TIMES LITERARY SUPPLEMENT: The latest issue features ‘Fighting Over King Arthur’ – Marion Turner on a legend’s global appeal.
The versatility of Arthur and his legends By Marion Turner
Nigerian scammers and their targets By Sally Hayden
How William Empson viewed Virginia Woolf’s diaries By Mark Thompson
Frida Kahlo, iconized: ‘I would not like to become famous’ By Miranda France
THE NEW YORKER MAGAZINE: The latest issue cover features “Diana Ejaita’s “Before the Plunge” – A moment of stillness.
The SAVE America Act is just one part of a package that includes an executive order and threats of prosecution, all in an effort to make Trump’s math work. By Amy Davidson Sorkin
In D.C. and the Dakotas, at rodeos and powwows, celebrating the country means taking in pride and disappointment and fellow-feeling. By Rachel Monroe
As extreme heat overwhelms the Continent’s great cities, they are racing to transform themselves for a climate that they were never built to withstand. By Eric Klinenberg
THE NEW CRITERION: The latest issue features a new series on “The Classical Inheritance”…
THE NEW YORKER MAGAZINE: The latest issue cover features “Edward Steed’s “Midnight Bloom” – The sea in full swing.
As Abdul El-Sayed, Michigan’s newly elected Democratic nominee for the U.S. Senate, put it, “People really effing hate data centers.” By Benjamin Wallace-Wells
The Chief Justice insists that his Supreme Court isn’t biased even as it keeps making dramatic leaps rightward. By Margaret Talbot
From branding irons to iris scans, the ancient business of proving who you are has never been stranger—or more lucrative. By Jill Lepore
Human-rights groups estimate that more than ten thousand Ukrainian civilians have disappeared into the Russian prison system. This is the story of one cell.
TIMES LITERARY SUPPLEMENT: The latest issue features…
What happened when the Romans left By Michael Wood
The case for and against realism in US foreign policy By Sam Freedman
The song remains: Christopher Nolan’s version of Homer By A. E. Stallings
A flâneur’s journey through Paris and the self By Michael Caines
The enduring influence of the classical epics By Peter McDonald
LONDON REVIEW OF BOOKS: The latest issue features…
Christopher Nolan’s $250 million action movie version of Homer’s ancient Greek poem is an entertaining way to hide from the high temperatures for a few hours. Nolan’s trademark jumps and twists in the narrative structure are relatively easy to follow, and appropriate for The Odyssey, a narrative of tales nested in tales. My teenagers had a good time. Unlike some of Nolan’s other films, The Odyssey is not boring, thanks to the source material, which is impossible to mess up entirely. It’s a family-friendly audiovisual spectacle, like an elaborate Fourth of July fireworks display – and with about the same level of narrative and emotional depth.
The Odyssey By Christopher Nolan (dir)
THE NEW YORKER MAGAZINE: The latest issue cover features “Eric Drooker’s “Outside Art” – A reprieve from the city’s chaos.
Beijing is competing with the U.S. for tech supremacy. Who wins will have huge political implications. By Evan Osnos
Senator Rand Paul may have approached the matter with theatrics and ill will, but Dr. Anthony Fauci’s decision not to testify was a loss. By Amy Davidson Sorkin
The lawyer who showed an outer-borough striver how to ignore the rules, avoid a paper trail, and make up a good story for the media. By Kai Bird and Susan Goldmark
THE NEW YORK REVIEW OF BOOKS: The latest issue features…
The most authentic thing about Christopher Nolan’s Odyssey is its densely braided narrative, but its tormented hero sounds like the heroes of Christopher Nolan movies.
As Democratic Socialists rack up primary victories, the moderate wing of the Democratic Party looks increasingly out of touch.
Maggie Haberman and Jonathan Swan’s inside account of the Trump administration portrays a president with a vast appetite for power but who repeatedly backs down when the costs of his actions become too high.
Regime Change: Inside the Imperial Presidency of Donald Trump by Maggie Haberman and Jonathan Swan
In novels written immediately after World War II, Wolfgang Koeppen mined the conscience of Germany.
Pigeons on the Grass by Wolfgang Koeppen, translated from the German by Michael Hofmann
The Hothouse by Wolfgang Koeppen, translated from the German and with an afterword by Michael Hofmann, with an introduction by Pankaj Mishra
Death in Rome by Wolfgang Koeppen, translated from the German and with an afterword by Michael Hofmann, with an introduction by Joshua Cohen
THE NEW YORKER MAGAZINE: The latest issue cover features “Pierre-Emmanuel Lyet’s “Repose” – Soaking up the sun. By Françoise Mouly
It’s been a tumultuous primary season, but is this the Democrats’ Tea Party moment? Or is something more pragmatic emerging? By Benjamin Wallace-Wells
Gadi Eisenkot, whose view of war is shaped by the loss of his son, is, in manner and character, the anti-Bibi. By David Remnick
French theory, as taught in American classrooms, has acquired a reputation of forbidding difficulty and hauteur. A new history seeks to surface its human side. By Dayna Tortorici
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