YOU TELL ME
The New Yorker|March 18, 2024
Why Percival Everett cant say what his novels mean.
MAYA BINYAM
YOU TELL ME

In a narrow, windowless room at the University of Southern California, a group of graduate students is workshopping a short story. Its author is silent as her classmates deliver gentle feedback. Some suggest minor improvements of pacing, setting, and tone. One student would appreciate a more robust description of the protagonist’s emotions, but enjoys the sparseness, too. “I like this version,” another adds. “I don’t think I have much in the way of critique.”

While they speak, their professor, the novelist Percival Everett, sits quietly at the head of a too-large table, one palm steadied against it, his body swivelling almost imperceptibly from side to side. His head, decorated with errant coils of dark gray hair, is framed by a gargantuan television that hangs behind him, its screen a black expanse. He wears the uniform of a professional Everyman: slacks, button-down, glasses. He talks at a low volume, but the sounds he makes have the electric quality of speech being filtered through a mike.

“I think you guys must be a whole lot smarter than me,” he says, pushing his glasses to his forehead. “Because I’m just a dumb old cowboy, and I can’t figure out what’s going on.”

Esta historia es de la edición March 18, 2024 de The New Yorker.

Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.

Esta historia es de la edición March 18, 2024 de The New Yorker.

Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.

MÁS HISTORIAS DE THE NEW YORKERVer todo
INSIDE JOB-"Hit Man"
The New Yorker

INSIDE JOB-"Hit Man"

Years before Hannah Arendt coined, in the pages of this magazine, the phrase \"the banality of evil,\" popular films and fiction were embodying that idea in the character of the hit man. In classic crime movies such as \"This Gun for Hire\" (1942) and \"Murder by Contract\" (1958), hit men figure much as Nazis do in political movies, as symbols of abstract evil.

time-read
6 minutos  |
June 10, 2024
WHATEVER YOU SAY
The New Yorker

WHATEVER YOU SAY

Rereading Jenny Holzer, at the Guggenheim.

time-read
6 minutos  |
June 10, 2024
SUBCONSCIOUSLY YOURS
The New Yorker

SUBCONSCIOUSLY YOURS

Does every generation get the Freud it deserves?

time-read
9 minutos  |
June 10, 2024
BY A WHISKER
The New Yorker

BY A WHISKER

Louis Wain and the reinvention of the cat.

time-read
10+ minutos  |
June 10, 2024
Beyond Imagining
The New Yorker

Beyond Imagining

Bessie, Lotte, Ruth, Farah, and Bridget, who had been lunching together for half a century, joined in later years by Ilka, Hope, and, occasionally, Lucinella, had agreed without the need for discussion that they were not going to pass, pass away, and under no circumstances on.

time-read
10+ minutos  |
June 10, 2024
STATES OF PLAY
The New Yorker

STATES OF PLAY

Can advocates use state supreme courts to preserve-and perhaps expand-constitutional rights?

time-read
10+ minutos  |
June 10, 2024
THE LONG RIDE
The New Yorker

THE LONG RIDE

The surf legend Jock Sutherland's unlikely life.

time-read
10+ minutos  |
June 10, 2024
ARE WE DOOMED?
The New Yorker

ARE WE DOOMED?

A course at the University of Chicago thinks it through.

time-read
10+ minutos  |
June 10, 2024
GOD EXPLAINS THE RULES OF HIS NEW BOARD GAME
The New Yorker

GOD EXPLAINS THE RULES OF HIS NEW BOARD GAME

Guys, want to play this new board game? It’s called Life. No, it’s not “one of God’s impossible-to-understand games that take three hours to learn.” It’ll be fun, I promise!

time-read
3 minutos  |
June 10, 2024
RED LINE
The New Yorker

RED LINE

With the election approaching, the U.S. and Mexico wrangle over border policy.

time-read
10+ minutos  |
June 10, 2024