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On Sunday, March 17, join n+1 contributor, linguist, and co-director of the non-profit Endangered Language Alliance Ross Perlin in conversation with senior editor Charles Petersen. They’ll be discussing Perlin’s new book, Language City: The Fight to Preserve Endangered Mother Tongues in New York, out now from Grove. Language City presents a portrait of contemporary New […]
n+1 is honored to announce the 2024 recipients of its annual writing prizes, awarded yearly to two outstanding contributors to the magazine. This year, the n+1 Writers’ Fellowship will be awarded to Andrea Long Chu, and the Anthony Veasna So Fiction Prize will be awarded to Siddhartha Deb. About the Awards The n+1 Writers’ Fellowship […]
I’m troubled by writers who never ask themselves, “What if I didn’t do this?” Some things should be passed over in silence. I felt that way last fall when Taylor Swift: The Eras Tour came out in theaters. When I noticed aging male film critics rushing to see this nearly three-hour concert film so they could write about it, I was embarrassed for them.
In the summer of 2004, in reaction and opposition to the very worst of the Bush era, n+1 published its first issue—which means that this year, the magazine turns twenty! We’ll be celebrating two decades of ambitious, career-launching, era-defining publishing over the course of 2024, so watch out for all kinds of twentieth-anniversary programming, merch, and more throughout […]
In the mid-’60s, a new kind of place emerged in centers of foreign tourism: practical interiors decorated with Roman, Mediterranean, or high-tech futurist themes; a dance floor surrounded by tables on platforms of different heights, directed toward the center; ultrasophisticated lighting and sound; plenty of mirrors, which along with the trick of enlarging small spaces reflected the stars of the show: the customers themselves.
Ridley Scott’s new film confronts viewers with an unfamiliar paradox: it is both wildly unreliable and resolutely demystifying, simultaneously implausible and deliberately underwhelming. The costumes are exquisite, the sets magnificent, the cavalry charges thunderous. The execution of Marie-Antoinette (Catherine Walker) is spectacular. It is also set in the wrong place, at the wrong time, and with Napoleon in the audience, which he wasn’t.
I feel at times that I still live in the never-ending 20th century, that I’m stuck here, that maybe everyone is stuck here, even people born too late to have seen it happen. True, there are smartphones now, and new types of ugly buildings. Images are sharper, even when you zoom in. You can tell that time has passed because unremarkable things like Sweetheart Jazz cups have acquired the status of fetish objects.