The New Yorker

The photographer Al Thompson captures the residue of gentrification and change in a once-vibrant and diverse suburban town. His sparse, black-and-white palette conveys a tenderness and affection for his subjects.

After Kathryn Schulz's father died, she inherited some of his books: Dickens and Dostoyevsky, biology and natural history, literary fiction and light verse and tragedy. She writes an ode to her father’s love of books, and his haphazard-looking organizational system for storing them. 

The former U.S. Poet Laureate W. S. Merwin, who was known for his antiwar and ecological activism, died last Friday. Since 1955, Merwin published over two hundred works of poetry and prose in our magazine, that speak to the breadth and singularity of his monumental career.

Hulu's show "Shrill" presents a likable début with the clever casting of Aidy Bryant, a warm, welcoming comedian from "Saturday Night Live." 

The chef Niki Nakayama, and her wife and collaborator, Carole Iida, are two of a small number of female chefs in a high-end Japanese culinary landscape that is virtually dominated by men. Nakayama’s restaurant has become a highly coveted reservation in L.A, with tables booked out three months in advance.

Amid dire warnings of mass extinctions and ecological catastrophe, the migratory flights of monarch butterflies are vanishing. Habitat loss, insecticides, and increasing temperatures are all threatening monarch butterfly populations. Are the butterflies resilient enough to rebound from the precipitous decline they have experienced?

Bryan Washington frequented Korean diners across Houston, Texas, where he fell in love with soondubu jjigae, a Korean stew of soft tofu served in a spicy anchovy broth, and sometimes embellished with meat or seafood. The stew is flavored with gochujang, a bright-red fermented chile paste, tangy and scalding and sweet all at once.

As a twenty-two-year-old art student, Janice Guy stored a series of experimental self-portraits in a friend's basement. Now, more than forty years later, they have found a second life. 

Between the years 1897 and 1922, the photographer Hugh Mangum set up makeshift studios across North Carolina and Virginia, where he invited black and white portrait subjects to share space together. In an era of racial terror and Jim Crow segregation, Mangum's work acts as a record of shared experience in the face of racist American customs and laws.