“Who is the Tolstoy of the Zeldas? The Proust of the Pac-Men?”

I spent the fall trying and failing to fish with Percival Everett. My profile of him is in this week's The New Yorker.

newyorker.com/magazine/2024/…

UNESCO doesn’t just catalogue monuments. It also protects borscht, bachata, saunas, glassblowing, shrimp-fishing on horseback, and seven hundred other forms of “intangible heritage.” I wrote about their effort to save the world’s traditions for The New Yorker
newyorker.com/culture/the-we…

'Switzerland and Austria share avalanche risk management, while nearly the whole Maghreb—including bitter adversaries Morocco and Algeria—joined hands to claim custody of couscous.' This, by Julian Lucas, is incredibly fun. newyorker.com/culture/the-we…

One of the best things I’ve read since October 7th, and one of Mishra’s best essays over the years. Impossible to pluck out a line or two. Just read it: lrb.co.uk/the-paper/v46/…

In a new Weekend Essay, Julian Lucas considers what constitutes “intangible” or living cultural heritage—and why UNESCO is working to protect it. nyer.cm/zkd5J3a

I collected some good advice from Helen Oyeyemi. newyorker.com/culture/the-ne…

Joan Acocella was a true treasure. I wrote a little something about what it was like to work with her over the years for The New Yorker: newyorker.com/culture/postsc…

Applications are still open!

Join us for a conversation with former Cullman Fellow @adamshatz about his new biography of the writer-activist Frantz Fanon—who inspired today’s movements for social and racial justice. Register to join in person or online: on.nypl.org/48GLtQt

Branden Jacobs-Jenkins is a master at anatomizing American theater—and exploding its conventions. I followed the playwright to his Broadway debut, “Appropriate,” and an exclusive first look at his stage adaptation of Prince’s “Purple Rain” ☔️ newyorker.com/magazine/2024/…

Joan Acocella's writing means more to me than I can say. But the point of criticism is to try and say, and so I did. Thank you, Joan. I'll be reading you forever.

newyorker.com/magazine/2024/…

.Julian Lucas profiles the playwright Branden Jacobs-Jenkins, who has been celebrated for his masterly appropriation of theatrical conventions—and for his eagerness to explode them. nyer.cm/faqTv7s

Branden Jacobs-Jenkins is a master at anatomizing American theater—and exploding its conventions. I followed the playwright to his Broadway debut, “Appropriate,” and an exclusive first look at his stage adaptation of Prince’s “Purple Rain” ☔️ newyorker.com/magazine/2024/…

Tonight! Don't miss the great Mohamed MBougar Sarr in convo w/h Julian Lucas and Felwine Sarr! In English. Free with rsvp: bit.ly/3QtLjpu