This week in the magazine, Julia Ioffe writes about the presidential campaign of the Russian billionaire Mikhail Prokhorov. Here Ioffe talks with Blake Eskin about Prokhorov's entry into politics, the recent outbreak of anti-Putin protests, and reporting from Russia in interesting times.
This week in the magazine, Jonathan Franzen writes about three of his favorite Edith Wharton novels. Here Franzen talks with Blake Eskin about Wharton's biography, her fascination with money and beauty, and her influence on Franzen's own writing.
This week in the magazine, Emily Nussbaum writes about "Miffy and Friends," "Ni Hao, Kai-Lan," "Phineas and Ferb," and other children's television shows. Here Nussbaum talks with Blake Eskin about the boom in creative new programming for children, the differences between childish and adult tastes, and the trouble with having a television policy.
This week in the magazine, the pianist Jeremy Denk writes about recording Charles Ives's "Concord" Sonata. Here he talks with Blake Eskin about the joys and frustrations of recording music, and listens to some alternate takes from the Ives sessions.
This week in the magazine, Jonah Lehrer looks at the science behind teamwork. Here Lehrer talks with Blake Eskin about why brainstorming doesn't work, and why encouraging criticism and coffee breaks does.
This week in the magazine, Donald Hall writes about growing old in the New Hampshire farmhouse where his family has lived since the end of the Civil War. Here he talks with Blake Eskin about how this place inspires his writing, why he's stopped writing poetry, and what it's like living among so many memories and stories.
This week in the magazine, John Seabrook looks at how YouTube is trying to grow. Here Seabrook talks to Blake Eskin about YouTube's new initiative to foster original programming, and what it might mean for the future of television.
This week in the magazine, Peter Hessler profiles Jake Adelstein, an American who reports on organized crime in Japan. Here Hessler talks with Blake Eskin about the yakuza, and how his own experiences as a reporter abroad compare to Adelstein's.
Blake Eskin surveys some of his favorite Out Loud podcasts from the past twelve months.
This week in the magazine, Burkhard Bilger travels to Africa and the Arabian Peninsula to see some of the techniques people are using to fight desertification. Here Blake Eskin talks with Bilger about his visit to the Sahel, and how farmers there are using agroforestry to grow crops and keep the Sahara at bay.
This week in the magazine, Alex Ross writes about the Renaissance prince and composer Don Carlo Gesualdo. Here Ross talks to Blake Eskin about Gesualdo's visionary music and violent life, with excerpts from "Felice Primavera," performed by Marco Longhini and Delitiae Musicae, "Moro, lasso," performed by Concerto Italiano, and the Responsoria cycle, performed by the Hilliard Ensemble.
This week in the magazine, David Denby reviews "The Adventures of Tintin" and "The Girl with the Dragon Tattoo." Here Denby talks with Blake Eskin about those films and other end-of-year releases looking for adult audiences and award nominations.
The Going On About Town section of the The New Yorker is now available as a free app for iPhone and Android smart phones. Along with event listings and reviews, the Goings On app also includes audio tours. Here Blake Eskin previews excerpts of Calvin Trillin's eating tour of lower Manhattan, Patricia Marx's tour of the vintage shops of SoHo, Peter Schjeldahl at the Frick Collection, and Paul Goldberger on the High Line.
This week in the magazine, Emily Nussbaum writes about Whitney Cummings, who stars in the television show "Whitney," and is also the co-creator of "2 Broke Girls." Here Nussbaum talks with Blake Eskin about what doesn't work about these two shows, and why she loves writing about television.
This week in the magazine, Thomas Mallon writes about alternative history--fiction in which the South wins the Civil War, and J.F.K. lives. Here Mallon talks with Blake Eskin about how writing alt-history can be more challenging than writing a historical novel, and which moment from the past Mallon would most like to change.