by Corky Lee

Lee referred to moments such as when, in 2014, he and a group of Asian-Americans from around the country, including direct descendants of the Chinese railroad workers, reënacted the Promontory Summit photo, as “photographic justice.” Photograph by Scott Sommerdorf / The Salt Lake Tribune / AP

Participants of the 1991 protest in support of the TV anchor Kaity Tong. Photograph by Corky Lee

Lee holds a postcard of Chinatown against the background of the neighborhood. Photograph by Corky Lee

"Something You'll Remember Always" by Shirley Hazzard

Fiction, from 1979: After their parents are drowned in a capsized ferry, two sisters in Australia move with their half sister, Dora, to a house by the sea.

Photographer: Sophie Chivet
Publisher: The New Yorker
Format: Digital
Date: 2021/01/29 (originally published 1979/09/09)

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Photograph by Sophie Chivet / Agence VU’ / Redux

“Hack Wednesday” by Margaret Atwood

Fiction, from 1990: A columnist at a Canadian newspaper dreams about babies as the holidays draw near.

Photographer: Leon Neal
Publisher: The New Yorker
Format: Digital
Date: 2020/12/14 (originally published 1990/09/09)

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Photograph by Leon Neal / Getty

The Case of the Scattered Dutchman

From 1955: A. J. Liebling’s recount of the mysterious torso found floating in the East River, in 1897, and the race among the decade’s star reporters to crack the case.

Photographer: Unknown
Publisher: The New Yorker
Format: Digital
Date: 2020/11/23 (originally published 1955/09/16)

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Photograph from The New-York Historical Society / Getty

The Biden Block Party Begins in New York City

In Trump’s home town, the streets are loud, crowded, and joyous.

Photographer: Elizabeth Bick
Publisher: The New Yorker
Format: Digital
Date: 2020/11/07

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Elizabeth Bick for The New Yorker

Pennsylvania’s Blue Shift

Trump led in Pennsylvania on Election Night, but in the days that followed Democrats tipped the state toward Biden. A local activist said, “You should have known, Don, not to mess with Philadelphia.”

Photographer: Morgan Levy
Publisher: The New Yorker
Format: Digital
Date: 2020/11/06

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Morgan Levy for The New Yorker

The Count Begins in Pennsylvania: “It’s Going to Be a Wild Ride”

Reporting inconsistencies, potential delays, and legal challenges could make vote-counting in the state chaotic.

Photographer: Morgan Levy
Publisher: The New Yorker
Format: Digital
Date: 2020/11/03

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The Republican-led state legislature refused to allow counties to begin opening or counting mail-in ballots until 7 A.M. on Election Day. Photograph by Morgan Levy for The New Yorker

The county’s new mail-extractor machines were purchased to speed up the vote count. Photograph by Morgan Levy for The New Yorker

A shrink-wrapped collection of Chester County’s mail-in and absentee ballots. Photograph by Morgan Levy for The New Yorker

The machines can process up to a thousand ballots an hour. Photograph by Morgan Levy for The New Yorker

How America Can Avoid Dual Cataclysms

Dr. Amy Acton argues that immediate bipartisan leadership—and acknowledging the country’s pain and division—must be part of the way forward.

Photographer: Julie Renée Jones
Publisher: The New Yorker
Format: Digital
Date: 2020/11/01

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Julie Renée Jones for The New Yorker

In Pennsylvania, Republicans Might Only Need to Stall to Win

A political analyst warned, “Harrisburg in 2020 could be Tallahassee in 2000.”

Photographer: Morgan Levy
Publisher: The New Yorker
Format: Digital
Date: 2020/10/29

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Voters waiting in line at an early-voting center at George Washington High School. Photograph by Morgan Levy for The New Yorker

Kevin Boyle, a state representative, leaving the Mayfair Diner. Photograph by Morgan Levy for The New Yorker

Boyle speaking with volunteers at a satellite election office. Photograph by Morgan Levy for The New Yorker

Voters with completed early ballots outside the voting center. Photograph by Morgan Levy for The New Yorker

A volunteer for the Biden campaign. Photograph by Morgan Levy for The New Yorker

“A Reunion in Paris” by Alexander Woollcott

Shouts & Murmurs, from 1932: An uncommon coincidence restores order to the universe.

Photographer: Henri Cartier-Bresson
Publisher: The New Yorker
Format: Digital
Date: 2020/09/25 (originally published 1932/07/22)

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Photograph by Henri Cartier-Bresson / Magnum

How a Revered Studio for Artists with Disabilities Is Surviving at a Distance

Creative Growth, in Oakland, is facing an extreme version of the dilemmas that other arts and educational institutions have struggled with during the coronavirus pandemic.

Photographer: Carlos Chavarría
Publisher: The New Yorker
Format: Digital
Date: 2020/09/17

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Zina Hall, a textile artist, has worked at Creative Growth for fourteen years. “Just sew,” Hall said. “That’s what I do.” Photograph by Carlos Chavarría for The New Yorker

Amy Keefer, a textiles-studio instructor, is one of many at Creative Growth who began delivering supplies to artists during the pandemic. Photograph by Carlos Chavarría for The New Yorker

Depending on where your eye alights, the studio evokes a blue-chip gallery, a secret laboratory, or a garage sale. Photograph by Carlos Chavarría for The New Yorker

“The uncertainty is the most challenging thing right now,” Elizabeth Brodersen, Creative Growth’s executive director, said. “How do we come together to support the artists and each other through this next year?” Photograph by Carlos Chavarría for The New Yorker

In the studio’s capacious, open space—closed since March—garland lights arc across the ceiling, over high shelves laden with colorful supplies. Photograph by Carlos Chavarría for The New Yorker

John Martin, an artist who has practiced at Creative Growth since 1987, took to working outdoors near the studio as the pandemic wore on. Photograph by Carlos Chavarría for The New Yorker

“Since the age of twenty—I’m twenty-seven now—I’ve been my mom’s sole caretaker,” Myeisha Williams, Zina Hall’s daughter, said. “And being able to learn from her more, and just getting to know her better and experiencing her more has been nothing short of a joy for me.” Photograph by Carlos Chavarría for The New Yorker

The Day Malcolm X Was Killed

At the height of his powers, the Black-nationalist leader was assassinated, and the government botched the investigation of his murder.

Photographer: Various
Publisher: The New Yorker
Format: Digital
Date: 2020/08/27

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A photograph shows the bullet holes in the back of the stage where Malcolm X was shot. Photograph by Stanley Wolfson / New York World-Telegram & Sun / Library of Congress

Malcolm X, in 1964. Photograph by Herman Hiller / New York World-Telegram & Sun / Library of Congress

Crowds outside of Macolm X’s funeral, in 1965. Photograph by Orlando Fernandez / New York World-Telegram & Sun / Library of Congress

Life as a Look

From 1998: Hilton Als profiles the performance artist and fashion designer Leigh Bowery, whose personal aesthetic was his principal form of rebellion—his massive body both his weapon and his shield.

Photographer: Janette Beckman
Publisher: The New Yorker
Format: Digital
Date: 2020/08/23 (originally published 1998/03/22)

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Friends still complain vociferously about Bowery’s bad behavior, but then burst out laughing or use words like “exhilarating” or “cathartic” to describe his escapades. Photograph by Janette Beckman / Getty

Until Black Women Are Free, None of Us Will Be Free

Barbara Smith and the Black feminist visionaries of the Combahee River Collective.

Photographer: Ellen Shub
Publisher: The New Yorker
Format: Digital
Date: 2020/07/20

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Illustration by Palesa Monareng; Source photograph by Vivien Killilea / MAKERS / Getty

The members of the Combahee River Collective march down Massachusetts Avenue, Boston, at a 1979 memorial for murdered women of color. Photograph by Ellen Shub / Courtesy the Estate of Ellen Shub

At an event in late April, 1979, Barbara Smith, with megaphone, protests nine murders of women of color that took place in the first months of the year. Photograph by Ellen Shub / Courtesy the Estate of Ellen Shub

The Rise of Police-State America

From 1968: Richard Harris reports on Congress’s passage of the 1968 Crime Bill: “A piece of demagoguery devised in malevolence and enacted in hysteria.”

Photographer: Dick DeMarsico
Publisher: The New Yorker
Format: Digital
Date: 2020/07/15 (originally published 1968/12/06)

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Riots in Harlem in 1964, following the police killing of a fifteen-year-old boy, helped spur the drafting of the 1968 Crime Bill. Photograph by Dick DeMarsico / Getty

Tulsa’s Hopeful Anger

Activism and politics have become one and the same in the aftermath of George Floyd’s killing.

Photographer: Zora J Murff
Publisher: The New Yorker
Format: Digital
Date: 2020/06/16

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“Here we are, yet again, angry and devastated at the killing of another unarmed black man by law enforcement,” Tiffany Crutcher said. Photograph by Zora J Murff for The New Yorker

After Tiffany Crutcher’s twin brother, Terence, was killed by a Tulsa police officer, she became a criminal-justice-reform activist. Photograph by Zora J Murff for The New Yorker

In the wake of George Floyd’s murder, Tiffany Crutcher felt as if her own brother, who was killed by a Tulsa police officer in 2016, “had died all over again. ”Photograph by Zora J Murff for The New Yorker

“Anybody can get somebody to protest, but it’s going from the protest to the policy side that requires the strategy and the organization,” Greg Robinson said. Photograph by Zora J Murff for The New Yorker

How Mask Mandates Were Beaten Down in Rural Oklahoma

In Oklahoma, where the state government is currently implementing one of the country’s fastest reopening plans, local leaders have found themselves caught between state politics, economic imperatives, and a clear scientific consensus.

Photographer: Joseph Rushmore
Publisher: The New Yorker
Format: Digital
Date: 2020/05/27

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Oklahoma’s state government is currently implementing one of the country’s fastest reopening plans. By early June, many businesses could be operating near normal capacity. Photograph by Joseph Rushmore for The New Yorker

Steve Gentling, the mayor of Guthrie, Oklahoma, voted in favor of keeping the town’s mask ordinance. “We’re not over this by a long stretch.” Photograph by Joseph Rushmore for The New Yorker

“Bullet in the Brain” by Tobias Wolff

Fiction, from 1995: On what “passes before” a literary critic’s eyes—“a phrase he would have abhorred”—when he is shot at the bank.

Photographer: Paolo Pellegrin
Publisher: The New Yorker
Format: Digital
Date: 2020/05/26 (originally published 1995/09/17)

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Photograph by Paolo Pellegrin / Magnum

"Mr. Preble Gets Rid of His Wife" by James Thurber

Fiction, from 1933: James Thurber’s fanciful story about a man who was in love with his secretary and decided to get rid of his wife in order to marry the secretary.

Photographer: Christian Bodlaj
Publisher: The New Yorker
Format: Digital
Date: 2020/05/22 (originally published 1933/02/24)

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Photograph by Christian Bodlaj / Alamy

Let’s Pretend

From 1991: Ingrid Sischy on the overlooked nineteenth-century artist Lady Clementina Hawarden, her modern counterpart Cindy Sherman, and photography that wholeheartedly gives into fantasy.

Photographer: Various
Publisher: The New Yorker
Format: Digital
Date: 2020/05/22 (originally published 1991/04/28)

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Photograph by Lady Clementina Hawarden / Corbis / Getty

Untitled #191, 1989. Photograph by Cindy Sherman / Metro Pictures

Untitled Film Still #48, 1979. Photograph by Cindy Sherman / Metro Pictures

Photograph by Lady Clementina Hawarden / Alamy

Photograph by Lady Clementina Hawarden / Corbis / Getty

How Betsey Johnson Built a Fashion Empire and Lost Her Name

In a dishy new memoir, the seventy-seven-year-old designer revisits the heyday of her “pretty and punk” clothing brand and her painful decision to sell it off.

Photographer: Pat Martin
Publisher: The New Yorker
Format: Digital
Date: 2020/05/11

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In a dishy new memoir, the designer Betsey Johnson revisits the heyday of her “pretty and punk” clothing brand and her painful decision to sell it off. Photograph by Pat Martin for The New Yorker

Photograph by Pat Martin for The New Yorker

A Forgotten Twentieth-Century Photographer’s Wild Portraits of Women in Nature

Anne Brigman helped shape American photographic traditions and was anointed by Alfred Stieglitz. Then she fell into obscurity.

Photographer: Anne Brigman
Publisher: The New Yorker
Format: Digital
Date: 2020/05/11

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“The Breeze,” 1909.Photograph by Anne Brigman / Courtesy Wilson Centre for Photography

“The Source,” 1905.Photograph Courtesy Wilson Centre for Photography

“Heart of the Storm,” circa 1912.Photograph Courtesy Wilson Centre for Photography

The Body Collectors of the Coronavirus Pandemic

As the death toll from COVID-19 rises, the funeral homes and hospital morgues of New York City are struggling to keep up.

Photographer: Sinna Nasseri
Publisher: The New Yorker
Format: Digital
Date: 2020/04/22

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A grieving woman says goodbye to a loved one. Photograph by Sinna Nasseri for The New Yorker

Kim Zambito in the courtyard of Sherman’s Flatbush Memorial Chapel. Photograph by Sinna Nasseri for The New Yorker

The front room of Sherman’s Flatbush Memorial Chapel. Sinna Nasseri for The New Yorker

Chris Kasler. Photograph by Sinna Nasseri for The New Yorker

Al Johnson. Photograph by Sinna Nasseri for The New Yorker

Kim Zambito secures a coffin inside of a hearse. Photograph by Sinna Nasseri for The New Yorker

Chris Kasler opens a casket to allow a grieving family to take one last look. Photograph by Sinna Nasseri for The New Yorker

Chris Kasler, Al Johnson, and Kim Zambito load a coffin into a hearse in the parking lot of Sherman’s Flatbush Memorial Chapel. Photograph by Sinna Nasseri for The New Yorker

Stretchers and a wreath of flowers idle in the parking lot of Sherman’s Flatbush Memorial Chapel. Photograph by Sinna Nasseri for The New Yorker

Sherman’s chapel used to hold funeral services. Now it’s used to store bodies. Photograph by Sinna Nasseri for The New Yorker

Why Did Lee Harvey Oswald Go to Moscow?

From 1995: Norman Mailer on the former marine’s troubled marriage and his time spent under the observation of the K.G.B. before he assassinated John F. Kennedy, in 1963.

Photographer: Various
Publisher: The New Yorker
Format: Digital
Date: 2020/04/19 (originally published 1995/04/02)

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Lee Harvey Oswald with his wife, Marina, and their daughter, June. Photograph from National Archives / Getty

The passport that Oswald handed over to the American consul on October 31, 1959. Photograph from National Archives / Getty

Oswald, in dark glasses, with friends from the Horizon factory. “I meet many young Russian workers,” he wrote. “All wish to know about me.” Photograph from National Archives / Getty

A note, on Metropole Hotel stationery, that Lee took to the American Embassy. Photograph from National Archives / Getty

Marina Oswald and her daughter, June. Photograph by National Archives / Getty

Lee with Ella Germann (top right) and Pavel Golovachev. Photograph from National Archives / Getty

The Plight of a Hospital Chaplain During the Coronavirus Pandemic

How do you comfort the suffering when you’re not allowed in the room?

Photographer: Caroline Tompkins
Publisher: The New Yorker
Format: Digital
Date: 2020/04/14

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The hospital chaplain Kaytlin Butler says the work that health-care providers do is sacred. Photograph by Caroline Tompkins for The New Yorker

Chaplains provide religious materials, prayers, and support to dying and ill patients, their families, and even grieving members of the hospital staff. Photograph by Caroline Tompkins for The New Yorker

An Imam Leads His Congregation Through the Pandemic

In most states, religious institutions are exempt from shutdowns, and leaders have struggled with whether to close their doors.

Photographer: Hannah Yoon
Publisher: The New Yorker
Format: Digital
Date: 2020/04/08

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A congregant at a Masjidullah Friday prayer, outside the mosque. Photograph by Hannah Yoon for The New Yorker

Amid the closure of public schools and other programs, Masjidullah has scrambled to try to keep feeding children in the community. Photograph by Hannah Yoon for The New Yorker

Masjidullah offers halal grab-and-go lunches and delivers fresh produce to families in need in its community. Photograph by Hannah Yoon for The New Yorker

A security guard in the mosque’s doorway. Photograph by Hannah Yoon for The New Yorker

A congregant of Masjidullah. Photograph by Hannah Yoon for The New Yorker

Masjidullah, which has a thousand members, also hosts a day-care center, an online school, scout troops, senior-citizen groups, and a food program. Photograph by Hannah Yoon for The New Yorker

Idris Abdul-Zahir, the head imam of the Masjidullah mosque, in West Oak Lane, Philadelphia, weighed throughout March whether to close the mosque’s doors. Photograph by Hannah Yoon for The New Yorker

A House Divided

From 1987: Judith Thurman’s review of Toni Morrison’s “Beloved.”

Photographer: Carl Mydans
Publisher: The New Yorker
Format: Digital
Date: 2020/03/20 (originally published 1987/10/25)

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Photograph by Carl Mydans / FSA / Library of Congress

“When You Earn It, They Can’t Take It Away”: An Interview with Pam Grier

The actress on country living, blaxploitation, and how the needs of Hollywood are different from her own.

Photographer: Rikkí Wright
Publisher: The New Yorker
Format: Digital
Date: 2020/03/01

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At seventy, the actress Pam Grier has relaxed into the simple country life she has always craved, though her life story is full of mind-boggling tales.Photograph by Rikkí Wright for The New Yorker

Photograph by Rikkí Wright for The New Yorker

"Arrangement in Black and White" by Dorothy Parker

Fiction, from 1927: A partygoer’s introduction to the guest of honor becomes a nervous attempt to deal with racism.

Photographer: H. Armstrong Roberts
Publisher: The New Yorker
Format: Digital
Date: 2020/02/28 (originally published 1927/09/30)

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Photograph by H. Armstrong Roberts / Getty

”Where Is That Voice Coming From?” by Eudora Welty

Fiction, from 1963: Depicting the murderous perspective of a white supremacist.

Photographer: Flip Schulke
Publisher: The New Yorker
Format: Digital
Date: 2020/01/26 (originally published 1963/06/28)

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Photograph by Flip Schulke / Corbis / Getty

American Revolution

From 1939: A review of John Steinbeck’s “The Grapes of Wrath” explores the novel’s radical depiction of life along Route 66.

Photographer: Dorothea Lange
Publisher: The New Yorker
Format: Digital
Date: 2020/01/24 (originally published 1939/04/07)

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Photograph by Dorothea Lange / FSA / Library of Congress

The Body Politic

From 1994: Bill T. Jones has spent decades challenging the boundaries of sex and race in America, on and off the stage.

Photographer: Anthony Barboza
Publisher: The New Yorker
Format: Digital
Date: 2019/12/18 (originally published 1994/11/20)

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Bill T. Jones: “My eroticism, my sensuality onstage is always coupled with a wild anger and belligerence.”Photograph by Anthony Barboza / Getty

Belafonte's Balancing Act

From 1996: Harry Belafonte was radical before it was chic and remained so long after it wasn’t, Henry Louis Gates, Jr., writes, in this profile of the Hollywood star.

Photographer: Jack Mitchell
Publisher: The New Yorker
Format: Digital
Date: 2019/12/10 (originally published 1996/08/18)

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Photograph by Jack Mitchell / Getty

Jamie Lee Curtis Has Never Worked Hard a Day in Her Life

The actor on addiction, beauty standards, famous parents, writing kids’ books, and her encounters with Bette Davis.

Photographer: Valerie Chiang
Publisher: The New Yorker
Format: Digital
Date: 2019/12/01

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Photograph by Valerie Chiang for The New Yorker

Photographs by Valerie Chiang for The New Yorker

Facts According to President Nixon

From 1973, Jonathan Schell on “fake news”: “It is a matter of record that Mr. Nixon does not waste his time over the morning papers.”

Photographer: Unknown
Publisher: The New Yorker
Format: Digital
Date: 2019/11/13 (originally published 1973/05/25)

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Photograph from Bettmann / Getty

Abigail Heyman’s Groundbreaking Images of Women’s Lives

Heyman’s photographs are specific to the America of the late sixties and early seventies, roiled by the feminist revolution and other protest movements, yet caught in the grip of earlier, more conservative ideologies.

Photographer: Abigail Heyman
Publisher: The New Yorker
Format: Digital
Date: 2019/11/01

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“Ashley in Mirror,” 1973. Photograph by Abigail Heyman

At left, “Factory Lunch,” 1973; at right, “August 26, Man-Children,” 1971. Photograph by Abigail Heyman

“Football Player,” 1972. Photograph by Abigail Heyman

“Confused Army,” 1971. Photograph by Abigail Heyman

“Indian Teenager,” 1971. Photograph by Abigail Heyman

“Self-Help Demo,” 1972. Photograph by Abigail Heyman

”Abortion,” 1972. Photograph by Abigail Heyman

“Self-Portrait,” 1971. Photograph by Abigail Heyman

“Lingerie Shop,” 1972. Photograph by Abigail Heyman

The Day After Kerouac Died

Allen Ginsberg’s journal entries in the days immediately following Jack Kerouac’s death, fifty years ago.

Photographer(s): Various
Publisher: The New Yorker
Format: Digital
Date: 2019/10/20

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Kerouac in Tompkins Square Park, 1953. Courtesy Allen Ginsberg Collection

Photograph by Scott Keeler / Tampa Bay Times / Alamy

Photograph by Jerry Engel / New York Post Archives / Getty

Courtesy Allen Ginsberg Collection

Photograph by Lara Cerri / Tampa Bay Times / Alamy

Photograph from Library of Congress

Photograph by Peter van Agtmael / Magnum

Courtesy Allen Ginsberg Collection

Courtesy the Estate of Lida Moser / Alida Anderson Art Projects

Photograph by Philip Scalia / Alamy

Photograph by Cynthia Macadams / The LIFE Images Collection / Getty

Photograph by Gregory Corso / Courtesy Jerry Aronson, Life and Times of Allen Ginsberg

Reviving Venezuelan Punk, the Music of Revolution

In the eighties, the punk scene grew amid the country’s turmoil. Now, with the more recent political crisis, the movement is being revitalized.

Photographer: Guillermo de Yavorsky
Publisher: The New Yorker
Format: Digital
Date: 2019/10/20

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In the eighties, the punk scene grew amid Venezuela’s turmoil. Now, with the more recent political crisis, the movement is being revitalized. Photograph by Guillermo de Yavorsky

Dirt-Road America

What do you see when you escape the pavement?

Photographer: Joshua Dudley Greer
Publisher: The New Yorker
Format: Digital
Date: 2019/10/18

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County Road 363, Tishomingo County, Mississippi. Photograph by Joshua Dudley Greer for The New Yorker

Good Hollow Road, Lincoln County, Tennessee. Photograph by Joshua Dudley Greer for The New Yorker

Baugh Road, Ardmore, Tennessee. Photograph by Joshua Dudley Greer

Camargo Road, Lincoln County, Tennessee. Photograph by Joshua Dudley Greer for The New Yorker

Sam Correro, in Counce, Tennessee. Photograph by Joshua Dudley Greer for The New Yorker

TransAmerica Trail maps inside Sam Correro’s home office, in Counce, Tennessee. Photograph by Joshua Dudley Greer for The New Yorker

Correro has sold thousands of self-made paper maps and road charts containing his idiosyncratic directions. Photograph by Joshua Dudley Greer for The New Yorker

Wharf Road, Savannah, Tennessee. Photograph by Joshua Dudley Greer for The New Yorker

Savannah, Tennessee. Photograph by Joshua Dudley Greer

Highway 57, Counce, Tennessee. Photograph by Joshua Dudley Greer

McLemore Road, Lincoln County, Tennessee. Photograph by Joshua Dudley Greer

County Road 363, Tishomingo County, Mississippi. Photograph by Joshua Dudley Greer for The New Yorker

Amartya Sen’s Hopes and Fears for Indian Democracy

The economist, philosopher, and public intellectual discusses his boyhood in pre-independence India, his decades-long work, and why contemporary politics hasn’t led him toward fatalism.

Photographer: Tony Luong
Publisher: The New Yorker
Format: Digital
Date: 2019/10/06

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“The big thing that we know from John Stuart Mill is that democracy is government by discussion, and, if you make discussion fearful, you are not going to get a democracy, no matter how you count the votes,” Amartya Sen says. Photograph by Tony Luong for The New Yorker

Tony Luong for The New Yorker

Linda Ronstadt Has Found Another Voice

The singer on living with Parkinson’s, the perils of stardom, and mourning what the border has become.

Photographer: Janet Delaney
Publisher: The New Yorker
Format: Digital
Date: 2019/09/01

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A new documentary, “Linda Ronstadt: The Sound of My Voice,” looks back on the musician’s risk-taking career. Photograph by Janet Delaney for The New Yorker

The Massacre at My Lai

From 1972: Seymour M. Hersh’s report on the mass killing of Vietnamese civilians—and its coverup.

Photographer: Ronald L. Haeberle
Publisher: The New Yorker
Format: Digital
Date: 2019/08/22 (originally published 1972/01/14)

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American troops landing in Son My, captured by former Sergeant Ronald L. Haeberle, who served as a photographer during the assault. Photograph by Ronald L. Haeberle / The LIFE Images Collection / Getty

The first and second platoons of Bravo Company spent the day marching south along the coast to the Tra Khuc River, burning every hamlet along the way. Photograph by Ronald L. Haeberle / The LIFE Images Collection / Getty

Many G.I.s recalled being told that nobody was supposed to be there. One soldier reported hearing, “If anybody is there, shoot them.” Photograph by Ronald L. Haeberle / The LIFE Images Collection / Getty