‘Always up close and personal, always tenacious and informed by deep background, and always vivid and veracious’ The Times ----- The greatest popular songs, whether it’s Aretha Franklin singing ‘Respect’ or Bob Dylan performing ‘Blind Willie McTell’, have a way of embedding themselves in our memories. You remember a time and a place and a feeling when you hear that song again. In Holding the Note, David Remnick writes about the lives and work of some of the greatest musicians, songwriters, and performers of the past fifty years. He portrays a series of musical lives – Leonard Cohen, Buddy Guy, Mavis Staples, Paul McCartney, Bruce Springsteen, Patti Smith, and more – and their unique encounters with the passing of that essential element of music: time. These are intimate portraits of some of the greatest creative minds of our time written with a lifetime’s passionate attachment to music that has shaped us all.

With an introduction by Salman Rushdie and an afterword by the author. It was the night of February 25, 1964. A cloud of cigar smoke drifted through the ring lights. Cassius Clay threw punches into the gray floating haze and waited for the bell. When Cassius Clay burst onto the sports scene in the 1950s, he broke the mould. He changed the world of sports and went on to change the world itself: from his early fights as Cassius Clay, the young, wiry man from Louisville, unwilling to play the noble and grateful warrior in a white world, to becoming Muhammad Ali, the voice of black America and the most recognized face on the planet. King of the World is the story of an incredible rise to power, a book of battles fought inside the ring and out. With grace and power, Pulitzer Prize-winning writer David Remnick tells of a transcendent athlete and entertainer, a rapper before rap was born. Ali was a mirror of his era, a dynamic figure in the racial and cultural clashes of his time and King of the World is a classic piece of non-fiction and a book worthy of America's most dynamic modern hero.

A collection of the New Yorker's groundbreaking writing on race in America, including work by James Baldwin, Toni Morrison, Ta-Nehisi Coates, Hilton Als, Zadie Smith, and more From the pages of the New Yorker comes a bold and telling portrait of Black life in America, with astonishing early work from Rebecca West's account of a lynching trial and James Baldwin's 'Letter from a Region in My Mind' (which later formed the basis of The Fire Next Time) to more recent writing by Toni Morrison, Ta-Nehisi Coates, Zadie Smith, Hilton Als, Jamaica Kincaid, Malcolm Gladwell, Elizabeth Alexander, Chimamanda Ngozi Adichie, Doreen St. Felix, Henry Louis Gates Jr., Kelefa Sanneh, and more. Reaching back across the last century, The Matter of Black Lives includes a wide array of material from the New Yorker archives ranging across essays, reported pieces, profiles, criticism, and historical pieces. This book addresses everything from the arts to civil rights, matters of justice, and politics, and brings us up to the present day with accounts of what Jelani Cobb calls "The American Spring." The result is a startling, nuanced and, ultimately, indelible portrait of America's complex relationship with race.

For more than eighty years, "The New Yorker" has been home to some of the toughest, wisest, funniest, and most moving sportswriting around. "The Only Game in Town" is a classic collection from a magazine with a deep bench, including such authors as Roger Angell, John Updike, Don DeLillo, and John McPhee. Hall of Famer Ring Lardner is here, bemoaning the lowering of standards for baseball achievement--in 1930. John Cheever pens a story about a boy's troubled relationship with his father and the national pastime. From Lance Armstrong to bullfighter Sidney Franklin, from the Chinese Olympics to the U.S. Open, the greatest plays and players, past and present, are all covered in "The Only Game in Town." At "The New Yorker," it's not whether you win or lose--it's how you write about the game.

New York City is not only The New Yorker's place of origin and its sensibility's lifeblood; it is the heart of American literary culture. Wonderful Town collects superb short fiction by many of the magazine's and this country's most accomplished writers. Like all good fiction, these stories take particular places, particular people, and particular events and turn them into dramas of universal enlightenment and emotional impact. Here New York is every great place and every ordinary place. Each life in it, and each life in Wonderful Town, is the life of us all.

The definitive collection of artist profiles by legendary journalist and New Yorker writer Calvin Tomkins, from the 1960s to today

When Calvin Tomkins joined The New Yorker as a staff writer in 1960, he did not plan to make art and living artists his main subjects. And yet, auspiciously for the magazine and its readers, Tomkins did just that. For the last six decades, his profiles of contemporary artists, from Jasper Johns and Robert Rauschenberg to Cindy Sherman and Mark Bradford, have become the liveliest and most authoritative guide to the art of our time. These six volumes contain eighty-two of Tomkins’s profiles, from 1962 to 2019. Balancing insight and observation with wit, candor, and appreciation, Tomkins is a master of the profile―his indelible prose forming fascinating portraits, each a work of art in its own right.

A collection of the New Yorker's groundbreaking writing on race in America, including work by James Baldwin, Toni Morrison, Ta-Nehisi Coates, Hilton Als, Zadie Smith, and more From the pages of the New Yorker comes a bold and telling portrait of Black life in America, with astonishing early work from Rebecca West's account of a lynching trial and James Baldwin's 'Letter from a Region in My Mind' (which later formed the basis of The Fire Next Time) to more recent writing by Toni Morrison, Ta-Nehisi Coates, Zadie Smith, Hilton Als, Jamaica Kincaid, Malcolm Gladwell, Elizabeth Alexander, Chimamanda Ngozi Adichie, Doreen St. Felix, Henry Louis Gates Jr., Kelefa Sanneh, and more. Reaching back across the last century, The Matter of Black Lives includes a wide array of material from the New Yorker archives ranging across essays, reported pieces, profiles, criticism, and historical pieces. This book addresses everything from the arts to civil rights, matters of justice, and politics, and brings us up to the present day with accounts of what Jelani Cobb calls "The American Spring." The result is a startling, nuanced and, ultimately, indelible portrait of America's complex relationship with race.

In the tradition of John Reed's classic Ten Days That Shook the World, this bestselling account of the collapse of the Soviet Union combines the global vision of the best historical scholarship with the immediacy of eyewitness journalism. "A moving illumination . . . Remnick is the witness for us all."--Wall Street Journal.

"Succeeds more than any previous book in bringing Ali into focus . . . as a starburst of energy, ego and ability whose like will never be seen again."--The Wall Street Journal

"Best Nonfiction Book of the Year"--Time

"Penetrating . . . reveal[s] details that even close followers of [Ali] might not have known. . . . An amazing story." --The New York Times

On the night in 1964 that Muhammad Ali (then known as Cassius Clay) stepped into the ring with Sonny Liston, he was widely regarded as an irritating freak who danced and talked way too much. Six rounds later Ali was not only the new world heavyweight boxing champion: He was "a new kind of black man" who would shortly transform America's racial politics, its popular culture, and its notions of heroism.
        No one has captured Ali--and the era that he exhilarated and sometimes infuriated--with greater vibrancy, drama, and astuteness than David Remnick, the Pulitzer Prize-winning author of Lenin's Tomb (and editor of The New Yorker). In charting Ali's rise from the gyms of Louisville, Kentucky, to his epochal fights against Liston and Floyd Patterson, Remnick creates a canvas of unparalleled richness. He gives us empathetic portraits of wisecracking sportswriters and bone-breaking mobsters; of the baleful Liston and the haunted Patterson; of an audacious Norman Mailer and an enigmatic Malcolm X. Most of all, King of the World does justice to the speed, grace, courage, humor, and ebullience of one of the greatest athletes and irresistibly dynamic personalities of our time.

"Nearly pulse-pounding narrative power . . . an important account of a period in American social history." --Chicago Tribune

"A pleasure . . . haunting . . . so vivid that one can imagine Ali saying, 'How'd you get inside my head, boy?'" --Wilfrid Sheed, Time

A classic collection of the New Yorker's most urgent and groundbreaking reporting from the front lines of the climate emergency In 1989, just one year after climatologist James Hansen first came before a Senate committee and testified that the earth was now warmer than it had ever been in recorded history, thanks to humankind's heedless consumption of fossil fuels, New Yorker writer Bill McKibben published a deeply reported and considered piece on climate change and what it could mean for the planet. At the time, the piece was to some speculative to the point of alarmist; read now, McKibben's work is heroically prescient. Since then, the New Yorker has devoted enormous attention to climate change, describing the causes of the crisis, the political and ecological conditions we now find ourselves in, and the scenarios and solutions we face. The Fragile Earth tells the story of climate change - its past, present, and future - taking readers from Greenland to the Great Plains, and into both laboratories and rain forests. It features some of the best writing on global warming from the last three decades, including Bill McKibben's seminal essay 'The End of Nature,' the first piece to popularize both the science and politics of climate change for a general audience, and the Pulitzer Prize-winning work of Elizabeth Kolbert, as well as Kathryn Schulz, Dexter Filkins, Jonathan Franzen, Ian Frazier, Eric Klinenberg, and others. The result, in its range, depth, and passion, promises to bring light, and sometimes heat, to the great emergency of our age.

In this nuanced and complex portrait of Barack Obama, Pulitzer Prize-winner David Remnick offers a thorough, intricate, and riveting account of the unique experiences that shaped our nation's first African American president.
Through extensive on-the-record interviews with friends and teachers, mentors and disparagers, family members and Obama himself, Remnick explores the elite institutions that first exposed Obama to social tensions, and the intellectual currents that contributed to his identity. Using America's racial history as a backdrop for Obama's own story, Remnick further reveals how an initially rootless and confused young man built on the experiences of an earlier generation of black leaders to become one of the central figures of our time.
Masterfully written and eminently readable, "The Bridge" is destined to be a lasting and illuminating work for years to come, by a writer with an unparalleled gift for revealing the historical significance of our present moment.

William Shawn once called The Talk of the Town the soul of the magazine. The section began in the first issue, in 1925. But it wasn't until a couple of years later, when E. B. White and James Thurber arrived, that the Talk of the Town story became what it is today: a precise piece of journalism that always gets the story and has a little fun along the way.

The Fun of It is the first anthology of Talk pieces that spans the magazine's life. Edited by Lillian Ross, the longtime Talk reporter and New Yorker staff writer, the book brings together pieces by the section's most original writers. Only in a collection of Talk stories will you find E. B. White visiting a potter's field; James Thurber following Gertrude Stein at Brentano's; Geoffrey Hellman with Cole Porter at the Waldorf Towers; A. J. Liebling on a book tour with Albert Camus; Maeve Brennan ventriloquizing the long-winded lady; John Updike navigating the passageways of midtown; Calvin Trillin marching on Washington in 1963; Jacqueline Onassis chatting with Cornell Capa; Ian Frazier at the Monster Truck and Mud Bog Fall Nationals; John McPhee in virgin forest; Mark Singer with sixth-graders adopting Hudson River striped bass; Adam Gopnik in Flatbush visiting the ìgrandest theatre devoted exclusively to the movies; Hendrik Hertzberg pinning down a Sulzberger on how the Times got colorized; George Plimpton on the tennis court with Boris Yeltsin; and Lillian Ross reporting good little stories for more than forty-five years. They and dozens of other Talk contributors provide an entertaining tour of the most famous section of the most famous magazine in the world.

Readers know from his now classic Lenin's Tomb that Remnick is a superb portraitist who can bring his subjects to life and reveal them in such surprising ways as to justify comparison to Dickens, Balzac, or Proust. In this collection, Remnick's gift for character is sharper than ever, whether he writes about Gary Hart stumbling through life after Donna Rice or Mario Cuomo, who now presides over a Saturday morning radio talk show, fielding questions from crackpots, or about Michael Jordan's awesome return to the Chicago Bulls -- or Reggie Jackson's last times at bat.
Remnick's portraits of such disparate characters as Alger Hiss and Ralph Ellison, Richard Nixon and Elaine Pagels, Gerry Adams and Marion Barry are unified by this extraordinary ability to create a living character, so that the pieces in this book, taken together, constitute a splendid pageant of the representative characters of our time.

David Remnick is a writer with a rare gift for making readers understand the hearts and minds of our public figures. Whether it's the decline and fall of Mike Tyson, Al Gore's struggle to move forward after his loss in the 2000 election, or Vladimir Putin dealing with Gorbachev's legacy, Remnick brings his subjects to life with extraordinary clarity and depth.
In "Reporting," he gives us his best writing from the past fifteen years, ranging from American politics and culture to post-Soviet Russia to the Middle East conflict; from Tony Blair grappling with Iraq, to Philip Roth making sense of America's past, to the rise of Hamas in Palestine. Both intimate and deeply informed by history, "Reporting" is an exciting and panoramic portrait of our times.

One of art's purest challenges is to translate a human being into words. The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity.

A classic collection of the New Yorker’s most urgent and groundbreaking reporting from the front lines of the climate emergency In 1989, just one year after climatologist James Hansen first came before a Senate committee and testified that the earth was now warmer than it had ever been in recorded history, thanks to humankind’s heedless consumption of fossil fuels, New Yorker writer Bill McKibben published a deeply reported and considered piece on climate change and what it could mean for the planet. At the time, the piece was to some speculative to the point of alarmist; read now, McKibben’s work is heroically prescient. Since then, the New Yorker has devoted enormous attention to climate change, describing the causes of the crisis, the political and ecological conditions we now find ourselves in, and the scenarios and solutions we face. The Fragile Earth tells the story of climate change – its past, present, and future – taking readers from Greenland to the Great Plains, and into both laboratories and rain forests. It features some of the best writing on global warming from the last three decades, including Bill McKibben’s seminal essay ‘The End of Nature,’ the first piece to popularize both the science and politics of climate change for a general audience, and the Pulitzer Prize-winning work of Elizabeth Kolbert, as well as Kathryn Schulz, Dexter Filkins, Jonathan Franzen, Ian Frazier, Eric Klinenberg, and others. The result, in its range, depth, and passion, promises to bring light, and sometimes heat, to the great emergency of our age.

A sample of the menu: Woody Allen on dieting the Dostoevski way - Roger Angell on the art of the martini - Don DeLillo on Jell-O - Malcolm Gladwell on building a better ketchup - Jane Kramer on the writer's kitchen - Chang-rae Lee on eating sea urchin - Steve Martin on menu mores - Alice McDermott on sex and ice cream - Dorothy Parker on dinner conversation - S. J. Perelman on a hollandaise assassin - Calvin Trillin on New York's best bagel
In this indispensable collection, "The New Yorker "dishes up a feast of delicious writing-food and drink memoirs, short stories, tell-alls, and poems, seasoned with a generous dash of cartoons. M.F.K. Fisher pays homage to "cookery witches," those mysterious cooks who possess "an uncanny power over food," and Adam Gopnik asks if French cuisine is done for. There is Roald Dahl's famous story "Taste," in which a wine snob's palate comes in for some unwelcome scrutiny, and Julian Barnes's ingenious tale of a lifelong gourmand who goes on a very peculiar diet. Whether you're in the mood for snacking on humor pieces and cartoons or for savoring classic profiles of great chefs and great eaters, these offerings, from every age of "The New Yorker"'s fabled eighty-year history, are sure to satisfy every taste.

From the inimitable New Yorker journalist Lillian Ross--"a collection of her most luminous New Yorker pieces" (Entertainment Weekly, grade: A).A staff writer for The New Yorker since 1945, Lillian Ross is one of the few journalists who worked for both the magazine's founding editor, Harold Ross, and its current editor, David Remnick. She "made journalistic history by pioneering the kind of novelistic nonfiction that inspired later work" (The New York Times). Reporting Always is a collection of Ross's iconic New Yorker profiles and "Talk of the Town" pieces that spans forty years. "This glorious collection by a master of the form" (Susan Orlean) brings the reader into the hotel rooms of Ernest Hemingway, John Huston, and Charlie Chaplin; Robin Williams's living room and movie set; Harry Winston's office; the tennis court with John McEnroe; Ellen Barkin's New York City home, the crosstown bus with upper east side school children; and into the lives of other famous, and not so famous, individuals. "Millennials would do well to study Ross and to study her closely," says Lena Dunham. Whether reading for pleasure or to learn about the craft, Reporting Always is a joy for readers of all ages.

"The New Yorker" is, of course, a bastion of superb essays, influential investigative journalism, and insightful arts criticism. But for eighty years, it's also been a hoot. In fact, when Harold Ross founded the legendary magazine in 1925, he called it "a comic weekly," and while it has grown into much more, it has also remained true to its original mission. Now an uproarious sampling of its funny writings can be found in a hilarious new collection, one as satirical and witty, misanthropic and menacing, as the first, "Fierce Pajamas." From the 1920s onward-but with a special focus on the latest generation-here are the humorists who set the pace and stirred the pot, pulled the leg and pinched the behind of America.
S. J. Perelman unearths the furious letters of a foreign correspondent in India to the laundry he insists on using in Paris ("Who charges six francs to wash a cummerbund?!"). Woody Allen recalls the "Whore of Mensa," who excites her customers by reading Proust (or, if you want, two girls will explain Noam Chomsky). Steve Martin's pill bottle warns us of side effects ranging from hair that smells of burning tires to teeth receiving radio broadcasts. Andy Borowitz provides his version of theater-lobby notices ("In Act III, there is full frontal nudity, but not involving the actor you would like to see naked"). David Owen's rules for dating his ex-wife start out magnanimous and swiftly disintegrate into sarcasm, self-loathing, and rage, and Noah Baumbach unfolds a history of his last relationship in the form of Zagat reviews.
Meanwhile, off in a remote "willage" in Normandy, David Sedaris is drowning a mouse ("This was for the best, whether the mouse realized it or not").
Plus asides, fancies, rebukes, and musings from Patty Marx, Calvin Trillin, Bruce McCall, Garrison Keillor, Veronica Geng, Ian Frazier, Roy Blount, Jr., and many others.
If laughter is the best medicine, "Disquiet, Please" is truly a wonder drug.

"From the Hardcover edition."

When Harold Ross founded The New Yorker in 1925, he called it a “comic weekly.” And although it has become much more than that, it has remained true in its irreverent heart to the founder’s description, publishing the most illustrious literary humorists in the modern era—among them Robert Benchley, Dorothy Parker, Groucho Marx, James Thurber, S. J. Perelman, Mike Nichols, Woody Allen, Calvin Trillin, Garrison Keillor, Ian Frazier, Roy Blount, Jr., Steve Martin, and Christopher Buckley. Fierce Pajamas is a treasury of laughter from the magazine W. H. Auden called the “best comic magazine in existence.”