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The New Yorker
Where Are the Children? Sarah Stillman reports on the big business of kidnapping migrants:
.@OliverSacks on how a brain injury drove the actor Spalding Gray into a fatal depression:
Shania Rae Hall, 18, took the photos on display at the @metmuseum’s Plains Indians exhibition:
A conversation about the Libyan migrant disaster and the unfolding crisis in human trafficking
New fiction by Luke Mogelson, in this week’s issue:
At the Baroness, a patron might be asked to open a champagne bottle with a sword: @goingson
A monthly women's salon held a celebratory shiva for the founder of the Living Theatre:
Sarah Stillman on the migrant kidnapping crisis at our borders: #longreads
How the Norwegian music producer Hans-Peter Lindstrøm became the king of space disco:
Matera was once considered backward, but now tourists come to sample the troglodyte life:
The new Russia, as seen in Davide Monteleone’s portraits of the country’s East:
“Less vulnerability and more boldness, more sex and less pain.” Joan Acocella reviews “Agon”
A former police officer and ex-con wants to make criminal justice reform a key issue in 2016:
.@alexrossmusic on Pascal Dusapin’s violent new opera, “Penthesilea,” at La Monnaie:
Should Congress decide foreign policy? Steve Coll considers:
Photographs documenting the migrant-extortion market that is thriving along the border:
The @whitneymuseum takes wing on May 1st, when it reopens in a new, expanded space downtown:
The menu at Noreetuh, in the East Village, embraces both the high and the low of Hawaiian food
How a worker at a CD-manufacturing plant played a leading role in the rise of music piracy:
In her #Pulitzer-winning book, “The Sixth Extinction,” @ElizKolbert looks at humanity’s profound impact on the planet
A glimpse into @eosnos’s #Pulitzer-nominated book, “Age of Ambition.”
This month, Robert Pinksy reads a poem by fellow former Poet Laureate Elizabeth Bishop:
Sarah Stillman investigates the lucrative migrant-extortion industry:
Roger Angell on this week’s cover, “Baseball Ballet,” by Mark Ulriksen: