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<!DOCTYPE html><html lang="en-US"><head><title>What Do We Buy Into When We Buy a Home? | The New Yorker</title><meta charSet="utf-8"/><meta content="IE=edge" http-equiv="X-UA-Compatible"/><meta name="msapplication-tap-highlight" content="no"/><meta name="viewport" content="width=device-width, initial-scale=1"/><meta name="author" content="Jennifer Wilson"/><meta name="copyright" content="Copyright (c) Condé Nast 2025"/><meta name="description" content="In shows like “No Good Deed” and “The Curse,” novels such as Miranda July’s “All Fours,” and books like Jonathan Tarleton’s “Homes for Living,” recent shifts in the way we think about housing have imbued the American Dream with the stuff of nightmares. 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Jennifer Wilson reports.","image-16-9":"https://media.newyorker.com/photos/67c7721cb1cd329aafddfafe/16:9/w_1000,c_limit/r45700web-site.jpg","image-1-1":"https://media.newyorker.com/photos/67c7721cb1cd329aafddfafe/1:1/w_1000,c_limit/r45700web-site.jpg"}"/><meta property="og:description" content="Homeownership, long a cherished American ideal, has become the subject of black comedies, midlife-crisis novels, and unintentionally dystopic reality TV."/><meta property="og:image" content="https://media.newyorker.com/photos/67c7721cb1cd329aafddfafe/16:9/w_1280,c_limit/r45700web-site.jpg"/><meta property="og:site_name" content="The New Yorker"/><meta property="og:title" content="What Do We Buy Into When We Buy a Home?"/><meta property="og:type" content="article"/><meta property="og:url" content="https://www.newyorker.com/magazine/2025/03/17/what-do-we-buy-into-when-we-buy-a-home"/><meta property="article:content_tier" content="free"/><meta property="article:opinion" content="false"/><meta 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{"channel":"magazine","content":{"copyCount":4654,"imageCount":0,"embedCount":7,"ratio":664.8571428571429,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["67c88ae446bf4f914905da9a"],"platform":["verso"],"tags":["reporting","magazine","annals-of-real-estate","2025-03-17"]},"targeting":{"feature_flags":[]},"server":"production","slug":"what-do-we-buy-into-when-we-buy-a-home","subChannel":"annals-of-real-estate","subSubChannel":"","templateType":"mt_article"};</script><link rel="preconnect" href="https://ads-static.conde.digital"/><script id="ads-v6" src="https://ads-static.conde.digital/production/cns/builds/the-new-yorker/v6.js" async=""></script><script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","articleBody":"Though Roger Ebert gave the film one and a half stars, “ ’Til There Was You” imprinted on me in a way that “You’ve Got Mail” never did. I wish I could say that it was because it had the more repentant developer, extolled communal living, or presented the written word as a political tool. Mostly, I coveted Gwen’s apartment. Her bare écru walls and improvised furnishings made being peripatetic and underemployed look chic—an ideal that would sustain me through many years of being a freelance journalist. And there was something so beguiling about that buzzing, open courtyard. “If real estate is a self-portrait and a class portrait, it is also a body arranging its limbs to seduce,” Deborah Levy writes in her memoir “Real Estate.” I was so seduced that for years I would type “courtyard” into the keyword search on apartment sites. I had to stop after I moved back to New York City. When I started looking for a place in Brooklyn on my own a couple of years ago, my friends warned me to manage my expectations—as in, have none. “Dishwashers are for the aristocracy,” one cautioned.\nAfter weeks of searching, I noticed an apartment within my budget on StreetEasy, but when I went to see it I realized that the living room looked out over a massive Con Ed substation, beyond which lay a cemetery. I decided that I could do either power lines or a cemetery, but not both. I felt like the protagonist of Danzy Senna’s “Symptomatic,” a journalist who moves to New York and, amid a protracted hunt, considers an apartment share where her prospective roommate likes to keep the canned foods alphabetized. She finally finds a place through a fact checker’s hairdresser’s cousin. I, too, relied on thin connections. I used a dot-edu e-mail address that I had from an adjunct teaching gig at a journalism school to find a sublet on a site called SabbaticalHomes, a “temporary shelter” in Flatbush where I could live until I got my bearings. By the time that happened, a year later, rents across the city had grown more than seven times faster than wages, according to a report released in May, 2024, that compared StreetEasy and Zillow listings with data from the U.S. Bureau of Labor Statistics. I started fantasizing about moving to Finland, finding a quiet job teaching English, and joining a socialist housing complex on the outskirts of Helsinki. The only thing stopping me was that it sounded like the beginning of a true-crime series.\nI was complaining about my rent at a friend’s birthday party when one of the guests suggested that I look into buying a place. A mortgage would lock me into a monthly rate, protecting me from the fluctuations of the rental market. There were just about seven hundred and seventy thousand problems with that plan, the main one being that that number is the average sale price of a one-bedroom co-op in the city. The guest told me she understood; she was an artist. But had I heard of something called a Housing Development Fund Corporation co-op? These were below-market-rate apartments for low- and middle-income New Yorkers. (I saw a two-bedroom H.D.F.C. co-op on StreetEasy for three hundred and forty-nine thousand dollars.) If I took a ten-hour class with a local organization, she explained, the city could provide me with a hundred thousand dollars toward a down payment. (Yes, this is how people talk at parties in New York.) To qualify at the time, I needed to make less than eighty per cent of the area median income. I had never been so grateful for my terrible life choice to major in Russian literature.\nThis chance meeting felt like a scene out of a novel I had recently read, “Terrace Story,” by Hilary Leichter, in which a character living in a cramped urban apartment meets a mysterious woman with the magical ability to expand space, who “gifts” her a terrace. I tried to forget that the novel was also a cautionary tale about what, in the quest for more, we let into our lives.\nAnd so, on a rainy night this past December, I made my way to Medgar Evers College, in Crown Heights, to attend an information session for first-time home buyers co-sponsored by Neighborhood Housing Services and the U.S. Department of Housing and Urban Development. I walked inside the glass doors of the sleek DuBois Bunche Center, named for the civil-rights leaders W. E. B. Du Bois and Ralph Bunche, and into a small, crowded auditorium, filled with about sixty New Yorkers, most Black like me. I had gone that night expecting to hear how I could save money, but instead it felt like I was there to be saved. A series of speakers appeared onstage, preaching about the virtuousness of homeowners. They were “more likely to vote,” one presenter suggested, because they were “more invested in their communities.” We would be building “generational wealth,” another speaker said, for those who came after us. What was next—mortgage as a form of “forced savings”? I had heard that line from real-estate agents trying to help me get over sticker shock.\nI was prepared to be indignant if anyone suggested that my savings or lack thereof were correlated to anything other than the exorbitant cost of living in New York, but it is true that we were near a “provisions” shop where I purchased a bar of peppermint bark for twelve dollars. Still, I wasn’t sure that buying an apartment was the solution. Some of the monthly maintenance fees for co-ops neared a thousand dollars. (These fees could include property taxes, building upkeep, and amenities like a windowless room with a few treadmills labelled “Gym.”) I thought of a friend who had just bought a place in Crown Heights. “I can’t really save now. Or spend,” she had told me. I suddenly pictured myself in my future apartment, my freedoms and pleasures restricted, all so that I could one day pass on real estate to a hypothetical child. Was this an info session or the set of “Rosemary’s Baby”?\n“No Good Deed,” on Netflix, stars Lisa Kudrow and Ray Romano as a couple of empty nesters looking to sell their charming nineteen-twenties Spanish-style home in Los Feliz. But are they hiding a dark secret that could bring down the asking price? Also on Netflix is “The Watcher,” starring Naomi Watts and Bobby Cannavale as a New York City couple who deplete their savings to purchase a dream house in suburbia. “This is America, right? Everybody buys a house they can’t afford,” Cannavale’s character quips. After they move in, the pair start receiving menacing letters from someone who is “watching” the house. In the course of seven episodes, the couple unravels over what would hurt more: getting murdered in their sleep or selling at a loss. Showtime’s “The Curse” is one part HGTV, one part “Twin Peaks,” all millennial mishegoss. Emma Stone and Nathan Fielder portray a married couple who build a Potemkin village of eco-friendly homes and pour-over coffee shops in a struggling New Mexico town. They’re desperate to lure the kind of wealthy buyers who hope to launder their class guilt in energy-efficient washers. Houses have always been haunted, but, whereas poltergeists of yore troubled the suburban idyll of white America, in these shows the scariest spectre is a disappearing profit margin.\nDuring the pandemic, homeowners became the market equivalents of people who bought Zoom stock in 2019. Low interest rates, coupled with the feeling that having your own space was a matter of life or death, sent housing prices soaring by about forty per cent; in especially hot markets, owners saw their home values practically double overnight. Popular culture both facilitated and reflected that shift. House-flipping shows like “Flip or Flop,” “Fixer Upper,” and “Windy City Rehab” primed us to see homes not as places to live in but as assets to buy and sell. “Selling Sunset,” a reality show about bleached-blond real-estate agents as identical-looking as the Hollywood mansions they were shilling, had premièred in 2019, but after 2020 everywhere in America was for sale: “Selling the OC,” “Selling Tampa,” “Selling the City” (as in New York). Before long came “Buying London,” “The Parisian Agency,” and something called “Making It in Marbella,” about Swedish real-estate agents who sell properties in Spain. I had assumed that all these shows were about the glories of owning a statement home, “Lifestyles of the Rich and Famous” for the streaming age. But these are shows about hustling. We salivate over commissions, not coved ceilings. In one episode of “Selling Sunset,” a potential buyer bemoans the lack of a gas range in a twelve-million-dollar hideaway in Beverly Hills. “Bitch, you don’t even cook!” the real-estate agent later shouts to the camera. It’s the brokers who are the heroes of these stories, the new wolves of Main Street.\nMaybe what I had been seeing in all that morbid mortgage content were the beginnings of buyer’s remorse? Since the pandemic, costs associated with owning a home in the U.S. have gone up twenty-four per cent, according to the personal-finance website Bankrate. The Joint Center for Housing Studies at Harvard University reported in 2024 that nearly a quarter of American homeowners are “cost-burdened” (meaning that more than thirty per cent of their income goes to housing). Rising insurance premiums, increased property taxes, and inflation have hit low-income homeowners especially hard, particularly those over sixty-five years old who are on fixed incomes. Is it any wonder that audiences flocked to “Wicked,” a redemption story for a woman whose sister was killed by a house?\nIn fiction, 2024 was the year of ditching the domestic. (And, if you happened upon a memoir, there was a good chance it was about someone getting divorced.) Look at the feverish reception of Miranda July’s road-trip novel “All Fours.” The main character, a married artist in her mid-forties, sets out from her Los Angeles home, stumbles into a psychosexual dynamic with a young rental-car attendee, and decides to remodel a motel room into a love nest. Rental cars, booking a room—it’s a veritable homage to the erotics of transience. You can imagine the narrator of Ayşegül Savaş’s “The Anthropologists” reading “All Fours” for a book club and having an existential crisis. Savaş’s novel is about a documentary filmmaker who, out of a sense of social obligation, decides that she and her husband should buy a place: “We’d been living in the city for several years by then, and from time to time worried that we weren’t living by the correct set of rules, that we should be making our lives sturdy.” We register her ambivalence toward homeownership when she and her husband respond with barely disguised jealousy after learning that their best friend might be leaving the city to take a new job and pursue an exciting love affair. He’s a renter—he can be that torridly free.\nI could relate. I wasn’t sure that I was ready to stop living out what the scholar Pamela Robertson Wojcik calls “the apartment plot.” In her book of the same title, which looks at mid-century representations of “urban living” in film and pop culture, Wojcik cites Doris Day in “Pillow Talk,” Lauren Bacall in “Designing Woman,” Natalie Wood in “Sex and the Single Girl,” and Audrey Hepburn in “Breakfast at Tiffany’s” as emblematic denizens of the genre. These films offered “a vision of home—centered on values of community, visibility, contact, density, friendship, mobility, impermanence, and porousness.” I would add “glamour.” Without the imperative to invest in home furnishings, Holly Golightly can blow her powder-room money on Givenchy.\nThese characters’ real-life inspirations, a postwar generation of career women living alone in New York City, occupied an anxious space in American culture: they were often portrayed as sexy but sad. The missives directed their way now sound aspirational. In 1952, an article in Mademoiselle stated, “The average career girl with an apartment of her own is notorious for the abandoned way she runs her domestic life. Home is not really home—it is a base of operations.” Though onscreen the plot necessitated that these women wind up married (and presumably with a mortgage), the fantasy of the single girl in her apartment has proved unmovable. Carrie Bradshaw goes on to live in a penthouse, but it is her single-girl one-bedroom walkup that still attracts throngs of tourists who pose for pictures on her fictional stoop. (Not for long—the real-life owner of the building just received permission from the city to build a gate in front of it.) Even the apartment plot has gone co-op.\nA new book, “Homes for Living: The Fight for Social Housing and a New American Commons,” by the urban historian Jonathan Tarleton, recounts the history of the Mitchell-Lama program and examines the threats to its survival. Those threats, he found, came from the very middle-income New Yorkers for whom these homes were built. Tarleton focusses on two buildings whose residents were given the opportunity to “go private”—that is, to leave the Mitchell-Lama system and sell their homes at market rate, pulling the affordable-housing ladder up along with them.\nIn 2014, Tarleton was the editor-in-chief of Urban Omnibus, the online publication of the Architectural League of New York. One day that fall, he received an e-mail from a man who lived in a Mitchell-Lama in lower Manhattan called Southbridge Towers. The residents there were about to vote on whether to “privatize,” and the tide was turning toward a yes. The pro-privatization camp was so confident that it threw a party at T. J. Byrnes, an Irish pub on the ground floor of the complex. On the invitation, Tarleton notes, was “a smiling, sunglasses-wearing sun” and the words “Living the Dream.” Tarleton’s book follows the lead-up to the vote at Southbridge and to a similar vote at St. James, another Mitchell-Lama, in Brooklyn’s Clinton Hill neighborhood. What ensues is a distinctly New York City opera: a bunch of loudmouths obsessed with whose apartment is worth what. A St. James resident who supported affordable housing told Tarleton that a pro-privatization co-op board member approached her and asked, “Did you call me a bitch?” The resident continued, “And I did. I’m not going to turn around and say, ‘I didn’t say it.’ That’s not who I am.” At Southbridge, a resident against privatization identified as James Szal was given a security escort home after the vote. His opponents weren’t all unsympathetic to his cause, but they couldn’t ignore the potential upside. As one put it, “Listen . . . if there’s a million dollars on the ground and I have to stoop down to pick it up, I’ll do that.”\nThe decision to privatize wasn’t as clear-cut as it might seem to a casual observer with a calculator. For one thing, the residents of Southbridge and St. James would now have the pleasure of seeing how far their money didn’t go on the New York City housing market. Yet Tarleton found that the residents were under the spell of something other than money. To them, ownership came with a vision of boundless possibility: they would get to renovate their counters without asking permission from the board (a moment of dramatic irony for anyone familiar with condo bylaws), other parents would respect them more at school drop-off, and they would get to say “we bought” without an asterisk. An eighty-two-year-old African American resident of St. James whom Tarleton refers to as Lester Goodyear wrote, in one of many manifestos he drafted, “Home ownership is also the first step in acquiring status as a First Class Citizen in America (Owning a piece of the Rock).” Where had he heard this, other than in a Prudential insurance commercial?\nHerbert Hoover, aside from his stint in the White House, lived in a hotel for most of his political career, yet he was the architect of the idea that America was a nation of homeowners. In 1931, as President, he addressed the Conference on Home Building and Home Ownership, proclaiming that homeownership was “a sentiment deep within the heart of our race and of American life.” Look no further than the American songbook, he told the crowd. “Those immortal ballads, ‘Home, Sweet Home,’ ‘My Old Kentucky Home,’ and the ‘Little Gray Home in the West,’ were not written about tenements or apartments,” he said, adding, “They never sing songs about a pile of rent receipts.”\nIn 1934, a two-story Colonial surrounded by a white picket fence and dogwood trees appeared just south of Grand Central Terminal, in Manhattan. That year, two hundred thousand visitors toured “America’s Little House,” as the model home was called. Construction was paid for by a federal program called Better Homes in America, and the only occupant was a CBS-affiliate radio station, which promoted homeownership over the airwaves. One of the first radio guests was the country’s new First Lady, Eleanor Roosevelt, whose husband would institute Federal Housing Administration loans, establish Fannie Mae, and, in 1944, pass the G.I. Bill, all of which made buying a home more financially feasible. In 1959, Vice-President Richard Nixon travelled to Moscow, where he and the Soviet Union premier, Nikita Khrushchev, conducted what became known as the “kitchen debate,” an impromptu televised back-and-forth about the merits of capitalism versus communism, while they toured an American model home outfitted with gadgets from General Electric. “Any steelworker could buy this house,” the Vice-President bragged. I learned about this exchange in a Soviet history class in college, a year before I graduated, in 2008, amid the subprime mortgage crisis.\nThere were problems with Nixon’s argument even at the time, though. Black Americans, from steelworkers to white-collar professionals, were routinely denied F.H.A. loans and often suffered under redlining policies that made homeownership prohibitively expensive for them. Tarleton believes that Black Americans’ experiences with the real-estate industry explain why the privatization vote unfolded differently at St. James and at Southbridge, with race functioning as a kind of political education. At the predominately Black St. James, residents had less faith in the market. “They would still be Black in a real estate system that had racism baked into its core,” Tarleton writes. He cites the work of my colleague Keeanga-Yamahtta Taylor, who observes, in her book “Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership,” that banks, after decades of refusing to lend or lending on discriminatory terms to Black families, pivoted from exclusion to something she calls “predatory inclusion,” targeting that same demographic with subprime mortgages.\nThe Housing and Urban Development Act of 1968 encouraged banks to make loans available to Black Americans and established HUD, which began holding information sessions similar to the one I attended last year. In other words, “more invested in your community” has historically served as a euphemism for “less likely to riot.” “For some,” Taylor writes, “the promotion of homeownership and access to credit in neighborhoods and communities that previously had been ignored was appealing as a new means of social control.” This had been true from the start, for white consumers as well. Adrienne Brown, in her book “The Residential Is Racial,” argues that campaigns like Own Your Own Home wanted white buyers to see themselves as belonging not to a multiracial working class but to a white home-owning class, who, with mortgages breathing down their necks, would be less likely to agitate for better employment terms. “Realtors framed homeownership as a fix-all for radicalism of all stripes,” Brown asserts.\nSouthbridge voted to privatize, and in time the co-op’s Listserv included such complaints as “Households without kids shouldn’t have to pay for playground maintenance.” Property taxes were starting to increase faster than earnings from the flip tax (the thirty per cent that sellers had to pay back to the co-op on their profits) could offset them. Szal, the Southbridge resident who opposed privatization, told Tarleton that he felt like Charlton Heston at the end of “Planet of the Apes,” screaming, “You maniacs! You blew it up! Damn you! God damn you all to hell!” Time will tell if the yes vote proves apocalyptic. The Southbridge vote had an antecedent across the pond. In 1981, Margaret Thatcher ushered in the Right to Buy campaign, making it possible for British citizens to buy their council homes. Forty per cent of these homes, as today’s housing activists in England are apt to repeat, ended up in the hands of private landlords.\nTarleton takes sides but doesn’t lay blame. “These pro-privatization perpetrators are also victims,” he writes. “The narrative of the American Dream, driven by capitalism and homeownership, had taught them that they were not true homeowners, and thus were lesser than their neighbors.”\nBefore the movies even started, though, there was—to my surprise—a full two-hour meeting of the Brooklyn Eviction Defense, a tenants’ union. A member of the union spoke to the room, explaining the history of the organization. It had formed in 2020, and mobilized as fears spread that the Tenant Safe Harbor Act—an early pandemic policy that suspended evictions for tenants facing financial hardships related to COVID-19—would expire. Around the city, the union has fought evictions and organized rent strikes. We were all asked to come to the front of the room, pick up a marker, and write down on a whiteboard what we thought a “world without rent” would look like.\nHow had I let my vision for what kind of world was possible become as small as a New York kitchen? This whole time, I’d been contemplating the question of whether to rent or buy, and here were people who were saying: neither.\nI imagined living in a society where people don’t need to own a home only to have something they can take out a mortgage on should calamity or college tuition strike. There, the flimsy divide between low- and middle-income workers wouldn’t be concretized through housing policy. In Vienna, for example, where income limits for government benefits are less stringent, eighty per cent of the population qualifies for social housing. (The Austrian city is famous for its Pawlatschen, “access balconies,” which open up onto a shared courtyard.) I decided that I did want to be invested in my community, but as a tenant. Something tells me that this will make me just as likely to vote—though maybe not for lower property taxes.\nI opened two new windows on my laptop. One was for the Brooklyn Eviction Defense’s website, where I began to fill out my tenant-union card. The second was for StreetEasy, where I began looking for a rent-stabilized apartment. I typed in a keyword search for “courtyard.” A girl can dream. ♦\nAn earlier version of this article misstated the period during which the G.I. Bill was passed.","isBasedOn":"","articleSection":"annals of real estate","author":[{"@type":"Person","name":"Jennifer Wilson","sameAs":"https://www.newyorker.com/contributors/jennifer-wilson"}],"dateModified":"2025-03-10T06:00:00.000-04:00","datePublished":"2025-03-10T06:00:00.000-04:00","headline":"What Do We Buy Into When We Buy a Home?","image":["https://media.newyorker.com/photos/67c7721cb1cd329aafddfafe/16:9/w_2271,h_1277,c_limit/r45700web-site.jpg","https://media.newyorker.com/photos/67c7721cb1cd329aafddfafe/4:3/w_1744,h_1308,c_limit/r45700web-site.jpg","https://media.newyorker.com/photos/67c7721cb1cd329aafddfafe/1:1/w_1249,h_1249,c_limit/r45700web-site.jpg"],"keywords":["annals of real estate","audio","splitscreenimagerightinset","onecolumnnarrow","magazine"],"thumbnailUrl":"https://media.newyorker.com/photos/67c7721cb1cd329aafddfafe/2:3/w_960,h_1440,c_limit/r45700web-site.jpg","url":"https://www.newyorker.com/magazine/2025/03/17/what-do-we-buy-into-when-we-buy-a-home","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"In shows like “No Good Deed” and “The Curse,” novels such as Miranda July’s “All Fours,” and books like Jonathan Tarleton’s “Homes for Living,” recent shifts in the way we think about housing have imbued the American Dream with the stuff of nightmares. Jennifer Wilson reports.","description":"In shows like “No Good Deed” and “The Curse,” novels such as Miranda July’s “All Fours,” and books like Jonathan Tarleton’s “Homes for Living,” recent shifts in the way we think about housing have imbued the American Dream with the stuff of nightmares. Jennifer Wilson reports.","mainEntityOfPage":{"@type":"WebPage","@id":"https://www.newyorker.com/magazine/2025/03/17/what-do-we-buy-into-when-we-buy-a-home"},"publisher":{"@context":"https://schema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https://www.newyorker.com/verso/static/thenewyorker-us/assets/the-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https://www.newyorker.com"}}</script><script type="application/ld+json">{"@context":"https://schema.org/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"Magazine","item":"https://www.newyorker.com/magazine"},{"@type":"ListItem","position":2,"name":"What Do We Buy Into When We Buy a Home?"}]}</script><meta id="google-signin-meta" name="google-signin-client_id" content="275906274807-b4eqbdqr511u9msdpj8mh0pf77fcciv7.apps.googleusercontent.com"/><script id="google-api-script" src="https://apis.google.com/js/platform.js" async="" 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SplitScreenContentHeaderDek-emptdL iUEiRd ijAEVA dJrDEb">Homeownership, long a cherished American ideal, has become the subject of black comedies, midlife-crisis novels, and unintentionally dystopic reality TV.</div><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines SplitScreenContentHeaderByline-kvEhqE iuIrnr"><span class="BylineWrapper-jWHrLH fvlutP byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM BylineLink-gEnFiw iUEiRd dTCiYp bVAERN eErqIx byline__name-link button" href="/contributors/jennifer-wilson">Jennifer Wilson</a></span></span></span></div><time data-testid="ContentHeaderPublishDate" dateTime="2025-03-10T06:00:00-04:00" class="SplitScreenContentHeaderPublishDate-bMGEVk egaTcp">March 10, 2025</time><div class="SocialIconsWrapper-hKMEXV ffgPVr social-icons social-icons--standard SplitScreenContentHeaderSocialShare-gSVclr kUKgnn" data-testid="social-icons"><ul data-testid="socialIconslist" class="SocialIconsList-cHVTIA ivmbkv social-icons__list"><li class="SocialIconsListItem-dembhR dkUZgo social-icons__list-item social-icons__list-item--facebook social-icons__list-item--standard"><a aria-label="Share on Facebook" class="external-link SocialIconExternalLink-huuzOU cLGRzS social-icons__link social-icons__link--facebook" 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https://media.newyorker.com/photos/67c7721d326ebcb492ac9629/2:2/w_1600,c_limit/r45700.jpg 1600w, https://media.newyorker.com/photos/67c7721d326ebcb492ac9629/2:2/w_1920,c_limit/r45700.jpg 1920w, https://media.newyorker.com/photos/67c7721d326ebcb492ac9629/2:2/w_2240,c_limit/r45700.jpg 2240w" sizes="100vw"/><img alt="Model of a townhouse opened up." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c7721d326ebcb492ac9629/2:2/w_2560%2Cc_limit/r45700.jpg"/></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 SplitScreenContentHeaderGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--item"><div class="CaptionWrapper-jSZdqE koIZQP caption SplitScreenContentHeaderCaption-iOfEOv ckLUKG" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Both options, renting and buying in New York City, felt unsustainable to me. Why couldn’t there be some secret third thing?</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd kboznU caption__credit">Illustration by Janne Iivonen</span></div></div></div></header></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN fRhmFI article-body__content"><div class="ActionBarWrapperContent-lasBkU jrRtuw"><div class="ActionBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh hDHofQ viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU hNBMHq bookmark large-screen"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh dupdPP viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU jbWTJi bookmark mobile"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP imbgVA"><div data-testid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG lmuXQm"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><figure class="CneAudioEmbedFigure-bRoyFa cjLQOE"><div><div id="js-audioembed-46cx1i"></div></div></figure><p class="has-dropcap has-dropcap__lead-standard-heading paywall">In the late nineties, a movie came out about a slick-talking, hot-shot developer who is about to destroy a small but cherished neighborhood institution when he reads the letters of a woman who’s trying to save it and falls in love with her. I’m not talking about “You’ve Got Mail,” Nora Ephron’s classic ode to indie bookstores and Upper West Side quaintness. I’m referring to the box-office bomb “ ’Til There Was You,” an agitprop rom-com about zoning laws written by Winnie Holzman, the creator of “My So-Called Life.” In the film, Jeanne Tripplehorn plays Gwen, a struggling ghostwriter looking to rent a place in Los Angeles. She finds an apartment in La Fortuna, a historic building—based on the real-life El Cabrillo condominium in Hollywood—where a bohemian, multigenerational coterie of residents gathers in a shared courtyard to smoke, play music, and reminisce about old flames. Gwen keeps to herself, though; this is just a “temporary shelter” until she moves to New York City to be a <em>real</em> writer. Then one day news arrives that La Fortuna is being demolished to make room for a high-rise condominium designed by a trendy architect named Nick (Dylan McDermott), and Gwen starts writing anonymous letters to a newspaper in protest. Nick reads them, at first incensed but eventually charmed. He and his landlord girlfriend (Sarah Jessica Parker) break up, he implores his firm to keep La Fortuna intact, and he races to the courtyard to find the woman behind these passionate appeals for tenants’ rights.</p><p class="paywall">Though Roger Ebert gave the film one and a half stars, “ ’Til There Was You” imprinted on me in a way that “You’ve Got Mail” never did. I wish I could say that it was because it had the more repentant developer, extolled communal living, or presented the written word as a political tool. Mostly, I coveted Gwen’s apartment. Her bare écru walls and improvised furnishings made being peripatetic and underemployed look chic—an ideal that would sustain me through many years of being a freelance journalist. And there was something so beguiling about that buzzing, open courtyard. “If real estate is a self-portrait and a class portrait, it is also a body arranging its limbs to seduce,” Deborah Levy writes in her memoir “Real Estate.” I was <em>so</em> seduced that for years I would type “courtyard” into the keyword search on apartment sites. I had to stop after I moved back to New York City. When I started looking for a place in Brooklyn on my own a couple of years ago, my friends warned me to manage my expectations—as in, have none. “Dishwashers are for the aristocracy,” one cautioned.</p><p class="paywall">After weeks of searching, I noticed an apartment within my budget on StreetEasy, but when I went to see it I realized that the living room looked out over a massive Con Ed substation, beyond which lay a cemetery. I decided that I could do either power lines or a cemetery, but not both. I felt like the protagonist of Danzy Senna’s “Symptomatic,” a journalist who moves to New York and, amid a protracted hunt, considers an apartment share where her prospective roommate likes to keep the canned foods alphabetized. She finally finds a place through a fact checker’s hairdresser’s cousin. I, too, relied on thin connections. I used a dot-edu e-mail address that I had from an adjunct teaching gig at a journalism school to find a sublet on a site called SabbaticalHomes, a “temporary shelter” in Flatbush where I could live until I got my bearings. By the time that happened, a year later, rents across the city had grown more than seven times faster than wages, according to a report released in May, 2024, that compared StreetEasy and Zillow listings with data from the U.S. Bureau of Labor Statistics. I started fantasizing about moving to Finland, finding a quiet job teaching English, and joining a socialist housing complex on the outskirts of Helsinki. The only thing stopping me was that it sounded like the beginning of a true-crime series.</p><div></div><div></div><p class="paywall">I was complaining about my rent at a friend’s birthday party when one of the guests suggested that I look into buying a place. A mortgage would lock me into a monthly rate, protecting me from the fluctuations of the rental market. There were just about seven hundred and seventy thousand problems with that plan, the main one being that that number is the average sale price of a one-bedroom co-op in the city. The guest told me she understood; she was an artist. But had I heard of something called a Housing Development Fund Corporation co-op? These were below-market-rate apartments for low- and middle-income New Yorkers. (I saw a two-bedroom H.D.F.C. co-op on StreetEasy for three hundred and forty-nine thousand dollars.) If I took a ten-hour class with a local organization, she explained, the city could provide me with a hundred thousand dollars toward a down payment. (Yes, this is how people talk at parties in New York.) To qualify at the time, I needed to make less than eighty per cent of the area median income. I had never been so grateful for my terrible life choice to major in Russian literature.</p><p class="paywall">This chance meeting felt like a scene out of a novel I had recently read, “Terrace Story,” by Hilary Leichter, in which a character living in a cramped urban apartment meets a mysterious woman with the magical ability to expand space, who “gifts” her a terrace. I tried to forget that the novel was also a cautionary tale about what, in the quest for more, we let into our lives.</p><p class="paywall">And so, on a rainy night this past December, I made my way to Medgar Evers College, in Crown Heights, to attend an information session for first-time home buyers co-sponsored by Neighborhood Housing Services and the U.S. Department of Housing and Urban Development. I walked inside the glass doors of the sleek DuBois Bunche Center, named for the civil-rights leaders W. E. B. Du Bois and Ralph Bunche, and into a small, crowded auditorium, filled with about sixty New Yorkers, most Black like me. I had gone that night expecting to hear how I could save money, but instead it felt like <em>I</em> was there to be saved. A series of speakers appeared onstage, preaching about the virtuousness of homeowners. They were “more likely to vote,” one presenter suggested, because they were “more invested in their communities.” We would be building “generational wealth,” another speaker said, for those who came after us. What was next—mortgage as a form of “forced savings”? I had heard that line from real-estate agents trying to help me get over sticker shock.</p><p class="paywall">I was prepared to be indignant if anyone suggested that my savings or lack thereof were correlated to anything other than the exorbitant cost of living in New York, but it is true that we were near a “provisions” shop where I purchased a bar of peppermint bark for twelve dollars. Still, I wasn’t sure that buying an apartment was the solution. Some of the monthly maintenance fees for co-ops neared a thousand dollars. (These fees could include property taxes, building upkeep, and amenities like a windowless room with a few treadmills labelled “Gym.”) I thought of a friend who had just bought a place in Crown Heights. “I can’t really save now. Or spend,” she had told me. I suddenly pictured myself in my future apartment, my freedoms and pleasures restricted, all so that I could one day pass on real estate to a hypothetical child. Was this an info session or the set of “Rosemary’s Baby”?</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">I wasn’t alone in feeling that some wall had been knocked down between the American Dream and the stuff of nightmares. Across popular culture, homeownership has become the subject of black comedies, midlife-crisis novels, and unintentionally dystopic reality TV.</p><p class="paywall">“No Good Deed,” on Netflix, stars Lisa Kudrow and Ray Romano as a couple of empty nesters looking to sell their charming nineteen-twenties Spanish-style home in Los Feliz. But are they hiding a dark secret that could bring down the asking price? Also on Netflix is “The Watcher,” starring Naomi Watts and Bobby Cannavale as a New York City couple who deplete their savings to purchase a dream house in suburbia. “This is America, right? Everybody buys a house they can’t afford,” Cannavale’s character quips. After they move in, the pair start receiving menacing letters from someone who is “watching” the house. In the course of seven episodes, the couple unravels over what would hurt more: getting murdered in their sleep or selling at a loss. Showtime’s “The Curse” is one part HGTV, one part “Twin Peaks,” all millennial mishegoss. Emma Stone and Nathan Fielder portray a married couple who build a Potemkin village of eco-friendly homes and pour-over coffee shops in a struggling New Mexico town. They’re desperate to lure the kind of wealthy buyers who hope to launder their class guilt in energy-efficient washers. Houses have always been haunted, but, whereas poltergeists of yore troubled the suburban idyll of white America, in these shows the scariest spectre is a disappearing profit margin.</p><div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--article-mid-content" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--article-mid-content consumer-marketing-unit__slot--in-content"></div><div class="journey-unit"></div></div></div><p class="paywall">During the pandemic, homeowners became the market equivalents of people who bought Zoom stock in 2019. Low interest rates, coupled with the feeling that having your own space was a matter of life or death, sent housing prices soaring by about forty per cent; in especially hot markets, owners saw their home values practically double overnight. Popular culture both facilitated and reflected that shift. House-flipping shows like “Flip or Flop,” “Fixer Upper,” and “Windy City Rehab” primed us to see homes not as places to live in but as assets to buy and sell. “Selling Sunset,” a reality show about bleached-blond real-estate agents as identical-looking as the Hollywood mansions they were shilling, had premièred in 2019, but after 2020 everywhere in America was for sale: “Selling the OC,” “Selling Tampa,” “Selling the City” (as in New York). Before long came “Buying London,” “The Parisian Agency,” and something called “Making It in Marbella,” about Swedish real-estate agents who sell properties in Spain. I had assumed that all these shows were about the glories of owning a statement home, “Lifestyles of the Rich and Famous” for the streaming age. But these are shows about hustling. We salivate over commissions, not coved ceilings. In one episode of “Selling Sunset,” a potential buyer bemoans the lack of a gas range in a twelve-million-dollar hideaway in Beverly Hills. “Bitch, you don’t even cook!” the real-estate agent later shouts to the camera. It’s the brokers who are the heroes of these stories, the new wolves of Main Street.</p><div class="Container-bkChBi byNLHx"></div><p class="paywall">Maybe what I had been seeing in all that morbid mortgage content were the beginnings of buyer’s remorse? Since the pandemic, costs associated with owning a home in the U.S. have gone up twenty-four per cent, according to the personal-finance website Bankrate. The Joint Center for Housing Studies at Harvard University reported in 2024 that nearly a quarter of American homeowners are “cost-burdened” (meaning that more than thirty per cent of their income goes to housing). Rising insurance premiums, increased property taxes, and inflation have hit low-income homeowners especially hard, particularly those over sixty-five years old who are on fixed incomes. Is it any wonder that audiences flocked to “Wicked,” a redemption story for a woman whose sister was killed by a house?</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan full-bleed-ad row-mid-content-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidcontent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="57afza"></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">In fiction, 2024 was the year of ditching the domestic. (And, if you happened upon a memoir, there was a good chance it was about someone getting divorced.) Look at the feverish reception of Miranda July’s road-trip novel “All Fours.” The main character, a married artist in her mid-forties, sets out from her Los Angeles home, stumbles into a psychosexual dynamic with a young rental-car attendee, and decides to remodel a motel room into a love nest. Rental cars, booking a room—it’s a veritable homage to the erotics of transience. You can imagine the narrator of Ayşegül Savaş’s “The Anthropologists” reading “All Fours” for a book club and having an existential crisis. Savaş’s novel is about a documentary filmmaker who, out of a sense of social obligation, decides that she and her husband should buy a place: “We’d been living in the city for several years by then, and from time to time worried that we weren’t living by the correct set of rules, that we should be making our lives sturdy.” We register her ambivalence toward homeownership when she and her husband respond with barely disguised jealousy after learning that their best friend might be leaving the city to take a new job and pursue an exciting love affair. He’s a renter—he can be that torridly free.</p><p class="paywall">I could relate. I wasn’t sure that I was ready to stop living out what the scholar Pamela Robertson Wojcik calls “the apartment plot.” In her book of the same title, which looks at mid-century representations of “urban living” in film and pop culture, Wojcik cites Doris Day in “Pillow Talk,” Lauren Bacall in “Designing Woman,” Natalie Wood in “Sex and the Single Girl,” and Audrey Hepburn in “Breakfast at Tiffany’s” as emblematic denizens of the genre. These films offered “a vision of home—centered on values of community, visibility, contact, density, friendship, mobility, impermanence, and porousness.” I would add “glamour.” Without the imperative to invest in home furnishings, Holly Golightly can blow her powder-room money on Givenchy.</p><p class="paywall">These characters’ real-life inspirations, a postwar generation of career women living alone in New York City, occupied an anxious space in American culture: they were often portrayed as sexy but sad. The missives directed their way now sound aspirational. In 1952, an article in <em>Mademoiselle</em> stated, “The average career girl with an apartment of her own is notorious for the abandoned way she runs her domestic life. Home is not really home—it is a base of operations.” Though onscreen the plot necessitated that these women wind up married (and presumably with a mortgage), the fantasy of the single girl in her apartment has proved unmovable. Carrie Bradshaw goes on to live in a penthouse, but it is her single-girl one-bedroom walkup that still attracts throngs of tourists who pose for pictures on her fictional stoop. (Not for long—the real-life owner of the building just received permission from the city to build a gate in front of it.) Even the apartment plot has gone co-op.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Both options, renting and buying in New York City, felt unsustainable to me. Why couldn’t there be some secret third thing? It turned out that, for decades, there had been. The Mitchell-Lama program, a nineteen-fifties urban-housing initiative, allowed New Yorkers to purchase “limited equity” co-ops, low-cost apartments that they technically owned but couldn’t resell or pass down. If you moved or “went to a better place,” your apartment would go to the next person on the waiting list. You were merely a steward. Mitchell-Lama got some surprise P.R. recently thanks to the actor Timothée Chalamet, who, during his press tour for “A Complete Unknown,” talked about growing up in Manhattan Plaza, a Mitchell-Lama in Hell’s Kitchen that was intended for artists. (Larry David and Alicia Keys also lived there.) The city stopped building new Mitchell-Lamas in the late seventies, but you can still apply for a spot in existing ones. Last year, Clayton Apartments, in Harlem, listed available studios for sale for just over twelve thousand dollars. You can see why, when New Yorkers say they won the lottery, they mean the housing lottery.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kKwZhx responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><div data-attr-viewport-monitor="" class="ResponsiveCartoonWrapper-iTMMjI eXTYsS responsive-cartoon AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset viewport-monitor-anchor"><a class="external-link responsive-cartoon__image-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.newyorker.com/cartoon/a28531"}" href="https://www.newyorker.com/cartoon/a28531" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="Woman shows picture of herself with exfriend to another woman." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_1600%2Cc_limit/a28531.jpg" srcSet="https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_120,c_limit/a28531.jpg 120w, https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_240,c_limit/a28531.jpg 240w, https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_320,c_limit/a28531.jpg 320w, https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_640,c_limit/a28531.jpg 640w, https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_960,c_limit/a28531.jpg 960w, https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_1280,c_limit/a28531.jpg 1280w, https://media.newyorker.com/cartoons/67c76e63acefba59d63467bd/master/w_1600,c_limit/a28531.jpg 1600w" sizes="100vw"/></noscript></picture></a><div class="CaptionWrapper-jSZdqE yJskm caption ResponsiveCartoonCaption-dokfdF cXfPNO responsive-cartoon__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq bsWloa caption__text">“This friend and I slowly drifted apart over many years because she was a total flake.”</span></div><div class="CaptionWrapper-jSZdqE koIZQP caption ResponsiveCartoonCredit-bKlQqO faLAFb responsive-cartoon__credit" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd bmQtfn caption__credit">Cartoon by Amy Hwang</span></div><div class="ResponsiveCartoonCTA-eiqqMB iDCQRs"><div class="ResponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="ResponsiveCartoonLinkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy link to cartoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy link to cartoon</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-copylink" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Copy link to cartoon</title><g clip-path="url(#clip0_3732_178637)"><path d="M22.654 13.67a.752.752 0 0 0 .284 1.039.787.787 0 0 0 1.063-.279l1.944-3.295c1.718-2.913.699-6.637-2.277-8.318-2.976-1.682-6.782-.684-8.5 2.229l-3.111 5.273c-1.718 2.912-.699 6.636 2.277 8.318.293.165.594.304.9.418a.694.694 0 0 0 .833-.311c.256-.434-.006-.99-.476-1.19a4.745 4.745 0 0 1-.479-.236c-2.232-1.26-2.997-4.054-1.708-6.238l3.111-5.273c1.289-2.185 4.143-2.933 6.375-1.672s2.997 4.054 1.708 6.239l-1.944 3.295ZM9.126 18.33a.752.752 0 0 0-.284-1.04.787.787 0 0 0-1.063.28l-1.944 3.296c-1.719 2.912-.699 6.636 2.277 8.317 2.976 1.682 6.782.684 8.5-2.229l3.111-5.273c1.718-2.912.699-6.636-2.277-8.318a6.327 6.327 0 0 0-.9-.419.694.694 0 0 0-.833.312c-.256.434.007.99.476 1.19.162.069.322.147.479.236 2.232 1.26 2.997 4.054 1.708 6.238l-3.111 5.273c-1.289 2.184-4.143 2.933-6.375 1.672s-2.997-4.054-1.708-6.238l1.944-3.296Z" fill="#000"></path></g><defs><clipPath id="clip0_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button><div class="AlertWrapper-gvFATk cuesfH ResponsiveCartoonLinkAlertPopup-BPAXn jeGqZC shopping-alert" role="dialog"><div aria-hidden="true" role="presentation" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMessage-jgAjgo bVCFRm iLIyQu jodGBg alert-message"><p aria-hidden="true">Link copied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-cart" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Shop</title><g clip-path="url(#clip0_3732_178638)"><path d="M2 3h4l4 17h15l4-13H14" stroke="#000" stroke-width="1.5" stroke-linejoin="round" style="fill:none"></path><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 11 29)" stroke="#000" stroke-width="1.5"></circle><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 20 29)" stroke="#000" stroke-width="1.5"></circle></g><defs><clipPath id="clip0_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button></div></div></div></span></div></figure><p class="paywall">A new book, “Homes for Living: The Fight for Social Housing and a New American Commons,” by the urban historian Jonathan Tarleton, recounts the history of the Mitchell-Lama program and examines the threats to its survival. Those threats, he found, came from the very middle-income New Yorkers for whom these homes were built. Tarleton focusses on two buildings whose residents were given the opportunity to “go private”—that is, to leave the Mitchell-Lama system and sell their homes at market rate, pulling the affordable-housing ladder up along with them.</p><p class="paywall">In 2014, Tarleton was the editor-in-chief of <em>Urban Omnibus</em>, the online publication of the Architectural League of New York. One day that fall, he received an e-mail from a man who lived in a Mitchell-Lama in lower Manhattan called Southbridge Towers. The residents there were about to vote on whether to “privatize,” and the tide was turning toward a yes. The pro-privatization camp was so confident that it threw a party at T. J. Byrnes, an Irish pub on the ground floor of the complex. On the invitation, Tarleton notes, was “a smiling, sunglasses-wearing sun” and the words “Living the Dream.” Tarleton’s book follows the lead-up to the vote at Southbridge and to a similar vote at St. James, another Mitchell-Lama, in Brooklyn’s Clinton Hill neighborhood. What ensues is a distinctly New York City opera: a bunch of loudmouths obsessed with whose apartment is worth what. A St. James resident who supported affordable housing told Tarleton that a pro-privatization co-op board member approached her and asked, “Did you call me a bitch?” The resident continued, “And I did. I’m not going to turn around and say, ‘I didn’t say it.’ That’s not who I am.” At Southbridge, a resident against privatization identified as James Szal was given a security escort home after the vote. His opponents weren’t all unsympathetic to his cause, but they couldn’t ignore the potential upside. As one put it, “Listen . . . if there’s a million dollars on the ground and I have to stoop down to pick it up, I’ll do that.”</p><p class="paywall">The decision to privatize wasn’t as clear-cut as it might seem to a casual observer with a calculator. For one thing, the residents of Southbridge and St. James would now have the pleasure of seeing how far their money didn’t go on the New York City housing market. Yet Tarleton found that the residents were under the spell of something other than money. To them, ownership came with a vision of boundless possibility: they would get to renovate their counters without asking permission from the board (a moment of dramatic irony for anyone familiar with condo bylaws), other parents would respect them more at school drop-off, and they would get to say “we bought” without an asterisk. An eighty-two-year-old African American resident of St. James whom Tarleton refers to as Lester Goodyear wrote, in one of many manifestos he drafted, “Home ownership is also the first step in acquiring status as a First Class Citizen in America (Owning a piece of the Rock).” Where had he heard this, other than in a Prudential insurance commercial?</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Tarleton sees in arguments like Goodyear’s the effects of what he calls “over a century of public policy and real estate propaganda.” American mythology about land ownership long existed as a rationale for Native dispossession, but the <em>house</em> in the little house on the prairie took center stage in 1917, the year of the Bolshevik Revolution. It was then that the U.S. Department of Labor took over a program called Own Your Own Home, which had been run by the National Association of Real Estate Boards. If “housing and cooperative arrangements evoked the supposed contagion of socialism and communism,” Tarleton writes, “the single-family home was the antidote.” The U.S. government distributed two million posters touting the virtues of homeownership to offices, factories, and churches. One stated, “A Man Who Owns His Own Home is a better worker, husband, father, citizen and a <em>real</em> American.” At the bottom, it read, “Talk to your wife about it.” Ideally, she had seen the poster that read, “How glad I am that I agreed with John when he proposed that.”</p><p class="paywall">Herbert Hoover, aside from his stint in the White House, lived in a hotel for most of his political career, yet he was the architect of the idea that America was a nation of homeowners. In 1931, as President, he addressed the Conference on Home Building and Home Ownership, proclaiming that homeownership was “a sentiment deep within the heart of our race and of American life.” Look no further than the American songbook, he told the crowd. “Those immortal ballads, ‘Home, Sweet Home,’ ‘My Old Kentucky Home,’ and the ‘Little Gray Home in the West,’ were not written about tenements or apartments,” he said, adding, “They never sing songs about a pile of rent receipts.”</p><p class="paywall">In 1934, a two-story Colonial surrounded by a white picket fence and dogwood trees appeared just south of Grand Central Terminal, in Manhattan. That year, two hundred thousand visitors toured “America’s Little House,” as the model home was called. Construction was paid for by a federal program called Better Homes in America, and the only occupant was a CBS-affiliate radio station, which promoted homeownership over the airwaves. One of the first radio guests was the country’s new First Lady, Eleanor Roosevelt, whose husband would institute Federal Housing Administration loans, establish Fannie Mae, and, in 1944, pass the G.I. Bill, all of which made buying a home more financially feasible. In 1959, Vice-President Richard Nixon travelled to Moscow, where he and the Soviet Union premier, Nikita Khrushchev, conducted what became known as the “kitchen debate,” an impromptu televised back-and-forth about the merits of capitalism versus communism, while they toured an American model home outfitted with gadgets from General Electric. “Any steelworker could buy this house,” the Vice-President bragged. I learned about this exchange in a Soviet history class in college, a year before I graduated, in 2008, amid the subprime mortgage crisis.</p><p class="paywall">There were problems with Nixon’s argument even at the time, though. Black Americans, from steelworkers to white-collar professionals, were routinely denied F.H.A. loans and often suffered under redlining policies that made homeownership prohibitively expensive for them. Tarleton believes that Black Americans’ experiences with the real-estate industry explain why the privatization vote unfolded differently at St. James and at Southbridge, with race functioning as a kind of political education. At the predominately Black St. James, residents had less faith in the market. “They would still be Black in a real estate system that had racism baked into its core,” Tarleton writes. He cites the work of my colleague Keeanga-Yamahtta Taylor, who observes, in her book “Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership,” that banks, after decades of refusing to lend or lending on discriminatory terms to Black families, pivoted from exclusion to something she calls “predatory inclusion,” targeting that same demographic with subprime mortgages.</p><p class="paywall">The Housing and Urban Development Act of 1968 encouraged banks to make loans available to Black Americans and established <em class="small">HUD</em>, which began holding information sessions similar to the one I attended last year. In other words, “more invested in your community” has historically served as a euphemism for “less likely to riot.” “For some,” Taylor writes, “the promotion of homeownership and access to credit in neighborhoods and communities that previously had been ignored was appealing as a new means of social control.” This had been true from the start, for white consumers as well. Adrienne Brown, in her book “The Residential Is Racial,” argues that campaigns like Own Your Own Home wanted white buyers to see themselves as belonging not to a multiracial working class but to a white home-owning class, who, with mortgages breathing down their necks, would be less likely to agitate for better employment terms. “Realtors framed homeownership as a fix-all for radicalism of all stripes,” Brown asserts.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan full-bleed-ad row-mid-content-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidcontent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="6htec"></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">Southbridge voted to privatize, and in time the co-op’s Listserv included such complaints as “Households without kids shouldn’t have to pay for playground maintenance.” Property taxes were starting to increase faster than earnings from the flip tax (the thirty per cent that sellers had to pay back to the co-op on their profits) could offset them. Szal, the Southbridge resident who opposed privatization, told Tarleton that he felt like Charlton Heston at the end of “Planet of the Apes,” screaming, “You maniacs! You blew it up! Damn you! God damn you all to hell!” Time will tell if the yes vote proves apocalyptic. The Southbridge vote had an antecedent across the pond. In 1981, Margaret Thatcher ushered in the Right to Buy campaign, making it possible for British citizens to buy their council homes. Forty per cent of these homes, as today’s housing activists in England are apt to repeat, ended up in the hands of private landlords.</p><p class="paywall">Tarleton takes sides but doesn’t lay blame. “These pro-privatization perpetrators are also victims,” he writes. “The narrative of the American Dream, driven by capitalism and homeownership, had taught them that they were not true homeowners, and thus were lesser than their neighbors.”</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Not long after I moved to New York, I started looking into doing a story on Cinemóvil, a left-wing film collective known for its “guerrilla screenings” across the city. I had heard that it projected “Wild in the Streets,” Barry Shear’s 1968 cult classic about generational warfare, on a screen at the corner of Ninth Street and Avenue B, where Anarchy Row—a settlement of unhoused people who were vocally resisting Mayor Eric Adams’s orders to dismantle all homeless encampments in New York City—was situated. (An Anarchy Row resident had requested the film.) On Cinemóvil’s Instagram feed, I saw a post advertising an upcoming “Anti-Landlord Halloween” double feature at Mayday, a co-working space for organizers, in Bushwick. On the docket were two Japanese horror flicks: Kimiyoshi Yasuda’s “Yokai Monsters: 100 Monsters” (1968) and Katsuhiro Otomo’s “World Apartment Horror” (1991). I was still reeling from my apartment search, and from the ghoulish tales I heard along the way—rats crawling out of bathroom drains, brokers charging fifteen per cent of the annual rent, et cetera—and so I merrily settled in for an evening of watching monsters from Japanese folklore evict developers out of existence.</p><p class="paywall">Before the movies even started, though, there was—to my surprise—a full two-hour meeting of the Brooklyn Eviction Defense, a tenants’ union. A member of the union spoke to the room, explaining the history of the organization. It had formed in 2020, and mobilized as fears spread that the Tenant Safe Harbor Act—an early pandemic policy that suspended evictions for tenants facing financial hardships related to <em class="small">COVID</em>-19—would expire. Around the city, the union has fought evictions and organized rent strikes. We were all asked to come to the front of the room, pick up a marker, and write down on a whiteboard what we thought a “world without rent” would look like.</p><p class="paywall">How had I let my vision for what kind of world was possible become as small as a New York kitchen? This whole time, I’d been contemplating the question of whether to rent or buy, and here were people who were saying: <em>neither</em>.</p><p class="paywall">I imagined living in a society where people don’t need to own a home only to have something they can take out a mortgage on should calamity or college tuition strike. There, the flimsy divide between low- and middle-income workers wouldn’t be concretized through housing policy. In Vienna, for example, where income limits for government benefits are less stringent, eighty per cent of the population qualifies for social housing. (The Austrian city is famous for its <em>Pawlatschen</em>, “access balconies,” which open up onto a shared courtyard.) I decided that I <em>did</em> want to be invested in my community, but as a tenant. Something tells me that this will make me just as likely to vote—though maybe not for lower property taxes.</p><p class="paywall">I opened two new windows on my laptop. One was for the Brooklyn Eviction Defense’s website, where I began to fill out my tenant-union card. The second was for StreetEasy, where I began looking for a rent-stabilized apartment. I typed in a keyword search for “courtyard.” A girl can dream. ♦</p><p class="paywall"><em>An earlier version of this article misstated the period during which the G.I. Bill was passed.</em></p></div></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 PaywallInlineBarrierWithWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--item"><div class="body body__inline-barrier article__body article__body--grid-margins"><div class="container container--body"><div class="container--body-inner"><aside class="PaywallInlineBarrierWrapper-iBnuqk lfXXa-D" data-testid="PaywallInlineBarrierWrapper"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--paywall-inline-barrier" role="presentation" aria-live="polite" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--paywall-inline-barrier"></div><div class="journey-unit"></div></div></aside></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ContentWrapperGrid-fvkmBv jfHKjr"><div class="GridItem-buujkM kHPPIF grid--item"><div class="body body__container"><div class="container container--body"><div class="container--body-inner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG htZQNn ArticlePageContentFooterGrid-ccsXYy fzwwkW article-body__footer"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0"><div class="GridItem-buujkM kHPPIF grid--item"><footer class="ContentFooterMagazineDisclaimer-gzKAqo juLugu" data-testid="MagazineDisclaimerWrapper">Published in the print edition of the <a href="/magazine/2025/03/17">March 17, 2025</a>, issue, with the headline “House Call.”</footer></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0"><div class="GridItem-buujkM kHPPIF grid--item"><div class="LinkStackWrapper-NFLYw kgtXXB linkstack" data-testid="LinkStack"><div class="SectionTitleRoot-dBGvdq dObkxA LinkStackHeader-lKjbE eOIsXc link-stack--heading" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">New Yorker Favorites</h2></div><div class="LinkStackContent-jyKicS gAUAiC"><ul class="LinkStackList-gGcjdZ dnMwpz"><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>The <em>Vogue</em> model who <a href="/magazine/2008/01/21/lee-miller-war-photographer-model" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">became a war photographer</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Can reading <a href="/culture/cultural-comment/can-reading-make-you-happier" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">make you happier</a>?</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Sentenced to life for an <a href="/magazine/2023/12/18/felony-murder-laws" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">accident miles away</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Why walking <a href="/tech/annals-of-technology/walking-helps-us-think" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">helps us think</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>The perils of <a href="/magazine/1953/08/08/the-perils-of-pearl-and-olga" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">Pearl and Olga</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>The resurgent appeal of <a href="/magazine/2016/11/28/the-resurgent-appeal-of-stevie-nicks" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">Stevie Nicks</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Fiction by Lore Segal: “<a href="/magazine/2017/02/27/ladies-lunch-lore-segal" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">Ladies’ Lunch</a>”</p></div></li></ul><div class="LinkStackFooter-KfRyO ebnmps link-stack--footer"><div><p><a href="https://www.newyorker.com/newsletter/daily">Sign up</a> for our daily newsletter to receive the best stories from <em>The New Yorker</em>.</p></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0"><div class="GridItem-buujkM kHPPIF grid--item"><div class="ContributorsWrapper-eNpWFu gcgHaa contributors" data-testid="Contributors"><div data-testid="contributor-bio-wrapper" class="ContributorBioWrapper-bnVHbt gukMon"><div class="ContributorBioAvatar-bIGTqf eMWbvj"><a href="/contributors/jennifer-wilson"><span class="SpanWrapper-umhxW jvZaPI responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65429d23c9c56d56b2a0bc90/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/65429d23c9c56d56b2a0bc90/1:1/w_240,c_limit/undefined 240w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65429d23c9c56d56b2a0bc90/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/65429d23c9c56d56b2a0bc90/1:1/w_240,c_limit/undefined 240w" sizes="100vw"/><img alt="" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65429d23c9c56d56b2a0bc90/1:1/w_270%2Cc_limit/undefined"/></picture></span></a></div><div class="ContributorBioContent-ubQdr jZTSSi"><div class="ContributorBioHeader-ledood XOIEx"></div><div class="ContributorBioBio-fBolsO giFhKz"><a href="/contributors/jennifer-wilson">Jennifer Wilson</a> is a staff writer at <em>The New Yorker</em> covering books and culture. In 2024, she received a Robert B. Silvers Prize for Literary Criticism.</div><div class="ContributorBioFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0"><div class="GridItem-buujkM kHPPIF grid--item"></div></div></div><div data-testid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC diNfJW"><div class="content-bottom-anchor"></div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--article-footer" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--article-footer"></div><div class="journey-unit"></div></div><div data-attr-viewport-monitor="" class="recirc-list-wrapper viewport-monitor-anchor"><div class="RecircListWrapper-iyRdDA oSvid"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan ContentFooterRelated-kEBiFe kVUuwq default-overlay"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 SummaryCollectionGridComponent-ktyEog bdTTVU summary-collection-grid RecircListDefaultOverlaySummaryCollectionGrid-AHJhY cuNcjo recirc-list__items summary-collection-grid--four-columns summary-collection-grid--DenseDesktopStack"><div class="GridItem-buujkM kHPPIF grid--item"><div class="SummaryCollectionGridContent-eVUpRm kLpQMK"><div class="SectionTitleRoot-dBGvdq ggxHzE SummaryCollectionGridSectionTitle-fCmYwG KhyPp" data-testid="SectionTitle"><header class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">Read More</header></div><div class="SummaryCollectionGridItems-DZShR fEdtRI hide-read-more-ad" data-testid="SummaryCollectionGridItems"><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only 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aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Do Democrats Need to Learn How to Build?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">A Critic at Large</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-1" data-component-type="recirc-river" data-recirc-id="item-hed-1" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/10/abundance-ezra-klein-derek-thompson-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Do Democrats Need to Learn How to Build?</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/10/abundance-ezra-klein-derek-thompson-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Do Democrats Need to Learn How to Build?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf66566ed757141704771d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Liberals have long emphasized protections over progress. Champions of the “abundance agenda” think it’s high time to speed things up.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Benjamin Wallace-Wells</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Is Gossip Good for Us?","index":1,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/24/you-didnt-hear-this-from-me-kelsey-mckinney-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/you-didnt-hear-this-from-me-kelsey-mckinney-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Is Gossip Good for Us?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Books</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-2" data-component-type="recirc-river" data-recirc-id="item-hed-2" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/24/you-didnt-hear-this-from-me-kelsey-mckinney-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Is Gossip Good for Us?</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/you-didnt-hear-this-from-me-kelsey-mckinney-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Is Gossip Good for Us?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d0960712dad421c0624aab/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Kelsey McKinney, a podcast host and a champion of gossip, is out to change the practice’s bad reputation.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Alexandra Schwartz</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Graydon Carter’s Wild Ride Through a Golden Age of Magazines","index":2,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/24/when-the-going-was-good-graydon-carter-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/when-the-going-was-good-graydon-carter-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Graydon Carter’s Wild Ride Through a Golden Age of Magazines" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Books</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-3" data-component-type="recirc-river" data-recirc-id="item-hed-3" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/24/when-the-going-was-good-graydon-carter-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Graydon Carter’s Wild Ride Through a Golden Age of Magazines</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/when-the-going-was-good-graydon-carter-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Graydon Carter’s Wild Ride Through a Golden Age of Magazines" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d09607406815e8f77f249e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The former <em>Vanity Fair</em> editor recalls a time when the expense accounts were limitless, the photo shoots were lavish, and the stakes seemed high. What else has been lost?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Nathan Heller</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Subversive Love Songs of Lucy Dacus","index":3,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/24/the-subversive-love-songs-of-lucy-dacus#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/the-subversive-love-songs-of-lucy-dacus#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Subversive Love Songs of Lucy Dacus" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Onward and Upward with the Arts</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-4" data-component-type="recirc-river" data-recirc-id="item-hed-4" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/24/the-subversive-love-songs-of-lucy-dacus#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Subversive Love Songs of Lucy Dacus</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/the-subversive-love-songs-of-lucy-dacus#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Subversive Love Songs of Lucy Dacus" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d1a4963e077c1a549ce02c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The singer-songwriter talks about boygenius, the perils of love, and “Forever Is a Feeling,” her new album.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Amanda Petrusich</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm drmLpp ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="5f6p1"></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Classic Mystery That Prefigured the Los Angeles Wildfires","index":4,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/10/the-underground-man-ross-macdonald-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/10/the-underground-man-ross-macdonald-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Classic Mystery That Prefigured the Los Angeles Wildfires" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Books</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-5" data-component-type="recirc-river" data-recirc-id="item-hed-5" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/10/the-underground-man-ross-macdonald-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Classic Mystery That Prefigured the Los Angeles Wildfires</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/10/the-underground-man-ross-macdonald-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Classic Mystery That Prefigured the Los Angeles Wildfires" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c0a25e229f5b17e6077ff8/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Ross Macdonald’s “The Underground Man” is exquisitely attuned to the Californian landscape—how it rises, falls, smells, and, most indelible of all, how it burns.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Anthony Lane</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Menopause Is Having a Moment","index":5,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/10/menopause-is-having-a-moment#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/10/menopause-is-having-a-moment#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Menopause Is Having a Moment" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Reflections</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-6" data-component-type="recirc-river" data-recirc-id="item-hed-6" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/10/menopause-is-having-a-moment#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Menopause Is Having a Moment</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/10/menopause-is-having-a-moment#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Menopause Is Having a Moment" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bcde24d8b0a99743bd9e63/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">If you’ve got ovaries, you’ll go through it. So why does every generation think it’s the first to have hot flashes?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Rebecca Mead</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Zyn and the New Nicotine Gold Rush","index":6,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/17/zyn-and-the-new-nicotine-gold-rush#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/17/zyn-and-the-new-nicotine-gold-rush#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Zyn and the New Nicotine Gold Rush" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Letter from Sweden</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-7" data-component-type="recirc-river" data-recirc-id="item-hed-7" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/17/zyn-and-the-new-nicotine-gold-rush#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Zyn and the New Nicotine Gold Rush</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/17/zyn-and-the-new-nicotine-gold-rush#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Zyn and the New Nicotine Gold Rush" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67cb77794ca901d961e940aa/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">White snus pouches were designed to help Swedish women quit cigarettes. They’ve become a staple for American dudes.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Carrie Battan</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"How an American Radical Reinvented Back-Yard Gardening","index":7,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/24/how-an-american-radical-reinvented-back-yard-gardening#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/how-an-american-radical-reinvented-back-yard-gardening#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_240,c_limit/undefined 240w, 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rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">American Chronicles</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-8" data-component-type="recirc-river" data-recirc-id="item-hed-8" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/24/how-an-american-radical-reinvented-back-yard-gardening#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">How an American Radical Reinvented Back-Yard Gardening</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/24/how-an-american-radical-reinvented-back-yard-gardening#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="How an American Radical Reinvented Back-Yard Gardening" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d096055749dafb217f1217/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Ruth Stout didn’t plow, dig, water, or weed—and now her “no-work” method is everywhere. But her secrets went beyond the garden plot.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Jill Lepore</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"What Made the Irish Famine So Deadly","index":8,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/17/rot-padraic-x-scanlan-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/17/rot-padraic-x-scanlan-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What Made the Irish Famine So Deadly" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Books</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-9" data-component-type="recirc-river" data-recirc-id="item-hed-9" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/17/rot-padraic-x-scanlan-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">What Made the Irish Famine So Deadly</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/17/rot-padraic-x-scanlan-book-review#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What Made the Irish Famine So Deadly" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c7722c674febccd3a7d36f/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Great Hunger was a modern event, shaped by the belief that the poor are the authors of their own misery and that the market must be obeyed at all costs.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Fintan O'Toole</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Long Nap of the Lazy Bureaucrat","index":9,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/the-long-nap-of-the-lazy-bureaucrat#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/the-long-nap-of-the-lazy-bureaucrat#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Long Nap of the Lazy Bureaucrat" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Lede</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-10" data-component-type="recirc-river" data-recirc-id="item-hed-10" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-lede/the-long-nap-of-the-lazy-bureaucrat#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Long Nap of the Lazy Bureaucrat</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/the-long-nap-of-the-lazy-bureaucrat#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Long Nap of the Lazy Bureaucrat" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d0519f406815e8f77f2452/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The stereotype of the unmotivated official, which has fuelled Donald Trump and Elon Musk’s assault on government workers, has existed for as long as bureaucracy itself.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Charlie Tyson</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Case of the Missing Elvis","index":10,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/03/17/the-case-of-the-missing-elvis#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/17/the-case-of-the-missing-elvis#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Case of the Missing Elvis" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Our Local Correspondents</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-11" data-component-type="recirc-river" data-recirc-id="item-hed-11" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/03/17/the-case-of-the-missing-elvis#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Case of the Missing Elvis</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/03/17/the-case-of-the-missing-elvis#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Case of the Missing Elvis" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c8aa6c6a0a06857a777771/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">When a kitschy bust of the King was swiped from the East Village restaurant where it had lived for thirty-seven years, the theft ignited a fight over the soul of downtown.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Zach Helfand</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Why I Left the Washington <em>Post</em>","index":11,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/essay/why-ruth-marcus-left-the-washington-post#intcid=_the-new-yorker-article-bottom-recirc_3886a885-159d-492e-8b82-780bf685639f_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" 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https://media.newyorker.com/photos/67d08f644b471e7eb9173545/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67d08f644b471e7eb9173545/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d08f644b471e7eb9173545/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67d08f644b471e7eb9173545/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67d08f644b471e7eb9173545/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Why I Left the Washington Post" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d08f644b471e7eb9173545/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Owner Jeff Bezos wants to transform the Opinions section of the paper, where I worked for forty years. After the publisher killed my column disagreeing with that move—it appears here in full—I decided to quit.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Ruth Marcus</span></span></span></div></div></div></div></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div></div><div data-testid="RowWrapper" 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I wish I could say that it was because it had the more repentant developer, extolled communal living, or presented the written word as a political tool. Mostly, I coveted Gwen’s apartment. Her bare écru walls and improvised furnishings made being peripatetic and underemployed look chic—an ideal that would sustain me through many years of being a freelance journalist. And there was something so beguiling about that buzzing, open courtyard. “If real estate is a self-portrait and a class portrait, it is also a body arranging its limbs to seduce,” Deborah Levy writes in her memoir “Real Estate.” I was so seduced that for years I would type “courtyard” into the keyword search on apartment sites. I had to stop after I moved back to New York City. When I started looking for a place in Brooklyn on my own a couple of years ago, my friends warned me to manage my expectations—as in, have none. “Dishwashers are for the aristocracy,” one cautioned.\nAfter weeks of searching, I noticed an apartment within my budget on StreetEasy, but when I went to see it I realized that the living room looked out over a massive Con Ed substation, beyond which lay a cemetery. I decided that I could do either power lines or a cemetery, but not both. I felt like the protagonist of Danzy Senna’s “Symptomatic,” a journalist who moves to New York and, amid a protracted hunt, considers an apartment share where her prospective roommate likes to keep the canned foods alphabetized. She finally finds a place through a fact checker’s hairdresser’s cousin. I, too, relied on thin connections. I used a dot-edu e-mail address that I had from an adjunct teaching gig at a journalism school to find a sublet on a site called SabbaticalHomes, a “temporary shelter” in Flatbush where I could live until I got my bearings. By the time that happened, a year later, rents across the city had grown more than seven times faster than wages, according to a report released in May, 2024, that compared StreetEasy and Zillow listings with data from the U.S. Bureau of Labor Statistics. I started fantasizing about moving to Finland, finding a quiet job teaching English, and joining a socialist housing complex on the outskirts of Helsinki. The only thing stopping me was that it sounded like the beginning of a true-crime series.\nI was complaining about my rent at a friend’s birthday party when one of the guests suggested that I look into buying a place. A mortgage would lock me into a monthly rate, protecting me from the fluctuations of the rental market. There were just about seven hundred and seventy thousand problems with that plan, the main one being that that number is the average sale price of a one-bedroom co-op in the city. The guest told me she understood; she was an artist. But had I heard of something called a Housing Development Fund Corporation co-op? These were below-market-rate apartments for low- and middle-income New Yorkers. (I saw a two-bedroom H.D.F.C. co-op on StreetEasy for three hundred and forty-nine thousand dollars.) If I took a ten-hour class with a local organization, she explained, the city could provide me with a hundred thousand dollars toward a down payment. (Yes, this is how people talk at parties in New York.) To qualify at the time, I needed to make less than eighty per cent of the area median income. I had never been so grateful for my terrible life choice to major in Russian literature.\nThis chance meeting felt like a scene out of a novel I had recently read, “Terrace Story,” by Hilary Leichter, in which a character living in a cramped urban apartment meets a mysterious woman with the magical ability to expand space, who “gifts” her a terrace. I tried to forget that the novel was also a cautionary tale about what, in the quest for more, we let into our lives.\nAnd so, on a rainy night this past December, I made my way to Medgar Evers College, in Crown Heights, to attend an information session for first-time home buyers co-sponsored by Neighborhood Housing Services and the U.S. Department of Housing and Urban Development. I walked inside the glass doors of the sleek DuBois Bunche Center, named for the civil-rights leaders W. E. B. Du Bois and Ralph Bunche, and into a small, crowded auditorium, filled with about sixty New Yorkers, most Black like me. I had gone that night expecting to hear how I could save money, but instead it felt like I was there to be saved. A series of speakers appeared onstage, preaching about the virtuousness of homeowners. They were “more likely to vote,” one presenter suggested, because they were “more invested in their communities.” We would be building “generational wealth,” another speaker said, for those who came after us. What was next—mortgage as a form of “forced savings”? I had heard that line from real-estate agents trying to help me get over sticker shock.\nI was prepared to be indignant if anyone suggested that my savings or lack thereof were correlated to anything other than the exorbitant cost of living in New York, but it is true that we were near a “provisions” shop where I purchased a bar of peppermint bark for twelve dollars. Still, I wasn’t sure that buying an apartment was the solution. Some of the monthly maintenance fees for co-ops neared a thousand dollars. (These fees could include property taxes, building upkeep, and amenities like a windowless room with a few treadmills labelled “Gym.”) I thought of a friend who had just bought a place in Crown Heights. “I can’t really save now. Or spend,” she had told me. I suddenly pictured myself in my future apartment, my freedoms and pleasures restricted, all so that I could one day pass on real estate to a hypothetical child. Was this an info session or the set of “Rosemary’s Baby”?\n“No Good Deed,” on Netflix, stars Lisa Kudrow and Ray Romano as a couple of empty nesters looking to sell their charming nineteen-twenties Spanish-style home in Los Feliz. But are they hiding a dark secret that could bring down the asking price? Also on Netflix is “The Watcher,” starring Naomi Watts and Bobby Cannavale as a New York City couple who deplete their savings to purchase a dream house in suburbia. “This is America, right? Everybody buys a house they can’t afford,” Cannavale’s character quips. After they move in, the pair start receiving menacing letters from someone who is “watching” the house. In the course of seven episodes, the couple unravels over what would hurt more: getting murdered in their sleep or selling at a loss. Showtime’s “The Curse” is one part HGTV, one part “Twin Peaks,” all millennial mishegoss. Emma Stone and Nathan Fielder portray a married couple who build a Potemkin village of eco-friendly homes and pour-over coffee shops in a struggling New Mexico town. They’re desperate to lure the kind of wealthy buyers who hope to launder their class guilt in energy-efficient washers. Houses have always been haunted, but, whereas poltergeists of yore troubled the suburban idyll of white America, in these shows the scariest spectre is a disappearing profit margin.\nDuring the pandemic, homeowners became the market equivalents of people who bought Zoom stock in 2019. Low interest rates, coupled with the feeling that having your own space was a matter of life or death, sent housing prices soaring by about forty per cent; in especially hot markets, owners saw their home values practically double overnight. Popular culture both facilitated and reflected that shift. House-flipping shows like “Flip or Flop,” “Fixer Upper,” and “Windy City Rehab” primed us to see homes not as places to live in but as assets to buy and sell. “Selling Sunset,” a reality show about bleached-blond real-estate agents as identical-looking as the Hollywood mansions they were shilling, had premièred in 2019, but after 2020 everywhere in America was for sale: “Selling the OC,” “Selling Tampa,” “Selling the City” (as in New York). Before long came “Buying London,” “The Parisian Agency,” and something called “Making It in Marbella,” about Swedish real-estate agents who sell properties in Spain. I had assumed that all these shows were about the glories of owning a statement home, “Lifestyles of the Rich and Famous” for the streaming age. But these are shows about hustling. We salivate over commissions, not coved ceilings. In one episode of “Selling Sunset,” a potential buyer bemoans the lack of a gas range in a twelve-million-dollar hideaway in Beverly Hills. “Bitch, you don’t even cook!” the real-estate agent later shouts to the camera. It’s the brokers who are the heroes of these stories, the new wolves of Main Street.\nMaybe what I had been seeing in all that morbid mortgage content were the beginnings of buyer’s remorse? Since the pandemic, costs associated with owning a home in the U.S. have gone up twenty-four per cent, according to the personal-finance website Bankrate. The Joint Center for Housing Studies at Harvard University reported in 2024 that nearly a quarter of American homeowners are “cost-burdened” (meaning that more than thirty per cent of their income goes to housing). Rising insurance premiums, increased property taxes, and inflation have hit low-income homeowners especially hard, particularly those over sixty-five years old who are on fixed incomes. Is it any wonder that audiences flocked to “Wicked,” a redemption story for a woman whose sister was killed by a house?\nIn fiction, 2024 was the year of ditching the domestic. (And, if you happened upon a memoir, there was a good chance it was about someone getting divorced.) Look at the feverish reception of Miranda July’s road-trip novel “All Fours.” The main character, a married artist in her mid-forties, sets out from her Los Angeles home, stumbles into a psychosexual dynamic with a young rental-car attendee, and decides to remodel a motel room into a love nest. Rental cars, booking a room—it’s a veritable homage to the erotics of transience. You can imagine the narrator of Ayşegül Savaş’s “The Anthropologists” reading “All Fours” for a book club and having an existential crisis. Savaş’s novel is about a documentary filmmaker who, out of a sense of social obligation, decides that she and her husband should buy a place: “We’d been living in the city for several years by then, and from time to time worried that we weren’t living by the correct set of rules, that we should be making our lives sturdy.” We register her ambivalence toward homeownership when she and her husband respond with barely disguised jealousy after learning that their best friend might be leaving the city to take a new job and pursue an exciting love affair. He’s a renter—he can be that torridly free.\nI could relate. I wasn’t sure that I was ready to stop living out what the scholar Pamela Robertson Wojcik calls “the apartment plot.” In her book of the same title, which looks at mid-century representations of “urban living” in film and pop culture, Wojcik cites Doris Day in “Pillow Talk,” Lauren Bacall in “Designing Woman,” Natalie Wood in “Sex and the Single Girl,” and Audrey Hepburn in “Breakfast at Tiffany’s” as emblematic denizens of the genre. These films offered “a vision of home—centered on values of community, visibility, contact, density, friendship, mobility, impermanence, and porousness.” I would add “glamour.” Without the imperative to invest in home furnishings, Holly Golightly can blow her powder-room money on Givenchy.\nThese characters’ real-life inspirations, a postwar generation of career women living alone in New York City, occupied an anxious space in American culture: they were often portrayed as sexy but sad. The missives directed their way now sound aspirational. In 1952, an article in Mademoiselle stated, “The average career girl with an apartment of her own is notorious for the abandoned way she runs her domestic life. Home is not really home—it is a base of operations.” Though onscreen the plot necessitated that these women wind up married (and presumably with a mortgage), the fantasy of the single girl in her apartment has proved unmovable. Carrie Bradshaw goes on to live in a penthouse, but it is her single-girl one-bedroom walkup that still attracts throngs of tourists who pose for pictures on her fictional stoop. (Not for long—the real-life owner of the building just received permission from the city to build a gate in front of it.) Even the apartment plot has gone co-op.\nA new book, “Homes for Living: The Fight for Social Housing and a New American Commons,” by the urban historian Jonathan Tarleton, recounts the history of the Mitchell-Lama program and examines the threats to its survival. Those threats, he found, came from the very middle-income New Yorkers for whom these homes were built. Tarleton focusses on two buildings whose residents were given the opportunity to “go private”—that is, to leave the Mitchell-Lama system and sell their homes at market rate, pulling the affordable-housing ladder up along with them.\nIn 2014, Tarleton was the editor-in-chief of Urban Omnibus, the online publication of the Architectural League of New York. One day that fall, he received an e-mail from a man who lived in a Mitchell-Lama in lower Manhattan called Southbridge Towers. The residents there were about to vote on whether to “privatize,” and the tide was turning toward a yes. The pro-privatization camp was so confident that it threw a party at T. J. Byrnes, an Irish pub on the ground floor of the complex. On the invitation, Tarleton notes, was “a smiling, sunglasses-wearing sun” and the words “Living the Dream.” Tarleton’s book follows the lead-up to the vote at Southbridge and to a similar vote at St. James, another Mitchell-Lama, in Brooklyn’s Clinton Hill neighborhood. What ensues is a distinctly New York City opera: a bunch of loudmouths obsessed with whose apartment is worth what. A St. James resident who supported affordable housing told Tarleton that a pro-privatization co-op board member approached her and asked, “Did you call me a bitch?” The resident continued, “And I did. I’m not going to turn around and say, ‘I didn’t say it.’ That’s not who I am.” At Southbridge, a resident against privatization identified as James Szal was given a security escort home after the vote. His opponents weren’t all unsympathetic to his cause, but they couldn’t ignore the potential upside. As one put it, “Listen . . . if there’s a million dollars on the ground and I have to stoop down to pick it up, I’ll do that.”\nThe decision to privatize wasn’t as clear-cut as it might seem to a casual observer with a calculator. For one thing, the residents of Southbridge and St. James would now have the pleasure of seeing how far their money didn’t go on the New York City housing market. Yet Tarleton found that the residents were under the spell of something other than money. To them, ownership came with a vision of boundless possibility: they would get to renovate their counters without asking permission from the board (a moment of dramatic irony for anyone familiar with condo bylaws), other parents would respect them more at school drop-off, and they would get to say “we bought” without an asterisk. An eighty-two-year-old African American resident of St. James whom Tarleton refers to as Lester Goodyear wrote, in one of many manifestos he drafted, “Home ownership is also the first step in acquiring status as a First Class Citizen in America (Owning a piece of the Rock).” Where had he heard this, other than in a Prudential insurance commercial?\nHerbert Hoover, aside from his stint in the White House, lived in a hotel for most of his political career, yet he was the architect of the idea that America was a nation of homeowners. In 1931, as President, he addressed the Conference on Home Building and Home Ownership, proclaiming that homeownership was “a sentiment deep within the heart of our race and of American life.” Look no further than the American songbook, he told the crowd. “Those immortal ballads, ‘Home, Sweet Home,’ ‘My Old Kentucky Home,’ and the ‘Little Gray Home in the West,’ were not written about tenements or apartments,” he said, adding, “They never sing songs about a pile of rent receipts.”\nIn 1934, a two-story Colonial surrounded by a white picket fence and dogwood trees appeared just south of Grand Central Terminal, in Manhattan. That year, two hundred thousand visitors toured “America’s Little House,” as the model home was called. Construction was paid for by a federal program called Better Homes in America, and the only occupant was a CBS-affiliate radio station, which promoted homeownership over the airwaves. One of the first radio guests was the country’s new First Lady, Eleanor Roosevelt, whose husband would institute Federal Housing Administration loans, establish Fannie Mae, and, in 1944, pass the G.I. Bill, all of which made buying a home more financially feasible. In 1959, Vice-President Richard Nixon travelled to Moscow, where he and the Soviet Union premier, Nikita Khrushchev, conducted what became known as the “kitchen debate,” an impromptu televised back-and-forth about the merits of capitalism versus communism, while they toured an American model home outfitted with gadgets from General Electric. “Any steelworker could buy this house,” the Vice-President bragged. I learned about this exchange in a Soviet history class in college, a year before I graduated, in 2008, amid the subprime mortgage crisis.\nThere were problems with Nixon’s argument even at the time, though. Black Americans, from steelworkers to white-collar professionals, were routinely denied F.H.A. loans and often suffered under redlining policies that made homeownership prohibitively expensive for them. Tarleton believes that Black Americans’ experiences with the real-estate industry explain why the privatization vote unfolded differently at St. James and at Southbridge, with race functioning as a kind of political education. At the predominately Black St. James, residents had less faith in the market. “They would still be Black in a real estate system that had racism baked into its core,” Tarleton writes. He cites the work of my colleague Keeanga-Yamahtta Taylor, who observes, in her book “Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership,” that banks, after decades of refusing to lend or lending on discriminatory terms to Black families, pivoted from exclusion to something she calls “predatory inclusion,” targeting that same demographic with subprime mortgages.\nThe Housing and Urban Development Act of 1968 encouraged banks to make loans available to Black Americans and established HUD, which began holding information sessions similar to the one I attended last year. In other words, “more invested in your community” has historically served as a euphemism for “less likely to riot.” “For some,” Taylor writes, “the promotion of homeownership and access to credit in neighborhoods and communities that previously had been ignored was appealing as a new means of social control.” This had been true from the start, for white consumers as well. Adrienne Brown, in her book “The Residential Is Racial,” argues that campaigns like Own Your Own Home wanted white buyers to see themselves as belonging not to a multiracial working class but to a white home-owning class, who, with mortgages breathing down their necks, would be less likely to agitate for better employment terms. “Realtors framed homeownership as a fix-all for radicalism of all stripes,” Brown asserts.\nSouthbridge voted to privatize, and in time the co-op’s Listserv included such complaints as “Households without kids shouldn’t have to pay for playground maintenance.” Property taxes were starting to increase faster than earnings from the flip tax (the thirty per cent that sellers had to pay back to the co-op on their profits) could offset them. Szal, the Southbridge resident who opposed privatization, told Tarleton that he felt like Charlton Heston at the end of “Planet of the Apes,” screaming, “You maniacs! You blew it up! Damn you! God damn you all to hell!” Time will tell if the yes vote proves apocalyptic. The Southbridge vote had an antecedent across the pond. In 1981, Margaret Thatcher ushered in the Right to Buy campaign, making it possible for British citizens to buy their council homes. Forty per cent of these homes, as today’s housing activists in England are apt to repeat, ended up in the hands of private landlords.\nTarleton takes sides but doesn’t lay blame. “These pro-privatization perpetrators are also victims,” he writes. “The narrative of the American Dream, driven by capitalism and homeownership, had taught them that they were not true homeowners, and thus were lesser than their neighbors.”\nBefore the movies even started, though, there was—to my surprise—a full two-hour meeting of the Brooklyn Eviction Defense, a tenants’ union. A member of the union spoke to the room, explaining the history of the organization. It had formed in 2020, and mobilized as fears spread that the Tenant Safe Harbor Act—an early pandemic policy that suspended evictions for tenants facing financial hardships related to COVID-19—would expire. Around the city, the union has fought evictions and organized rent strikes. We were all asked to come to the front of the room, pick up a marker, and write down on a whiteboard what we thought a “world without rent” would look like.\nHow had I let my vision for what kind of world was possible become as small as a New York kitchen? This whole time, I’d been contemplating the question of whether to rent or buy, and here were people who were saying: neither.\nI imagined living in a society where people don’t need to own a home only to have something they can take out a mortgage on should calamity or college tuition strike. There, the flimsy divide between low- and middle-income workers wouldn’t be concretized through housing policy. In Vienna, for example, where income limits for government benefits are less stringent, eighty per cent of the population qualifies for social housing. (The Austrian city is famous for its Pawlatschen, “access balconies,” which open up onto a shared courtyard.) I decided that I did want to be invested in my community, but as a tenant. Something tells me that this will make me just as likely to vote—though maybe not for lower property taxes.\nI opened two new windows on my laptop. One was for the Brooklyn Eviction Defense’s website, where I began to fill out my tenant-union card. The second was for StreetEasy, where I began looking for a rent-stabilized apartment. I typed in a keyword search for “courtyard.” A girl can dream. ♦\nAn earlier version of this article misstated the period during which the G.I. Bill was passed.","isBasedOn":"","articleSection":"annals of real estate","author":[{"@type":"Person","name":"Jennifer Wilson","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fjennifer-wilson"}],"dateModified":"2025-03-10T06:00:00.000-04:00","datePublished":"2025-03-10T06:00:00.000-04:00","headline":"What Do We Buy Into When We Buy a Home?","image":["https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67c7721cb1cd329aafddfafe\u002F16:9\u002Fw_2271,h_1277,c_limit\u002Fr45700web-site.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67c7721cb1cd329aafddfafe\u002F4:3\u002Fw_1744,h_1308,c_limit\u002Fr45700web-site.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67c7721cb1cd329aafddfafe\u002F1:1\u002Fw_1249,h_1249,c_limit\u002Fr45700web-site.jpg"],"keywords":["annals of real estate","audio","splitscreenimagerightinset","onecolumnnarrow","magazine"],"thumbnailUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67c7721cb1cd329aafddfafe\u002F2:3\u002Fw_960,h_1440,c_limit\u002Fr45700web-site.jpg","url":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2025\u002F03\u002F17\u002Fwhat-do-we-buy-into-when-we-buy-a-home","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"In shows like “No Good Deed” and “The Curse,” novels such as Miranda July’s “All Fours,” and books like Jonathan Tarleton’s “Homes for Living,” recent shifts in the way we think about housing have imbued the American Dream with the stuff of nightmares. Jennifer Wilson reports.","description":"In shows like “No Good Deed” and “The Curse,” novels such as Miranda July’s “All Fours,” and books like Jonathan Tarleton’s “Homes for Living,” recent shifts in the way we think about housing have imbued the American Dream with the stuff of nightmares. Jennifer Wilson reports.","mainEntityOfPage":{"@type":"WebPage","@id":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2025\u002F03\u002F17\u002Fwhat-do-we-buy-into-when-we-buy-a-home"},"publisher":{"@context":"https:\u002F\u002Fschema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https:\u002F\u002Fwww.newyorker.com\u002Fverso\u002Fstatic\u002Fthenewyorker-us\u002Fassets\u002Fthe-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https:\u002F\u002Fwww.newyorker.com"}},{"@context":"https:\u002F\u002Fschema.org\u002F","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"Magazine","item":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine"},{"@type":"ListItem","position":2,"name":"What Do We Buy Into When We Buy a Home?"}]}],"head.contentID":"67c88ae446bf4f914905da9a","head.pageType":"article","head.photos":{"image-16-9":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67c7721cb1cd329aafddfafe\u002F16:9\u002Fw_1000,c_limit\u002Fr45700web-site.jpg","image-1-1":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67c7721cb1cd329aafddfafe\u002F1:1\u002Fw_1000,c_limit\u002Fr45700web-site.jpg"},"head.firstPublishDate":"2025-03-10T10:00:00.000Z","head.primaryTagsRoot":"tags","head.hasSponsoredContent":false,"head.modifiedDate":"2025-03-10T10:00:00.000Z","head.noIndex":false,"linkBannerData":{"bannerType":"marquee","dek":"","hed":"","image":{},"links":[],"tracking":{"trackingIdentifier":"","attributes":{}}},"linkBannerId":[],"navigation":{"aboutText":"The writers you love. 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Animals](https:\u002F\u002Fwww.amazon.com\u002FOnly-Animals-Stories-Ceridwen-Dovey\u002Fdp\u002F1250097142)”; the novels “[Blood Kin](https:\u002F\u002Fwww.amazon.com\u002FBlood-Kin-Novel-Ceridwen-Dovey\u002Fdp\u002F0143114824\u002Fref=sr_1_1?keywords=blood%20kin%20ceridwen%20dovey&qid=1580757330&s=books&sr=1-1),” “[In the Garden of the Fugitives](https:\u002F\u002Fwww.amazon.com\u002Fgp\u002Fproduct\u002FB076H8WZTB\u002Fref=dbs_a_def_rwt_bibl_vppi_i2),” and “[Life After Truth](https:\u002F\u002Fwww.amazon.com\u002FLife-After-Truth-Audible-Original\u002Fdp\u002FB07Z8C5VY2\u002Fref=sr_1_1?keywords=life%20after%20truth&qid=1580757370&s=digital-text&sr=1-1)”; and the memoir-biography “[On J.M. Coetzee: Writers on Writers](https:\u002F\u002Fwww.amazon.com\u002FJM-Coetzee-Writers\u002Fdp\u002F1760640611\u002Fref=sr_1_3?keywords=on%20jm%20coetzee&qid=1580757422&s=audible&sr=1-3-catcorr).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"cultural-comment","name":"Cultural Comment"},"channels":[{"name":"Cultural Comment"},{"name":"Culture Desk"}],"hed":"Can Reading Make You Happier?","dek":"","promoHed":"Can Reading Make You Happier?","promoDek":"","url":"culture\u002Fcultural-comment\u002Fcan-reading-make-you-happier","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097cc68b51cf59fc423f0c\u002Fmaster\u002Fpass\u002FDovey-Can-Reading-Make-Us-Feel-Better.jpg","altText":"An abstract illustration of a young woman reading a book with flowers all around her. 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A second volume of her essays for the magazine, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b77019dfc3494ea36db","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b77019dfc3494ea36da_thurman-judith.png"}],"metadata":{"contentType":"photo"}},"bio":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. She writes about books, culture, and fashion. Her story on [Yves Saint Laurent](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F03\u002F18\u002Fswann-song) was chosen for “The Best American Essays of 2003.” In addition to articles about the great couturiers of the twentieth century ([Chanel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F05\u002F23\u002Fscenes-from-a-marriage-2), [Balenciaga](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2006\u002F07\u002F03\u002Fthe-absolutist), [Schiaparelli](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F27\u002Fmother-of-invention)), and the avant-gardists of this one ([Rei Kawakubo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F07\u002F04\u002Fthe-misfit-3), [Isabel Toledo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F03\u002F10\u002Ftwo-for-one), [Alexander McQueen](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2011\u002F05\u002F16\u002Fdressed-to-thrill)), Thurman has written about performance art ([Marina Abramović](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F03\u002F08\u002Fwalking-through-walls)) and photography ([Diane Arbus](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F13\u002Fexposure-time)). Much of her work focusses on the lives of writers, from [Flaubert](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F05\u002F06\u002Fan-unsimple-heart) and [Margaret Fuller](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F04\u002F01\u002Fan-unfinished-woman) to the graphic memoirist [Alison Bechdel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2012\u002F04\u002F23\u002Fdrawn-from-life). “[First Impressions](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F06\u002F23\u002Ffirst-impressions),” her 2008 reportage about the world’s oldest art—the Paleolithic paintings at the Chauvet cave, in southern France—was the inspiration for Werner Herzog’s film “Cave of Forgotten Dreams.”\n\nShe is the author of “[Isak Dinesen: The Life of a Storyteller](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312135254\u002F?ots=1&tag=thneyo0f-20),” which won the 1983 National Book Award for Nonfiction and served as the basis for Sydney Pollack’s movie “Out of Africa,” and “[Secrets of the Flesh: A Life of Colette](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0345371038\u002F?ots=1&tag=thneyo0f-20),” the winner of the Los Angeles *Times* Book Prize for biography and the Salon Book Award for biography. A collection of her *New Yorker* essays, “[Cleopatra’s Nose: 39 Varieties of Desire](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312427751\u002F?ots=1&tag=thneyo0f-20),” was published in 2007. She has received the Mary McCarthy Award for lifetime achievement; the Rungstedlund Prize, from the Royal Danish Academy; and the Harold D. Vursell Memorial Award for prose style, from the American Academy of Arts and Letters. She is also a chevalier of the French Ordre des Arts et des Lettres. A second volume of her *New Yorker* essays, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-critic-at-large","name":"A Critic at Large"},"channels":[{"name":"A Critic at Large"}],"hed":"The Roving Eye","dek":"","promoHed":"The Vogue Model Turned War Photographer","promoDek":"Lee Miller’s roving eye.","url":"magazine\u002F2008\u002F01\u002F21\u002Flee-miller-war-photographer-model","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590932dd6552fa0be682adb9\u002Fmaster\u002Fpass\u002F080121_r16991_p646.jpg","altText":"Miller in Man Ray’s “La Révolution Surréaliste” 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police station for questioning after the shooting of Olga Rocco, circa 1947.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by Anthony Camerano \u002F AP","filename":"530808_r27569.jpg","id":"59097409019dfc3494ea27fb","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"6570bc124673900c86b19177","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a02abc14b3c606c109f00","url":"contributors\u002Fsarah-stillman","name":"Sarah Stillman","title":"[Sarah Stillman](https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fsarah-stillman), a staff writer, won the 2024 Pulitzer Prize for explanatory reporting. She also received the 2012 National Magazine Award for Public Interest and the 2022 George Polk Award for Magazine Reporting. She teaches writing at Yale, and is a MacArthur Fellow.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"594872937c6fd03ae6d79cf5","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F06\u002F20\u002F594872927c6fd03ae6d79cf4_stillman-sarah.png"}],"metadata":{"contentType":"photo"}},"bio":"Sarah Stillman is a staff writer at *The New Yorker*. She teaches journalism at Yale, where she also runs the Yale Investigative Reporting Lab. Prior to founding the Lab, she ran the Global Migration Project at Columbia University’s Graduate School of Journalism. She has written on topics as varied as civil forfeiture, debtors’ prisons, climate-change profiteers, and war-zone private military contractors. In 2024, she won the Pulitzer Prize for explanatory reporting, for her [investigation into the legal doctrine of felony murder](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F12\u002F18\u002Ffelony-murder-laws), which has sent thousands of Americans to jail for crimes they didn’t commit. She also won the 2012 National Magazine Award for Public Interest for her reporting from Iraq and Afghanistan on labor abuses and human trafficking on U.S. military bases, and has received the Michael Kelly Award, the Overseas Press Club’s Joe and Laurie Dine Award for international human-rights reporting, and the Hillman Prize for Magazine Journalism. Her reporting on the high-risk use of young people as confidential informants in the war on drugs received a George Polk Award and the Molly National Journalism Prize. In 2019, she won a National Magazine Award for Public Interest for “[No Refuge](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fwhen-deportation-is-a-death-sentence).”\n\nBefore joining *The New Yorker*, Stillman wrote about America’s wars overseas and the challenges facing soldiers at home for *The Atlantic*, *The Nation*, *The New Republic*, Slate, and the Washington *Post*. She co-taught a seminar at Yale on the Iraq War, and also ran a creative-writing workshop for four years at the Cheshire Correctional Institution, a maximum-security men’s prison in Connecticut. She is a contributor to the best-selling anthology “[All We Can Save: Truth, Courage, and Solutions for the Climate Crisis](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0593237064),” and her work is included in “[The Best American Magazine Writing 2012](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231162235\u002F?ots=1&slotNum=0&imprToken=8cbf9115-cde8-076f-f61&tag=thneyo0f-20)” and “[The Best American Magazine Writing 2017](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231181590).” She was named a MacArthur Fellow in 2016.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-reporter-at-large","name":"A Reporter at Large"},"channels":[{"name":"A Reporter at Large"}],"hed":"Sentenced to Life for an Accident Miles Away","dek":"A draconian legal doctrine called felony murder has put thousands of Americans—disproportionately young and Black—in prison.","promoHed":"Sentenced to Life for an Accident Miles Away","promoDek":"A draconian legal doctrine called 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Fugitives](https:\u002F\u002Fwww.amazon.com\u002Fgp\u002Fproduct\u002FB076H8WZTB\u002Fref=dbs_a_def_rwt_bibl_vppi_i2),” and “[Life After Truth](https:\u002F\u002Fwww.amazon.com\u002FLife-After-Truth-Audible-Original\u002Fdp\u002FB07Z8C5VY2\u002Fref=sr_1_1?keywords=life%20after%20truth&qid=1580757370&s=digital-text&sr=1-1)”; and the memoir-biography “[On J.M. 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A second volume of her essays for the magazine, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b77019dfc3494ea36db","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b77019dfc3494ea36da_thurman-judith.png"}],"metadata":{"contentType":"photo"}},"bio":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. She writes about books, culture, and fashion. 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Much of her work focusses on the lives of writers, from [Flaubert](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F05\u002F06\u002Fan-unsimple-heart) and [Margaret Fuller](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F04\u002F01\u002Fan-unfinished-woman) to the graphic memoirist [Alison Bechdel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2012\u002F04\u002F23\u002Fdrawn-from-life). “[First Impressions](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F06\u002F23\u002Ffirst-impressions),” her 2008 reportage about the world’s oldest art—the Paleolithic paintings at the Chauvet cave, in southern France—was the inspiration for Werner Herzog’s film “Cave of Forgotten Dreams.”\n\nShe is the author of “[Isak Dinesen: The Life of a Storyteller](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312135254\u002F?ots=1&tag=thneyo0f-20),” which won the 1983 National Book Award for Nonfiction and served as the basis for Sydney Pollack’s movie “Out of Africa,” and “[Secrets of the Flesh: A Life of Colette](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0345371038\u002F?ots=1&tag=thneyo0f-20),” the winner of the Los Angeles *Times* Book Prize for biography and the Salon Book Award for biography. A collection of her *New Yorker* essays, “[Cleopatra’s Nose: 39 Varieties of Desire](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312427751\u002F?ots=1&tag=thneyo0f-20),” was published in 2007. She has received the Mary McCarthy Award for lifetime achievement; the Rungstedlund Prize, from the Royal Danish Academy; and the Harold D. Vursell Memorial Award for prose style, from the American Academy of Arts and Letters. She is also a chevalier of the French Ordre des Arts et des Lettres. A second volume of her *New Yorker* essays, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-critic-at-large","name":"A Critic at Large"},"channels":[{"name":"A Critic at Large"}],"hed":"The Roving Eye","dek":"","promoHed":"The Vogue Model Turned War Photographer","promoDek":"Lee Miller’s roving eye.","url":"magazine\u002F2008\u002F01\u002F21\u002Flee-miller-war-photographer-model","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590932dd6552fa0be682adb9\u002Fmaster\u002Fpass\u002F080121_r16991_p646.jpg","altText":"Miller in Man Ray’s “La Révolution Surréaliste” 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She also received the 2012 National Magazine Award for Public Interest and the 2022 George Polk Award for Magazine Reporting. She teaches writing at Yale, and is a MacArthur Fellow.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"594872937c6fd03ae6d79cf5","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F06\u002F20\u002F594872927c6fd03ae6d79cf4_stillman-sarah.png"}],"metadata":{"contentType":"photo"}},"bio":"Sarah Stillman is a staff writer at *The New Yorker*. She teaches journalism at Yale, where she also runs the Yale Investigative Reporting Lab. Prior to founding the Lab, she ran the Global Migration Project at Columbia University’s Graduate School of Journalism. She has written on topics as varied as civil forfeiture, debtors’ prisons, climate-change profiteers, and war-zone private military contractors. In 2024, she won the Pulitzer Prize for explanatory reporting, for her [investigation into the legal doctrine of felony murder](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F12\u002F18\u002Ffelony-murder-laws), which has sent thousands of Americans to jail for crimes they didn’t commit. She also won the 2012 National Magazine Award for Public Interest for her reporting from Iraq and Afghanistan on labor abuses and human trafficking on U.S. military bases, and has received the Michael Kelly Award, the Overseas Press Club’s Joe and Laurie Dine Award for international human-rights reporting, and the Hillman Prize for Magazine Journalism. Her reporting on the high-risk use of young people as confidential informants in the war on drugs received a George Polk Award and the Molly National Journalism Prize. In 2019, she won a National Magazine Award for Public Interest for “[No Refuge](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fwhen-deportation-is-a-death-sentence).”\n\nBefore joining *The New Yorker*, Stillman wrote about America’s wars overseas and the challenges facing soldiers at home for *The Atlantic*, *The Nation*, *The New Republic*, Slate, and the Washington *Post*. She co-taught a seminar at Yale on the Iraq War, and also ran a creative-writing workshop for four years at the Cheshire Correctional Institution, a maximum-security men’s prison in Connecticut. She is a contributor to the best-selling anthology “[All We Can Save: Truth, Courage, and Solutions for the Climate Crisis](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0593237064),” and her work is included in “[The Best American Magazine Writing 2012](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231162235\u002F?ots=1&slotNum=0&imprToken=8cbf9115-cde8-076f-f61&tag=thneyo0f-20)” and “[The Best American Magazine Writing 2017](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231181590).” She was named a MacArthur Fellow in 2016.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-reporter-at-large","name":"A Reporter at Large"},"channels":[{"name":"A Reporter at Large"}],"hed":"Sentenced to Life for an Accident Miles Away","dek":"A draconian legal doctrine called felony murder has put thousands of Americans—disproportionately young and Black—in prison.","promoHed":"Sentenced to Life for an Accident Miles Away","promoDek":"A draconian legal doctrine called 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Records](https:\u002F\u002Fwww.amazon.com\u002FNot-Sell-Any-Price-Obsessive\u002Fdp\u002F145166706X).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b8bebe912338a378689","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b8bebe912338a378688_petrusich-amanda.png"}],"metadata":{"contentType":"photo"}},"bio":"Amanda Petrusich is a staff writer at *The New Yorker* and the author of three books. She is the recipient of a Guggenheim Fellowship in nonfiction and has been nominated for a Grammy Award. Her criticism and features have appeared in the New York *Times*, the *Oxford American*, *Spin*, Pitchfork, *GQ*, *Esquire*, *The Atlantic*, and the *Virginia Quarterly Review*. Her book “[Do Not Sell at Any Price](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F145166706X\u002F?ots=1&slotNum=0&imprToken=1ebfa5e7-1e76-39f0-674&tag=thneyo0f-20)” explores the obsessive world of 78-r.p.m.-record collectors. 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Fugitives](https:\u002F\u002Fwww.amazon.com\u002Fgp\u002Fproduct\u002FB076H8WZTB\u002Fref=dbs_a_def_rwt_bibl_vppi_i2),” and “[Life After Truth](https:\u002F\u002Fwww.amazon.com\u002FLife-After-Truth-Audible-Original\u002Fdp\u002FB07Z8C5VY2\u002Fref=sr_1_1?keywords=life%20after%20truth&qid=1580757370&s=digital-text&sr=1-1)”; and the memoir-biography “[On J.M. Coetzee: Writers on Writers](https:\u002F\u002Fwww.amazon.com\u002FJM-Coetzee-Writers\u002Fdp\u002F1760640611\u002Fref=sr_1_3?keywords=on%20jm%20coetzee&qid=1580757422&s=audible&sr=1-3-catcorr).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"cultural-comment","name":"Cultural Comment"},"channels":[{"name":"Cultural Comment"},{"name":"Culture Desk"}],"hed":"Can Reading Make You Happier?","dek":"","promoHed":"Can Reading Make You Happier?","promoDek":"","url":"culture\u002Fcultural-comment\u002Fcan-reading-make-you-happier","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097cc68b51cf59fc423f0c\u002Fmaster\u002Fpass\u002FDovey-Can-Reading-Make-Us-Feel-Better.jpg","altText":"An abstract illustration of a young woman reading a book with flowers all around her. 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A second volume of her essays for the magazine, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b77019dfc3494ea36db","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b77019dfc3494ea36da_thurman-judith.png"}],"metadata":{"contentType":"photo"}},"bio":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. She writes about books, culture, and fashion. Her story on [Yves Saint Laurent](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F03\u002F18\u002Fswann-song) was chosen for “The Best American Essays of 2003.” In addition to articles about the great couturiers of the twentieth century ([Chanel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F05\u002F23\u002Fscenes-from-a-marriage-2), [Balenciaga](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2006\u002F07\u002F03\u002Fthe-absolutist), [Schiaparelli](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F27\u002Fmother-of-invention)), and the avant-gardists of this one ([Rei Kawakubo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F07\u002F04\u002Fthe-misfit-3), [Isabel Toledo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F03\u002F10\u002Ftwo-for-one), [Alexander McQueen](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2011\u002F05\u002F16\u002Fdressed-to-thrill)), Thurman has written about performance art ([Marina Abramović](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F03\u002F08\u002Fwalking-through-walls)) and photography ([Diane Arbus](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F13\u002Fexposure-time)). Much of her work focusses on the lives of writers, from [Flaubert](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F05\u002F06\u002Fan-unsimple-heart) and [Margaret Fuller](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F04\u002F01\u002Fan-unfinished-woman) to the graphic memoirist [Alison Bechdel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2012\u002F04\u002F23\u002Fdrawn-from-life). “[First Impressions](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F06\u002F23\u002Ffirst-impressions),” her 2008 reportage about the world’s oldest art—the Paleolithic paintings at the Chauvet cave, in southern France—was the inspiration for Werner Herzog’s film “Cave of Forgotten Dreams.”\n\nShe is the author of “[Isak Dinesen: The Life of a Storyteller](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312135254\u002F?ots=1&tag=thneyo0f-20),” which won the 1983 National Book Award for Nonfiction and served as the basis for Sydney Pollack’s movie “Out of Africa,” and “[Secrets of the Flesh: A Life of Colette](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0345371038\u002F?ots=1&tag=thneyo0f-20),” the winner of the Los Angeles *Times* Book Prize for biography and the Salon Book Award for biography. A collection of her *New Yorker* essays, “[Cleopatra’s Nose: 39 Varieties of Desire](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312427751\u002F?ots=1&tag=thneyo0f-20),” was published in 2007. She has received the Mary McCarthy Award for lifetime achievement; the Rungstedlund Prize, from the Royal Danish Academy; and the Harold D. Vursell Memorial Award for prose style, from the American Academy of Arts and Letters. She is also a chevalier of the French Ordre des Arts et des Lettres. A second volume of her *New Yorker* essays, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-critic-at-large","name":"A Critic at Large"},"channels":[{"name":"A Critic at Large"}],"hed":"The Roving Eye","dek":"","promoHed":"The Vogue Model Turned War Photographer","promoDek":"Lee Miller’s roving eye.","url":"magazine\u002F2008\u002F01\u002F21\u002Flee-miller-war-photographer-model","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590932dd6552fa0be682adb9\u002Fmaster\u002Fpass\u002F080121_r16991_p646.jpg","altText":"Miller in Man Ray’s “La Révolution Surréaliste” 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She also received the 2012 National Magazine Award for Public Interest and the 2022 George Polk Award for Magazine Reporting. She teaches writing at Yale, and is a MacArthur Fellow.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"594872937c6fd03ae6d79cf5","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F06\u002F20\u002F594872927c6fd03ae6d79cf4_stillman-sarah.png"}],"metadata":{"contentType":"photo"}},"bio":"Sarah Stillman is a staff writer at *The New Yorker*. She teaches journalism at Yale, where she also runs the Yale Investigative Reporting Lab. Prior to founding the Lab, she ran the Global Migration Project at Columbia University’s Graduate School of Journalism. She has written on topics as varied as civil forfeiture, debtors’ prisons, climate-change profiteers, and war-zone private military contractors. In 2024, she won the Pulitzer Prize for explanatory reporting, for her [investigation into the legal doctrine of felony murder](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F12\u002F18\u002Ffelony-murder-laws), which has sent thousands of Americans to jail for crimes they didn’t commit. She also won the 2012 National Magazine Award for Public Interest for her reporting from Iraq and Afghanistan on labor abuses and human trafficking on U.S. military bases, and has received the Michael Kelly Award, the Overseas Press Club’s Joe and Laurie Dine Award for international human-rights reporting, and the Hillman Prize for Magazine Journalism. Her reporting on the high-risk use of young people as confidential informants in the war on drugs received a George Polk Award and the Molly National Journalism Prize. In 2019, she won a National Magazine Award for Public Interest for “[No Refuge](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fwhen-deportation-is-a-death-sentence).”\n\nBefore joining *The New Yorker*, Stillman wrote about America’s wars overseas and the challenges facing soldiers at home for *The Atlantic*, *The Nation*, *The New Republic*, Slate, and the Washington *Post*. She co-taught a seminar at Yale on the Iraq War, and also ran a creative-writing workshop for four years at the Cheshire Correctional Institution, a maximum-security men’s prison in Connecticut. She is a contributor to the best-selling anthology “[All We Can Save: Truth, Courage, and Solutions for the Climate Crisis](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0593237064),” and her work is included in “[The Best American Magazine Writing 2012](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231162235\u002F?ots=1&slotNum=0&imprToken=8cbf9115-cde8-076f-f61&tag=thneyo0f-20)” and “[The Best American Magazine Writing 2017](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231181590).” She was named a MacArthur Fellow in 2016.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-reporter-at-large","name":"A Reporter at Large"},"channels":[{"name":"A Reporter at Large"}],"hed":"Sentenced to Life for an Accident Miles Away","dek":"A draconian legal doctrine called felony murder has put thousands of Americans—disproportionately young and Black—in prison.","promoHed":"Sentenced to Life for an Accident Miles Away","promoDek":"A draconian legal doctrine called 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Fugitives](https:\u002F\u002Fwww.amazon.com\u002Fgp\u002Fproduct\u002FB076H8WZTB\u002Fref=dbs_a_def_rwt_bibl_vppi_i2),” and “[Life After Truth](https:\u002F\u002Fwww.amazon.com\u002FLife-After-Truth-Audible-Original\u002Fdp\u002FB07Z8C5VY2\u002Fref=sr_1_1?keywords=life%20after%20truth&qid=1580757370&s=digital-text&sr=1-1)”; and the memoir-biography “[On J.M. Coetzee: Writers on Writers](https:\u002F\u002Fwww.amazon.com\u002FJM-Coetzee-Writers\u002Fdp\u002F1760640611\u002Fref=sr_1_3?keywords=on%20jm%20coetzee&qid=1580757422&s=audible&sr=1-3-catcorr).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"cultural-comment","name":"Cultural Comment"},"channels":[{"name":"Cultural Comment"},{"name":"Culture Desk"}],"hed":"Can Reading Make You Happier?","dek":"","promoHed":"Can Reading Make You Happier?","promoDek":"","url":"culture\u002Fcultural-comment\u002Fcan-reading-make-you-happier","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097cc68b51cf59fc423f0c\u002Fmaster\u002Fpass\u002FDovey-Can-Reading-Make-Us-Feel-Better.jpg","altText":"An abstract illustration of a young woman reading a book with flowers all around her. 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A second volume of her essays for the magazine, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b77019dfc3494ea36db","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b77019dfc3494ea36da_thurman-judith.png"}],"metadata":{"contentType":"photo"}},"bio":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. She writes about books, culture, and fashion. 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Much of her work focusses on the lives of writers, from [Flaubert](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F05\u002F06\u002Fan-unsimple-heart) and [Margaret Fuller](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F04\u002F01\u002Fan-unfinished-woman) to the graphic memoirist [Alison Bechdel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2012\u002F04\u002F23\u002Fdrawn-from-life). “[First Impressions](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F06\u002F23\u002Ffirst-impressions),” her 2008 reportage about the world’s oldest art—the Paleolithic paintings at the Chauvet cave, in southern France—was the inspiration for Werner Herzog’s film “Cave of Forgotten Dreams.”\n\nShe is the author of “[Isak Dinesen: The Life of a Storyteller](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312135254\u002F?ots=1&tag=thneyo0f-20),” which won the 1983 National Book Award for Nonfiction and served as the basis for Sydney Pollack’s movie “Out of Africa,” and “[Secrets of the Flesh: A Life of Colette](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0345371038\u002F?ots=1&tag=thneyo0f-20),” the winner of the Los Angeles *Times* Book Prize for biography and the Salon Book Award for biography. A collection of her *New Yorker* essays, “[Cleopatra’s Nose: 39 Varieties of Desire](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312427751\u002F?ots=1&tag=thneyo0f-20),” was published in 2007. She has received the Mary McCarthy Award for lifetime achievement; the Rungstedlund Prize, from the Royal Danish Academy; and the Harold D. Vursell Memorial Award for prose style, from the American Academy of Arts and Letters. She is also a chevalier of the French Ordre des Arts et des Lettres. A second volume of her *New Yorker* essays, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-critic-at-large","name":"A Critic at Large"},"channels":[{"name":"A Critic at Large"}],"hed":"The Roving Eye","dek":"","promoHed":"The Vogue Model Turned War Photographer","promoDek":"Lee Miller’s roving eye.","url":"magazine\u002F2008\u002F01\u002F21\u002Flee-miller-war-photographer-model","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590932dd6552fa0be682adb9\u002Fmaster\u002Fpass\u002F080121_r16991_p646.jpg","altText":"Miller in Man Ray’s “La Révolution Surréaliste” 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She also received the 2012 National Magazine Award for Public Interest and the 2022 George Polk Award for Magazine Reporting. She teaches writing at Yale, and is a MacArthur Fellow.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"594872937c6fd03ae6d79cf5","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F06\u002F20\u002F594872927c6fd03ae6d79cf4_stillman-sarah.png"}],"metadata":{"contentType":"photo"}},"bio":"Sarah Stillman is a staff writer at *The New Yorker*. She teaches journalism at Yale, where she also runs the Yale Investigative Reporting Lab. Prior to founding the Lab, she ran the Global Migration Project at Columbia University’s Graduate School of Journalism. She has written on topics as varied as civil forfeiture, debtors’ prisons, climate-change profiteers, and war-zone private military contractors. In 2024, she won the Pulitzer Prize for explanatory reporting, for her [investigation into the legal doctrine of felony murder](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F12\u002F18\u002Ffelony-murder-laws), which has sent thousands of Americans to jail for crimes they didn’t commit. She also won the 2012 National Magazine Award for Public Interest for her reporting from Iraq and Afghanistan on labor abuses and human trafficking on U.S. military bases, and has received the Michael Kelly Award, the Overseas Press Club’s Joe and Laurie Dine Award for international human-rights reporting, and the Hillman Prize for Magazine Journalism. Her reporting on the high-risk use of young people as confidential informants in the war on drugs received a George Polk Award and the Molly National Journalism Prize. In 2019, she won a National Magazine Award for Public Interest for “[No Refuge](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fwhen-deportation-is-a-death-sentence).”\n\nBefore joining *The New Yorker*, Stillman wrote about America’s wars overseas and the challenges facing soldiers at home for *The Atlantic*, *The Nation*, *The New Republic*, Slate, and the Washington *Post*. She co-taught a seminar at Yale on the Iraq War, and also ran a creative-writing workshop for four years at the Cheshire Correctional Institution, a maximum-security men’s prison in Connecticut. She is a contributor to the best-selling anthology “[All We Can Save: Truth, Courage, and Solutions for the Climate Crisis](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0593237064),” and her work is included in “[The Best American Magazine Writing 2012](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231162235\u002F?ots=1&slotNum=0&imprToken=8cbf9115-cde8-076f-f61&tag=thneyo0f-20)” and “[The Best American Magazine Writing 2017](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231181590).” She was named a MacArthur Fellow in 2016.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-reporter-at-large","name":"A Reporter at Large"},"channels":[{"name":"A Reporter at Large"}],"hed":"Sentenced to Life for an Accident Miles Away","dek":"A draconian legal doctrine called felony murder has put thousands of Americans—disproportionately young and Black—in prison.","promoHed":"Sentenced to Life for an Accident Miles Away","promoDek":"A draconian legal doctrine called 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Records](https:\u002F\u002Fwww.amazon.com\u002FNot-Sell-Any-Price-Obsessive\u002Fdp\u002F145166706X).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b8bebe912338a378689","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b8bebe912338a378688_petrusich-amanda.png"}],"metadata":{"contentType":"photo"}},"bio":"Amanda Petrusich is a staff writer at *The New Yorker* and the author of three books. She is the recipient of a Guggenheim Fellowship in nonfiction and has been nominated for a Grammy Award. Her criticism and features have appeared in the New York *Times*, the *Oxford American*, *Spin*, Pitchfork, *GQ*, *Esquire*, *The Atlantic*, and the *Virginia Quarterly Review*. Her book “[Do Not Sell at Any Price](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F145166706X\u002F?ots=1&slotNum=0&imprToken=1ebfa5e7-1e76-39f0-674&tag=thneyo0f-20)” explores the obsessive world of 78-r.p.m.-record collectors. 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Fugitives](https:\u002F\u002Fwww.amazon.com\u002Fgp\u002Fproduct\u002FB076H8WZTB\u002Fref=dbs_a_def_rwt_bibl_vppi_i2),” and “[Life After Truth](https:\u002F\u002Fwww.amazon.com\u002FLife-After-Truth-Audible-Original\u002Fdp\u002FB07Z8C5VY2\u002Fref=sr_1_1?keywords=life%20after%20truth&qid=1580757370&s=digital-text&sr=1-1)”; and the memoir-biography “[On J.M. Coetzee: Writers on Writers](https:\u002F\u002Fwww.amazon.com\u002FJM-Coetzee-Writers\u002Fdp\u002F1760640611\u002Fref=sr_1_3?keywords=on%20jm%20coetzee&qid=1580757422&s=audible&sr=1-3-catcorr).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"cultural-comment","name":"Cultural Comment"},"channels":[{"name":"Cultural Comment"},{"name":"Culture Desk"}],"hed":"Can Reading Make You Happier?","dek":"","promoHed":"Can Reading Make You Happier?","promoDek":"","url":"culture\u002Fcultural-comment\u002Fcan-reading-make-you-happier","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097cc68b51cf59fc423f0c\u002Fmaster\u002Fpass\u002FDovey-Can-Reading-Make-Us-Feel-Better.jpg","altText":"An abstract illustration of a young woman reading a book with flowers all around her. 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A second volume of her essays for the magazine, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b77019dfc3494ea36db","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b77019dfc3494ea36da_thurman-judith.png"}],"metadata":{"contentType":"photo"}},"bio":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. She writes about books, culture, and fashion. Her story on [Yves Saint Laurent](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F03\u002F18\u002Fswann-song) was chosen for “The Best American Essays of 2003.” In addition to articles about the great couturiers of the twentieth century ([Chanel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F05\u002F23\u002Fscenes-from-a-marriage-2), [Balenciaga](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2006\u002F07\u002F03\u002Fthe-absolutist), [Schiaparelli](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F27\u002Fmother-of-invention)), and the avant-gardists of this one ([Rei Kawakubo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F07\u002F04\u002Fthe-misfit-3), [Isabel Toledo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F03\u002F10\u002Ftwo-for-one), [Alexander McQueen](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2011\u002F05\u002F16\u002Fdressed-to-thrill)), Thurman has written about performance art ([Marina Abramović](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F03\u002F08\u002Fwalking-through-walls)) and photography ([Diane Arbus](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F13\u002Fexposure-time)). Much of her work focusses on the lives of writers, from [Flaubert](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F05\u002F06\u002Fan-unsimple-heart) and [Margaret Fuller](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F04\u002F01\u002Fan-unfinished-woman) to the graphic memoirist [Alison Bechdel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2012\u002F04\u002F23\u002Fdrawn-from-life). “[First Impressions](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F06\u002F23\u002Ffirst-impressions),” her 2008 reportage about the world’s oldest art—the Paleolithic paintings at the Chauvet cave, in southern France—was the inspiration for Werner Herzog’s film “Cave of Forgotten Dreams.”\n\nShe is the author of “[Isak Dinesen: The Life of a Storyteller](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312135254\u002F?ots=1&tag=thneyo0f-20),” which won the 1983 National Book Award for Nonfiction and served as the basis for Sydney Pollack’s movie “Out of Africa,” and “[Secrets of the Flesh: A Life of Colette](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0345371038\u002F?ots=1&tag=thneyo0f-20),” the winner of the Los Angeles *Times* Book Prize for biography and the Salon Book Award for biography. A collection of her *New Yorker* essays, “[Cleopatra’s Nose: 39 Varieties of Desire](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312427751\u002F?ots=1&tag=thneyo0f-20),” was published in 2007. She has received the Mary McCarthy Award for lifetime achievement; the Rungstedlund Prize, from the Royal Danish Academy; and the Harold D. Vursell Memorial Award for prose style, from the American Academy of Arts and Letters. She is also a chevalier of the French Ordre des Arts et des Lettres. A second volume of her *New Yorker* essays, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-critic-at-large","name":"A Critic at Large"},"channels":[{"name":"A Critic at Large"}],"hed":"The Roving Eye","dek":"","promoHed":"The Vogue Model Turned War Photographer","promoDek":"Lee Miller’s roving eye.","url":"magazine\u002F2008\u002F01\u002F21\u002Flee-miller-war-photographer-model","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590932dd6552fa0be682adb9\u002Fmaster\u002Fpass\u002F080121_r16991_p646.jpg","altText":"Miller in Man Ray’s “La Révolution Surréaliste” 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She also received the 2012 National Magazine Award for Public Interest and the 2022 George Polk Award for Magazine Reporting. She teaches writing at Yale, and is a MacArthur Fellow.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"594872937c6fd03ae6d79cf5","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F06\u002F20\u002F594872927c6fd03ae6d79cf4_stillman-sarah.png"}],"metadata":{"contentType":"photo"}},"bio":"Sarah Stillman is a staff writer at *The New Yorker*. She teaches journalism at Yale, where she also runs the Yale Investigative Reporting Lab. Prior to founding the Lab, she ran the Global Migration Project at Columbia University’s Graduate School of Journalism. She has written on topics as varied as civil forfeiture, debtors’ prisons, climate-change profiteers, and war-zone private military contractors. In 2024, she won the Pulitzer Prize for explanatory reporting, for her [investigation into the legal doctrine of felony murder](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F12\u002F18\u002Ffelony-murder-laws), which has sent thousands of Americans to jail for crimes they didn’t commit. She also won the 2012 National Magazine Award for Public Interest for her reporting from Iraq and Afghanistan on labor abuses and human trafficking on U.S. military bases, and has received the Michael Kelly Award, the Overseas Press Club’s Joe and Laurie Dine Award for international human-rights reporting, and the Hillman Prize for Magazine Journalism. Her reporting on the high-risk use of young people as confidential informants in the war on drugs received a George Polk Award and the Molly National Journalism Prize. In 2019, she won a National Magazine Award for Public Interest for “[No Refuge](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fwhen-deportation-is-a-death-sentence).”\n\nBefore joining *The New Yorker*, Stillman wrote about America’s wars overseas and the challenges facing soldiers at home for *The Atlantic*, *The Nation*, *The New Republic*, Slate, and the Washington *Post*. She co-taught a seminar at Yale on the Iraq War, and also ran a creative-writing workshop for four years at the Cheshire Correctional Institution, a maximum-security men’s prison in Connecticut. She is a contributor to the best-selling anthology “[All We Can Save: Truth, Courage, and Solutions for the Climate Crisis](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0593237064),” and her work is included in “[The Best American Magazine Writing 2012](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231162235\u002F?ots=1&slotNum=0&imprToken=8cbf9115-cde8-076f-f61&tag=thneyo0f-20)” and “[The Best American Magazine Writing 2017](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231181590).” She was named a MacArthur Fellow in 2016.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-reporter-at-large","name":"A Reporter at Large"},"channels":[{"name":"A Reporter at Large"}],"hed":"Sentenced to Life for an Accident Miles Away","dek":"A draconian legal doctrine called felony murder has put thousands of Americans—disproportionately young and Black—in prison.","promoHed":"Sentenced to Life for an Accident Miles Away","promoDek":"A draconian legal doctrine called 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Much of her work focusses on the lives of writers, from [Flaubert](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F05\u002F06\u002Fan-unsimple-heart) and [Margaret Fuller](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F04\u002F01\u002Fan-unfinished-woman) to the graphic memoirist [Alison Bechdel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2012\u002F04\u002F23\u002Fdrawn-from-life). “[First Impressions](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F06\u002F23\u002Ffirst-impressions),” her 2008 reportage about the world’s oldest art—the Paleolithic paintings at the Chauvet cave, in southern France—was the inspiration for Werner Herzog’s film “Cave of Forgotten Dreams.”\n\nShe is the author of “[Isak Dinesen: The Life of a Storyteller](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312135254\u002F?ots=1&tag=thneyo0f-20),” which won the 1983 National Book Award for Nonfiction and served as the basis for Sydney Pollack’s movie “Out of Africa,” and “[Secrets of the Flesh: A Life of Colette](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0345371038\u002F?ots=1&tag=thneyo0f-20),” the winner of the Los Angeles *Times* Book Prize for biography and the Salon Book Award for biography. A collection of her *New Yorker* essays, “[Cleopatra’s Nose: 39 Varieties of Desire](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312427751\u002F?ots=1&tag=thneyo0f-20),” was published in 2007. She has received the Mary McCarthy Award for lifetime achievement; the Rungstedlund Prize, from the Royal Danish Academy; and the Harold D. Vursell Memorial Award for prose style, from the American Academy of Arts and Letters. She is also a chevalier of the French Ordre des Arts et des Lettres. A second volume of her *New Yorker* essays, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-critic-at-large","name":"A Critic at Large"},"channels":[{"name":"A Critic at Large"}],"hed":"The Roving Eye","dek":"","promoHed":"The Vogue Model Turned War Photographer","promoDek":"Lee Miller’s roving eye.","url":"magazine\u002F2008\u002F01\u002F21\u002Flee-miller-war-photographer-model","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590932dd6552fa0be682adb9\u002Fmaster\u002Fpass\u002F080121_r16991_p646.jpg","altText":"Miller in Man Ray’s “La Révolution Surréaliste” 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She also received the 2012 National Magazine Award for Public Interest and the 2022 George Polk Award for Magazine Reporting. She teaches writing at Yale, and is a MacArthur Fellow.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"594872937c6fd03ae6d79cf5","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F06\u002F20\u002F594872927c6fd03ae6d79cf4_stillman-sarah.png"}],"metadata":{"contentType":"photo"}},"bio":"Sarah Stillman is a staff writer at *The New Yorker*. She teaches journalism at Yale, where she also runs the Yale Investigative Reporting Lab. Prior to founding the Lab, she ran the Global Migration Project at Columbia University’s Graduate School of Journalism. She has written on topics as varied as civil forfeiture, debtors’ prisons, climate-change profiteers, and war-zone private military contractors. In 2024, she won the Pulitzer Prize for explanatory reporting, for her [investigation into the legal doctrine of felony murder](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F12\u002F18\u002Ffelony-murder-laws), which has sent thousands of Americans to jail for crimes they didn’t commit. She also won the 2012 National Magazine Award for Public Interest for her reporting from Iraq and Afghanistan on labor abuses and human trafficking on U.S. military bases, and has received the Michael Kelly Award, the Overseas Press Club’s Joe and Laurie Dine Award for international human-rights reporting, and the Hillman Prize for Magazine Journalism. Her reporting on the high-risk use of young people as confidential informants in the war on drugs received a George Polk Award and the Molly National Journalism Prize. In 2019, she won a National Magazine Award for Public Interest for “[No Refuge](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fwhen-deportation-is-a-death-sentence).”\n\nBefore joining *The New Yorker*, Stillman wrote about America’s wars overseas and the challenges facing soldiers at home for *The Atlantic*, *The Nation*, *The New Republic*, Slate, and the Washington *Post*. She co-taught a seminar at Yale on the Iraq War, and also ran a creative-writing workshop for four years at the Cheshire Correctional Institution, a maximum-security men’s prison in Connecticut. She is a contributor to the best-selling anthology “[All We Can Save: Truth, Courage, and Solutions for the Climate Crisis](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0593237064),” and her work is included in “[The Best American Magazine Writing 2012](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231162235\u002F?ots=1&slotNum=0&imprToken=8cbf9115-cde8-076f-f61&tag=thneyo0f-20)” and “[The Best American Magazine Writing 2017](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0231181590).” She was named a MacArthur Fellow in 2016.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-reporter-at-large","name":"A Reporter at Large"},"channels":[{"name":"A Reporter at Large"}],"hed":"Sentenced to Life for an Accident Miles Away","dek":"A draconian legal doctrine called felony murder has put thousands of Americans—disproportionately young and Black—in prison.","promoHed":"Sentenced to Life for an Accident Miles Away","promoDek":"A draconian legal doctrine called 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Records](https:\u002F\u002Fwww.amazon.com\u002FNot-Sell-Any-Price-Obsessive\u002Fdp\u002F145166706X).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b8bebe912338a378689","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b8bebe912338a378688_petrusich-amanda.png"}],"metadata":{"contentType":"photo"}},"bio":"Amanda Petrusich is a staff writer at *The New Yorker* and the author of three books. She is the recipient of a Guggenheim Fellowship in nonfiction and has been nominated for a Grammy Award. Her criticism and features have appeared in the New York *Times*, the *Oxford American*, *Spin*, Pitchfork, *GQ*, *Esquire*, *The Atlantic*, and the *Virginia Quarterly Review*. Her book “[Do Not Sell at Any Price](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F145166706X\u002F?ots=1&slotNum=0&imprToken=1ebfa5e7-1e76-39f0-674&tag=thneyo0f-20)” explores the obsessive world of 78-r.p.m.-record collectors. 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Fugitives](https:\u002F\u002Fwww.amazon.com\u002Fgp\u002Fproduct\u002FB076H8WZTB\u002Fref=dbs_a_def_rwt_bibl_vppi_i2),” and “[Life After Truth](https:\u002F\u002Fwww.amazon.com\u002FLife-After-Truth-Audible-Original\u002Fdp\u002FB07Z8C5VY2\u002Fref=sr_1_1?keywords=life%20after%20truth&qid=1580757370&s=digital-text&sr=1-1)”; and the memoir-biography “[On J.M. Coetzee: Writers on Writers](https:\u002F\u002Fwww.amazon.com\u002FJM-Coetzee-Writers\u002Fdp\u002F1760640611\u002Fref=sr_1_3?keywords=on%20jm%20coetzee&qid=1580757422&s=audible&sr=1-3-catcorr).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"cultural-comment","name":"Cultural Comment"},"channels":[{"name":"Cultural Comment"},{"name":"Culture Desk"}],"hed":"Can Reading Make You Happier?","dek":"","promoHed":"Can Reading Make You Happier?","promoDek":"","url":"culture\u002Fcultural-comment\u002Fcan-reading-make-you-happier","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097cc68b51cf59fc423f0c\u002Fmaster\u002Fpass\u002FDovey-Can-Reading-Make-Us-Feel-Better.jpg","altText":"An abstract illustration of a young woman reading a book with flowers all around her. 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A second volume of her essays for the magazine, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b77019dfc3494ea36db","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b77019dfc3494ea36da_thurman-judith.png"}],"metadata":{"contentType":"photo"}},"bio":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. She writes about books, culture, and fashion. Her story on [Yves Saint Laurent](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F03\u002F18\u002Fswann-song) was chosen for “The Best American Essays of 2003.” In addition to articles about the great couturiers of the twentieth century ([Chanel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F05\u002F23\u002Fscenes-from-a-marriage-2), [Balenciaga](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2006\u002F07\u002F03\u002Fthe-absolutist), [Schiaparelli](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F27\u002Fmother-of-invention)), and the avant-gardists of this one ([Rei Kawakubo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F07\u002F04\u002Fthe-misfit-3), [Isabel Toledo](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F03\u002F10\u002Ftwo-for-one), [Alexander McQueen](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2011\u002F05\u002F16\u002Fdressed-to-thrill)), Thurman has written about performance art ([Marina Abramović](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F03\u002F08\u002Fwalking-through-walls)) and photography ([Diane Arbus](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2003\u002F10\u002F13\u002Fexposure-time)). Much of her work focusses on the lives of writers, from [Flaubert](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2002\u002F05\u002F06\u002Fan-unsimple-heart) and [Margaret Fuller](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2013\u002F04\u002F01\u002Fan-unfinished-woman) to the graphic memoirist [Alison Bechdel](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2012\u002F04\u002F23\u002Fdrawn-from-life). “[First Impressions](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2008\u002F06\u002F23\u002Ffirst-impressions),” her 2008 reportage about the world’s oldest art—the Paleolithic paintings at the Chauvet cave, in southern France—was the inspiration for Werner Herzog’s film “Cave of Forgotten Dreams.”\n\nShe is the author of “[Isak Dinesen: The Life of a Storyteller](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312135254\u002F?ots=1&tag=thneyo0f-20),” which won the 1983 National Book Award for Nonfiction and served as the basis for Sydney Pollack’s movie “Out of Africa,” and “[Secrets of the Flesh: A Life of Colette](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0345371038\u002F?ots=1&tag=thneyo0f-20),” the winner of the Los Angeles *Times* Book Prize for biography and the Salon Book Award for biography. A collection of her *New Yorker* essays, “[Cleopatra’s Nose: 39 Varieties of Desire](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0312427751\u002F?ots=1&tag=thneyo0f-20),” was published in 2007. She has received the Mary McCarthy Award for lifetime achievement; the Rungstedlund Prize, from the Royal Danish Academy; and the Harold D. Vursell Memorial Award for prose style, from the American Academy of Arts and Letters. She is also a chevalier of the French Ordre des Arts et des Lettres. A second volume of her *New Yorker* essays, “[A Left-Handed Woman](https:\u002F\u002Fwww.amazon.com\u002FLeft-Handed-Woman-Essays-Judith-Thurman\u002Fdp\u002F0374607168),” was published in 2022.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"a-critic-at-large","name":"A Critic at Large"},"channels":[{"name":"A Critic at Large"}],"hed":"The Roving Eye","dek":"","promoHed":"The Vogue Model Turned War Photographer","promoDek":"Lee Miller’s roving eye.","url":"magazine\u002F2008\u002F01\u002F21\u002Flee-miller-war-photographer-model","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590932dd6552fa0be682adb9\u002Fmaster\u002Fpass\u002F080121_r16991_p646.jpg","altText":"Miller in Man Ray’s “La Révolution Surréaliste” 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She also received the 2012 National Magazine Award for Public Interest and the 2022 George Polk Award for Magazine Reporting. She teaches writing at Yale, and is a MacArthur Fellow.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"594872937c6fd03ae6d79cf5","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F06\u002F20\u002F594872927c6fd03ae6d79cf4_stillman-sarah.png"}],"metadata":{"contentType":"photo"}},"bio":"Sarah Stillman is a staff writer at *The New Yorker*. She teaches journalism at Yale, where she also runs the Yale Investigative Reporting Lab. Prior to founding the Lab, she ran the Global Migration Project at Columbia University’s Graduate School of Journalism. She has written on topics as varied as civil forfeiture, debtors’ prisons, climate-change profiteers, and war-zone private military contractors. In 2024, she won the Pulitzer Prize for explanatory reporting, for her [investigation into the legal doctrine of felony murder](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F12\u002F18\u002Ffelony-murder-laws), which has sent thousands of Americans to jail for crimes they didn’t commit. She also won the 2012 National Magazine Award for Public Interest for her reporting from Iraq and Afghanistan on labor abuses and human trafficking on U.S. military bases, and has received the Michael Kelly Award, the Overseas Press Club’s Joe and Laurie Dine Award for international human-rights reporting, and the Hillman Prize for Magazine Journalism. Her reporting on the high-risk use of young people as confidential informants in the war on drugs received a George Polk Award and the Molly National Journalism Prize. In 2019, she won a National Magazine Award for Public Interest for “[No Refuge](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F15\u002Fwhen-deportation-is-a-death-sentence).”\n\nBefore joining *The New Yorker*, Stillman wrote about America’s wars overseas and the challenges facing soldiers at home for *The Atlantic*, *The Nation*, *The New Republic*, Slate, and the Washington *Post*. She co-taught a seminar at Yale on the Iraq War, and also ran a creative-writing workshop for four years at the Cheshire Correctional Institution, a maximum-security men’s prison in Connecticut. 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I’m not talking about “You’ve Got Mail,” Nora Ephron’s classic ode to indie bookstores and Upper West Side quaintness. I’m referring to the box-office bomb “ ’Til There Was You,” an agitprop rom-com about zoning laws written by Winnie Holzman, the creator of “My So-Called Life.” In the film, Jeanne Tripplehorn plays Gwen, a struggling ghostwriter looking to rent a place in Los Angeles. She finds an apartment in La Fortuna, a historic building—based on the real-life El Cabrillo condominium in Hollywood—where a bohemian, multigenerational coterie of residents gathers in a shared courtyard to smoke, play music, and reminisce about old flames. Gwen keeps to herself, though; this is just a “temporary shelter” until she moves to New York City to be a ",["em","real"]," writer. Then one day news arrives that La Fortuna is being demolished to make room for a high-rise condominium designed by a trendy architect named Nick (Dylan McDermott), and Gwen starts writing anonymous letters to a newspaper in protest. Nick reads them, at first incensed but eventually charmed. He and his landlord girlfriend (Sarah Jessica Parker) break up, he implores his firm to keep La Fortuna intact, and he races to the courtyard to find the woman behind these passionate appeals for tenants’ rights."]],["p",{"class":"paywall"},"Though Roger Ebert gave the film one and a half stars, “ ’Til There Was You” imprinted on me in a way that “You’ve Got Mail” never did. I wish I could say that it was because it had the more repentant developer, extolled communal living, or presented the written word as a political tool. Mostly, I coveted Gwen’s apartment. Her bare écru walls and improvised furnishings made being peripatetic and underemployed look chic—an ideal that would sustain me through many years of being a freelance journalist. And there was something so beguiling about that buzzing, open courtyard. “If real estate is a self-portrait and a class portrait, it is also a body arranging its limbs to seduce,” Deborah Levy writes in her memoir “Real Estate.” I was ",["em","so"]," seduced that for years I would type “courtyard” into the keyword search on apartment sites. I had to stop after I moved back to New York City. When I started looking for a place in Brooklyn on my own a couple of years ago, my friends warned me to manage my expectations—as in, have none. “Dishwashers are for the aristocracy,” one cautioned."],["p",{"class":"paywall"},"After weeks of searching, I noticed an apartment within my budget on StreetEasy, but when I went to see it I realized that the living room looked out over a massive Con Ed substation, beyond which lay a cemetery. I decided that I could do either power lines or a cemetery, but not both. I felt like the protagonist of Danzy Senna’s “Symptomatic,” a journalist who moves to New York and, amid a protracted hunt, considers an apartment share where her prospective roommate likes to keep the canned foods alphabetized. She finally finds a place through a fact checker’s hairdresser’s cousin. I, too, relied on thin connections. I used a dot-edu e-mail address that I had from an adjunct teaching gig at a journalism school to find a sublet on a site called SabbaticalHomes, a “temporary shelter” in Flatbush where I could live until I got my bearings. By the time that happened, a year later, rents across the city had grown more than seven times faster than wages, according to a report released in May, 2024, that compared StreetEasy and Zillow listings with data from the U.S. Bureau of Labor Statistics. I started fantasizing about moving to Finland, finding a quiet job teaching English, and joining a socialist housing complex on the outskirts of Helsinki. The only thing stopping me was that it sounded like the beginning of a true-crime series."],["journey-inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["p",{"class":"paywall"},"I was complaining about my rent at a friend’s birthday party when one of the guests suggested that I look into buying a place. A mortgage would lock me into a monthly rate, protecting me from the fluctuations of the rental market. There were just about seven hundred and seventy thousand problems with that plan, the main one being that that number is the average sale price of a one-bedroom co-op in the city. The guest told me she understood; she was an artist. But had I heard of something called a Housing Development Fund Corporation co-op? These were below-market-rate apartments for low- and middle-income New Yorkers. (I saw a two-bedroom H.D.F.C. co-op on StreetEasy for three hundred and forty-nine thousand dollars.) If I took a ten-hour class with a local organization, she explained, the city could provide me with a hundred thousand dollars toward a down payment. (Yes, this is how people talk at parties in New York.) To qualify at the time, I needed to make less than eighty per cent of the area median income. I had never been so grateful for my terrible life choice to major in Russian literature."],["p",{"class":"paywall"},"This chance meeting felt like a scene out of a novel I had recently read, “Terrace Story,” by Hilary Leichter, in which a character living in a cramped urban apartment meets a mysterious woman with the magical ability to expand space, who “gifts” her a terrace. I tried to forget that the novel was also a cautionary tale about what, in the quest for more, we let into our lives."],["p",{"class":"paywall"},"And so, on a rainy night this past December, I made my way to Medgar Evers College, in Crown Heights, to attend an information session for first-time home buyers co-sponsored by Neighborhood Housing Services and the U.S. Department of Housing and Urban Development. I walked inside the glass doors of the sleek DuBois Bunche Center, named for the civil-rights leaders W. E. B. Du Bois and Ralph Bunche, and into a small, crowded auditorium, filled with about sixty New Yorkers, most Black like me. I had gone that night expecting to hear how I could save money, but instead it felt like ",["em","I"]," was there to be saved. A series of speakers appeared onstage, preaching about the virtuousness of homeowners. They were “more likely to vote,” one presenter suggested, because they were “more invested in their communities.” We would be building “generational wealth,” another speaker said, for those who came after us. What was next—mortgage as a form of “forced savings”? I had heard that line from real-estate agents trying to help me get over sticker shock."],["p",{"class":"paywall"},"I was prepared to be indignant if anyone suggested that my savings or lack thereof were correlated to anything other than the exorbitant cost of living in New York, but it is true that we were near a “provisions” shop where I purchased a bar of peppermint bark for twelve dollars. Still, I wasn’t sure that buying an apartment was the solution. Some of the monthly maintenance fees for co-ops neared a thousand dollars. (These fees could include property taxes, building upkeep, and amenities like a windowless room with a few treadmills labelled “Gym.”) I thought of a friend who had just bought a place in Crown Heights. “I can’t really save now. Or spend,” she had told me. I suddenly pictured myself in my future apartment, my freedoms and pleasures restricted, all so that I could one day pass on real estate to a hypothetical child. Was this an info session or the set of “Rosemary’s Baby”?"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"I wasn’t alone in feeling that some wall had been knocked down between the American Dream and the stuff of nightmares. Across popular culture, homeownership has become the subject of black comedies, midlife-crisis novels, and unintentionally dystopic reality TV."]],["p",{"class":"paywall"},"“No Good Deed,” on Netflix, stars Lisa Kudrow and Ray Romano as a couple of empty nesters looking to sell their charming nineteen-twenties Spanish-style home in Los Feliz. But are they hiding a dark secret that could bring down the asking price? Also on Netflix is “The Watcher,” starring Naomi Watts and Bobby Cannavale as a New York City couple who deplete their savings to purchase a dream house in suburbia. “This is America, right? Everybody buys a house they can’t afford,” Cannavale’s character quips. After they move in, the pair start receiving menacing letters from someone who is “watching” the house. In the course of seven episodes, the couple unravels over what would hurt more: getting murdered in their sleep or selling at a loss. Showtime’s “The Curse” is one part HGTV, one part “Twin Peaks,” all millennial mishegoss. Emma Stone and Nathan Fielder portray a married couple who build a Potemkin village of eco-friendly homes and pour-over coffee shops in a struggling New Mexico town. They’re desperate to lure the kind of wealthy buyers who hope to launder their class guilt in energy-efficient washers. Houses have always been haunted, but, whereas poltergeists of yore troubled the suburban idyll of white America, in these shows the scariest spectre is a disappearing profit margin."],["cm-unit"],["p",{"class":"paywall"},"During the pandemic, homeowners became the market equivalents of people who bought Zoom stock in 2019. Low interest rates, coupled with the feeling that having your own space was a matter of life or death, sent housing prices soaring by about forty per cent; in especially hot markets, owners saw their home values practically double overnight. Popular culture both facilitated and reflected that shift. House-flipping shows like “Flip or Flop,” “Fixer Upper,” and “Windy City Rehab” primed us to see homes not as places to live in but as assets to buy and sell. “Selling Sunset,” a reality show about bleached-blond real-estate agents as identical-looking as the Hollywood mansions they were shilling, had premièred in 2019, but after 2020 everywhere in America was for sale: “Selling the OC,” “Selling Tampa,” “Selling the City” (as in New York). Before long came “Buying London,” “The Parisian Agency,” and something called “Making It in Marbella,” about Swedish real-estate agents who sell properties in Spain. I had assumed that all these shows were about the glories of owning a statement home, “Lifestyles of the Rich and Famous” for the streaming age. But these are shows about hustling. We salivate over commissions, not coved ceilings. In one episode of “Selling Sunset,” a potential buyer bemoans the lack of a gas range in a twelve-million-dollar hideaway in Beverly Hills. “Bitch, you don’t even cook!” the real-estate agent later shouts to the camera. It’s the brokers who are the heroes of these stories, the new wolves of Main Street."],["inline-embed",{"type":"cneinterlude","props":{"brand":"newyorker","embeddedVideos":[],"hasExcludedEmbed":false,"playerBase":"https:\u002F\u002Fplayer.cnevids.com","isRightRail":false,"relatedVideo":{"showRelatedVideo":false,"brand":"newyorker","related":null,"pageSize":12}}}],["p",{"class":"paywall"},"Maybe what I had been seeing in all that morbid mortgage content were the beginnings of buyer’s remorse? Since the pandemic, costs associated with owning a home in the U.S. have gone up twenty-four per cent, according to the personal-finance website Bankrate. The Joint Center for Housing Studies at Harvard University reported in 2024 that nearly a quarter of American homeowners are “cost-burdened” (meaning that more than thirty per cent of their income goes to housing). Rising insurance premiums, increased property taxes, and inflation have hit low-income homeowners especially hard, particularly those over sixty-five years old who are on fixed incomes. Is it any wonder that audiences flocked to “Wicked,” a redemption story for a woman whose sister was killed by a house?"],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"In fiction, 2024 was the year of ditching the domestic. (And, if you happened upon a memoir, there was a good chance it was about someone getting divorced.) Look at the feverish reception of Miranda July’s road-trip novel “All Fours.” The main character, a married artist in her mid-forties, sets out from her Los Angeles home, stumbles into a psychosexual dynamic with a young rental-car attendee, and decides to remodel a motel room into a love nest. Rental cars, booking a room—it’s a veritable homage to the erotics of transience. You can imagine the narrator of Ayşegül Savaş’s “The Anthropologists” reading “All Fours” for a book club and having an existential crisis. Savaş’s novel is about a documentary filmmaker who, out of a sense of social obligation, decides that she and her husband should buy a place: “We’d been living in the city for several years by then, and from time to time worried that we weren’t living by the correct set of rules, that we should be making our lives sturdy.” We register her ambivalence toward homeownership when she and her husband respond with barely disguised jealousy after learning that their best friend might be leaving the city to take a new job and pursue an exciting love affair. He’s a renter—he can be that torridly free."],["p",{"class":"paywall"},"I could relate. I wasn’t sure that I was ready to stop living out what the scholar Pamela Robertson Wojcik calls “the apartment plot.” In her book of the same title, which looks at mid-century representations of “urban living” in film and pop culture, Wojcik cites Doris Day in “Pillow Talk,” Lauren Bacall in “Designing Woman,” Natalie Wood in “Sex and the Single Girl,” and Audrey Hepburn in “Breakfast at Tiffany’s” as emblematic denizens of the genre. These films offered “a vision of home—centered on values of community, visibility, contact, density, friendship, mobility, impermanence, and porousness.” I would add “glamour.” Without the imperative to invest in home furnishings, Holly Golightly can blow her powder-room money on Givenchy."],["p",{"class":"paywall"},"These characters’ real-life inspirations, a postwar generation of career women living alone in New York City, occupied an anxious space in American culture: they were often portrayed as sexy but sad. The missives directed their way now sound aspirational. In 1952, an article in ",["em","Mademoiselle"]," stated, “The average career girl with an apartment of her own is notorious for the abandoned way she runs her domestic life. Home is not really home—it is a base of operations.” Though onscreen the plot necessitated that these women wind up married (and presumably with a mortgage), the fantasy of the single girl in her apartment has proved unmovable. Carrie Bradshaw goes on to live in a penthouse, but it is her single-girl one-bedroom walkup that still attracts throngs of tourists who pose for pictures on her fictional stoop. (Not for long—the real-life owner of the building just received permission from the city to build a gate in front of it.) Even the apartment plot has gone co-op."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Both options, renting and buying in New York City, felt unsustainable to me. Why couldn’t there be some secret third thing? It turned out that, for decades, there had been. The Mitchell-Lama program, a nineteen-fifties urban-housing initiative, allowed New Yorkers to purchase “limited equity” co-ops, low-cost apartments that they technically owned but couldn’t resell or pass down. If you moved or “went to a better place,” your apartment would go to the next person on the waiting list. You were merely a steward. Mitchell-Lama got some surprise P.R. recently thanks to the actor Timothée Chalamet, who, during his press tour for “A Complete Unknown,” talked about growing up in Manhattan Plaza, a Mitchell-Lama in Hell’s Kitchen that was intended for artists. (Larry David and Alicia Keys also lived there.) The city stopped building new Mitchell-Lamas in the late seventies, but you can still apply for a spot in existing ones. Last year, Clayton Apartments, in Harlem, listed available studios for sale for just over twelve thousand dollars. You can see why, when New Yorkers say they won the lottery, they mean the housing lottery."]],["inline-embed",{"props":{"image":{"id":"67c76e63acefba59d63467bd","altText":"Woman shows picture of herself with exfriend to another woman.","contentType":"cartoon","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F67c76e63acefba59d63467bd\u002Fmaster\u002Fw_640,c_limit\u002Fa28531.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F67c76e63acefba59d63467bd\u002Fmaster\u002Fw_120,c_limit\u002Fa28531.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F67c76e63acefba59d63467bd\u002Fmaster\u002Fw_240,c_limit\u002Fa28531.jpg 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F67c76e63acefba59d63467bd\u002Fmaster\u002Fw_320,c_limit\u002Fa28531.jpg 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F67c76e63acefba59d63467bd\u002Fmaster\u002Fw_640,c_limit\u002Fa28531.jpg 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on X"},{"network":"email","url":"mailto:?subject=&body=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa28531%3Futm_source%3Donsite-share%26utm_medium%3Demail%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker","label":"Share via Email"},{"network":"store","url":"https:\u002F\u002Fcondenaststore.com\u002Fconde-nast-brand\u002Fcartoons","label":"Get in store"},{"network":"canonical","url":"https:\u002F\u002Fwww.newyorker.com\u002Fcartoon\u002Fa28531","label":"A New Yorker Cartoon"}]}},"level":"block","ref":"67c76e63acefba59d63467bd","type":"cartoon"}],["p",{"class":"paywall"},"A new book, “Homes for Living: The Fight for Social Housing and a New American Commons,” by the urban historian Jonathan Tarleton, recounts the history of the Mitchell-Lama program and examines the threats to its survival. Those threats, he found, came from the very middle-income New Yorkers for whom these homes were built. Tarleton focusses on two buildings whose residents were given the opportunity to “go private”—that is, to leave the Mitchell-Lama system and sell their homes at market rate, pulling the affordable-housing ladder up along with them."],["p",{"class":"paywall"},"In 2014, Tarleton was the editor-in-chief of ",["em","Urban Omnibus"],", the online publication of the Architectural League of New York. One day that fall, he received an e-mail from a man who lived in a Mitchell-Lama in lower Manhattan called Southbridge Towers. The residents there were about to vote on whether to “privatize,” and the tide was turning toward a yes. The pro-privatization camp was so confident that it threw a party at T. J. Byrnes, an Irish pub on the ground floor of the complex. On the invitation, Tarleton notes, was “a smiling, sunglasses-wearing sun” and the words “Living the Dream.” Tarleton’s book follows the lead-up to the vote at Southbridge and to a similar vote at St. James, another Mitchell-Lama, in Brooklyn’s Clinton Hill neighborhood. What ensues is a distinctly New York City opera: a bunch of loudmouths obsessed with whose apartment is worth what. A St. James resident who supported affordable housing told Tarleton that a pro-privatization co-op board member approached her and asked, “Did you call me a bitch?” The resident continued, “And I did. I’m not going to turn around and say, ‘I didn’t say it.’ That’s not who I am.” At Southbridge, a resident against privatization identified as James Szal was given a security escort home after the vote. His opponents weren’t all unsympathetic to his cause, but they couldn’t ignore the potential upside. As one put it, “Listen . . . if there’s a million dollars on the ground and I have to stoop down to pick it up, I’ll do that.”"],["p",{"class":"paywall"},"The decision to privatize wasn’t as clear-cut as it might seem to a casual observer with a calculator. For one thing, the residents of Southbridge and St. James would now have the pleasure of seeing how far their money didn’t go on the New York City housing market. Yet Tarleton found that the residents were under the spell of something other than money. To them, ownership came with a vision of boundless possibility: they would get to renovate their counters without asking permission from the board (a moment of dramatic irony for anyone familiar with condo bylaws), other parents would respect them more at school drop-off, and they would get to say “we bought” without an asterisk. An eighty-two-year-old African American resident of St. James whom Tarleton refers to as Lester Goodyear wrote, in one of many manifestos he drafted, “Home ownership is also the first step in acquiring status as a First Class Citizen in America (Owning a piece of the Rock).” Where had he heard this, other than in a Prudential insurance commercial?"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Tarleton sees in arguments like Goodyear’s the effects of what he calls “over a century of public policy and real estate propaganda.” American mythology about land ownership long existed as a rationale for Native dispossession, but the ",["em","house"]," in the little house on the prairie took center stage in 1917, the year of the Bolshevik Revolution. It was then that the U.S. Department of Labor took over a program called Own Your Own Home, which had been run by the National Association of Real Estate Boards. If “housing and cooperative arrangements evoked the supposed contagion of socialism and communism,” Tarleton writes, “the single-family home was the antidote.” The U.S. government distributed two million posters touting the virtues of homeownership to offices, factories, and churches. One stated, “A Man Who Owns His Own Home is a better worker, husband, father, citizen and a ",["em","real"]," American.” At the bottom, it read, “Talk to your wife about it.” Ideally, she had seen the poster that read, “How glad I am that I agreed with John when he proposed that.”"]],["p",{"class":"paywall"},"Herbert Hoover, aside from his stint in the White House, lived in a hotel for most of his political career, yet he was the architect of the idea that America was a nation of homeowners. In 1931, as President, he addressed the Conference on Home Building and Home Ownership, proclaiming that homeownership was “a sentiment deep within the heart of our race and of American life.” Look no further than the American songbook, he told the crowd. “Those immortal ballads, ‘Home, Sweet Home,’ ‘My Old Kentucky Home,’ and the ‘Little Gray Home in the West,’ were not written about tenements or apartments,” he said, adding, “They never sing songs about a pile of rent receipts.”"],["p",{"class":"paywall"},"In 1934, a two-story Colonial surrounded by a white picket fence and dogwood trees appeared just south of Grand Central Terminal, in Manhattan. That year, two hundred thousand visitors toured “America’s Little House,” as the model home was called. Construction was paid for by a federal program called Better Homes in America, and the only occupant was a CBS-affiliate radio station, which promoted homeownership over the airwaves. One of the first radio guests was the country’s new First Lady, Eleanor Roosevelt, whose husband would institute Federal Housing Administration loans, establish Fannie Mae, and, in 1944, pass the G.I. Bill, all of which made buying a home more financially feasible. In 1959, Vice-President Richard Nixon travelled to Moscow, where he and the Soviet Union premier, Nikita Khrushchev, conducted what became known as the “kitchen debate,” an impromptu televised back-and-forth about the merits of capitalism versus communism, while they toured an American model home outfitted with gadgets from General Electric. “Any steelworker could buy this house,” the Vice-President bragged. I learned about this exchange in a Soviet history class in college, a year before I graduated, in 2008, amid the subprime mortgage crisis."],["p",{"class":"paywall"},"There were problems with Nixon’s argument even at the time, though. Black Americans, from steelworkers to white-collar professionals, were routinely denied F.H.A. loans and often suffered under redlining policies that made homeownership prohibitively expensive for them. Tarleton believes that Black Americans’ experiences with the real-estate industry explain why the privatization vote unfolded differently at St. James and at Southbridge, with race functioning as a kind of political education. At the predominately Black St. James, residents had less faith in the market. “They would still be Black in a real estate system that had racism baked into its core,” Tarleton writes. He cites the work of my colleague Keeanga-Yamahtta Taylor, who observes, in her book “Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership,” that banks, after decades of refusing to lend or lending on discriminatory terms to Black families, pivoted from exclusion to something she calls “predatory inclusion,” targeting that same demographic with subprime mortgages."],["p",{"class":"paywall"},"The Housing and Urban Development Act of 1968 encouraged banks to make loans available to Black Americans and established ",["em",{"class":"small"},"HUD"],", which began holding information sessions similar to the one I attended last year. In other words, “more invested in your community” has historically served as a euphemism for “less likely to riot.” “For some,” Taylor writes, “the promotion of homeownership and access to credit in neighborhoods and communities that previously had been ignored was appealing as a new means of social control.” This had been true from the start, for white consumers as well. Adrienne Brown, in her book “The Residential Is Racial,” argues that campaigns like Own Your Own Home wanted white buyers to see themselves as belonging not to a multiracial working class but to a white home-owning class, who, with mortgages breathing down their necks, would be less likely to agitate for better employment terms. “Realtors framed homeownership as a fix-all for radicalism of all stripes,” Brown asserts."],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"Southbridge voted to privatize, and in time the co-op’s Listserv included such complaints as “Households without kids shouldn’t have to pay for playground maintenance.” Property taxes were starting to increase faster than earnings from the flip tax (the thirty per cent that sellers had to pay back to the co-op on their profits) could offset them. Szal, the Southbridge resident who opposed privatization, told Tarleton that he felt like Charlton Heston at the end of “Planet of the Apes,” screaming, “You maniacs! You blew it up! Damn you! God damn you all to hell!” Time will tell if the yes vote proves apocalyptic. The Southbridge vote had an antecedent across the pond. In 1981, Margaret Thatcher ushered in the Right to Buy campaign, making it possible for British citizens to buy their council homes. Forty per cent of these homes, as today’s housing activists in England are apt to repeat, ended up in the hands of private landlords."],["p",{"class":"paywall"},"Tarleton takes sides but doesn’t lay blame. “These pro-privatization perpetrators are also victims,” he writes. “The narrative of the American Dream, driven by capitalism and homeownership, had taught them that they were not true homeowners, and thus were lesser than their neighbors.”"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Not long after I moved to New York, I started looking into doing a story on Cinemóvil, a left-wing film collective known for its “guerrilla screenings” across the city. I had heard that it projected “Wild in the Streets,” Barry Shear’s 1968 cult classic about generational warfare, on a screen at the corner of Ninth Street and Avenue B, where Anarchy Row—a settlement of unhoused people who were vocally resisting Mayor Eric Adams’s orders to dismantle all homeless encampments in New York City—was situated. (An Anarchy Row resident had requested the film.) On Cinemóvil’s Instagram feed, I saw a post advertising an upcoming “Anti-Landlord Halloween” double feature at Mayday, a co-working space for organizers, in Bushwick. On the docket were two Japanese horror flicks: Kimiyoshi Yasuda’s “Yokai Monsters: 100 Monsters” (1968) and Katsuhiro Otomo’s “World Apartment Horror” (1991). I was still reeling from my apartment search, and from the ghoulish tales I heard along the way—rats crawling out of bathroom drains, brokers charging fifteen per cent of the annual rent, et cetera—and so I merrily settled in for an evening of watching monsters from Japanese folklore evict developers out of existence."]],["p",{"class":"paywall"},"Before the movies even started, though, there was—to my surprise—a full two-hour meeting of the Brooklyn Eviction Defense, a tenants’ union. A member of the union spoke to the room, explaining the history of the organization. It had formed in 2020, and mobilized as fears spread that the Tenant Safe Harbor Act—an early pandemic policy that suspended evictions for tenants facing financial hardships related to ",["em",{"class":"small"},"COVID"],"-19—would expire. Around the city, the union has fought evictions and organized rent strikes. We were all asked to come to the front of the room, pick up a marker, and write down on a whiteboard what we thought a “world without rent” would look like."],["p",{"class":"paywall"},"How had I let my vision for what kind of world was possible become as small as a New York kitchen? This whole time, I’d been contemplating the question of whether to rent or buy, and here were people who were saying: ",["em","neither"],"."],["p",{"class":"paywall"},"I imagined living in a society where people don’t need to own a home only to have something they can take out a mortgage on should calamity or college tuition strike. There, the flimsy divide between low- and middle-income workers wouldn’t be concretized through housing policy. In Vienna, for example, where income limits for government benefits are less stringent, eighty per cent of the population qualifies for social housing. (The Austrian city is famous for its ",["em","Pawlatschen"],", “access balconies,” which open up onto a shared courtyard.) I decided that I ",["em","did"]," want to be invested in my community, but as a tenant. Something tells me that this will make me just as likely to vote—though maybe not for lower property taxes."],["p",{"class":"paywall"},"I opened two new windows on my laptop. One was for the Brooklyn Eviction Defense’s website, where I began to fill out my tenant-union card. The second was for StreetEasy, where I began looking for a rent-stabilized apartment. I typed in a keyword search for “courtyard.” A girl can dream. ♦"],["p",{"class":"paywall"},["em","An earlier version of this article misstated the period during which the G.I. Bill was passed."]]],"pageStructure":[["inline-embed",0,"cneaudio"],["inline-embed",504,"callout"],["p",192],["p",232],["p",194],["p",70],["p",177],["p",158],["inline-embed",78,"callout"],["p",214],["cm-unit",0],["p",252],["inline-embed",0,"cneinterlude"],["p",123],["ad",0],["p",218],["p",117],["p",166],["inline-embed",368,"callout"],["inline-embed",0,"cartoon"],["p",88],["p",256],["p",174],["inline-embed",360,"callout"],["p",115],["p",191],["p",159],["p",163],["ad",0],["p",158],["p",42],["inline-embed",382,"callout"],["p",113],["p",45],["p",125],["p",50],["p",16]],"hasAffiliateLinks":false,"affiliateLinksCount":0,"isCommerceContent":false,"contributorSpotLightProps":{"header":{"name":"Jennifer Wilson","title":"Jennifer Wilson is a staff writer at *The New Yorker* covering books and culture. In 2024, she received a Robert B. 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