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“Bambi” Is Even Bleaker Than You Thought | The New Yorker
<!DOCTYPE html><html lang="en-US"><head><title>“Bambi” Is Even Bleaker Than You Thought | 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="Kathryn Schulz"/><meta name="copyright" content="Copyright (c) Condé Nast 2024"/><meta name="description" content="The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity. Kathryn Schulz on Felix Salten’s “Bambi,” and a new translation by Jack Zipes."/><meta name="id" content="61df14f115569ea4b37d1c92"/><meta name="keywords" content="bambi,books,writers,biographies,children’s books,nature,animals,deer,hunting,disney"/><meta name="news_keywords" content="bambi,books,writers,biographies,children’s books,nature,animals,deer,hunting,disney"/><meta name="robots" content="index, follow, noarchive, max-image-preview:large"/><meta name="content-type" content="article"/><meta name="parsely-post-id" content="61df14f115569ea4b37d1c92"/><meta name="parsely-metadata" content="{"description":"The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity. Kathryn Schulz on Felix Salten’s “Bambi,” and a new translation by Jack Zipes.","image-16-9":"https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/16:9/w_1000,c_limit/220124_r39744.jpg","image-1-1":"https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/1:1/w_1000,c_limit/220124_r39744.jpg"}"/><meta property="og:description" content="The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity."/><meta property="og:image" content="https://media.newyorker.com/photos/61e0a7dbc4ed6a1fb9edd8e4/16:9/w_1280,c_limit/220124_r39744-social.jpg"/><meta property="og:site_name" content="The New Yorker"/><meta property="og:title" content="“Bambi” Is Even Bleaker Than You Thought"/><meta property="og:type" content="article"/><meta property="og:url" content="https://www.newyorker.com/magazine/2022/01/24/bambi-is-even-bleaker-than-you-thought"/><meta property="article:content_tier" content="free"/><meta property="article:opinion" 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{"channel":"magazine","content":{"copyCount":4926,"imageCount":0,"embedCount":11,"ratio":447.8181818181818,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["61df14f115569ea4b37d1c92"],"platform":["verso"],"tags":["2022-01-24","bambi","books","writers","biographies","childrens-books","nature","animals","deer","hunting","disney","the-critics","magazine","a-critic-at-large","news","banner-new-yorker-favorites"]},"server":"production","slug":"bambi-is-even-bleaker-than-you-thought","subChannel":"a-critic-at-large","subSubChannel":"","templateType":"mt_article_two_column"};</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":"The film in question is, of course, the 1942 Walt Disney classic “Bambi.” Perhaps more than any other movie made for children, it is remembered chiefly for its moments of terror: not only the killing of the hero’s mother but the forest fire that threatens all the main characters with annihilation. Stephen King called “Bambi” the first horror movie he ever saw, and Pauline Kael, the longtime film critic for this magazine, claimed that she had never known children to be as frightened by supposedly scary grownup movies as they were by “Bambi.”\nUnlike many other Disney classics, from “Cinderella” to “Frozen,” this fright fest is not based on a fairy tale. It was adapted from “Bambi: A Life in the Woods,” a 1922 novel by the Austro-Hungarian writer and critic Felix Salten. The book rendered Salten famous; the movie, which altered and overshadowed its source material, rendered him virtually unknown. And it rendered the original “Bambi” obscure, too, even though it had previously been both widely acclaimed and passionately reviled. The English-language version, as translated in 1928 by the soon to be Soviet spy Whittaker Chambers, was enormously popular, earning rave reviews and selling six hundred and fifty thousand copies in the dozen-plus years before the film came out. The original version, meanwhile, was banned and burned in Nazi Germany, where it was regarded as a parable about the treatment of Jews in Europe.\nAs that suggests, “Bambi” the book is even darker than “Bambi” the movie. Until now, English-language readers had to rely on the Chambers translation—which, thanks to a controversial copyright ruling, has been the only one available for almost a century. This year, however, “Bambi: A Life in the Woods” has entered the public domain, and the Chambers version has been joined by a new one: “The Original Bambi: The Story of a Life in the Forest” (Princeton), translated by Jack Zipes, with wonderful black-and-white illustrations by Alenka Sottler. Zipes, a professor emeritus of German and comparative literature at the University of Minnesota, who has also translated the fairy tales of the Brothers Grimm, maintains in his introduction that Chambers got “Bambi” almost as wrong as Disney did. Which raises two questions: How exactly did a tale about the life of a fawn become so contentious, and what is it really about?\nThese contradictions are nicely encapsulated by Beverley Driver Eddy in her biography “Felix Salten: Man of Many Faces.” Born Siegmund Salzmann, in Hungary in 1869, Salten was just three weeks old when his family moved to Vienna—a newly desirable destination for Jews, because Austria had lately granted them full citizenship. His father was a descendant of generations of rabbis who shook off his religious roots in favor of a broadminded humanism; he was also a hopelessly inept businessman who soon plunged the family into poverty. To help pay the bills, Salten started working for an insurance company in his teens, around the same time that he began submitting poetry and literary criticism to local newspapers and journals. Eventually, he began meeting other writers and creative types at a café called the Griensteidl, across the street from the national theatre. These were the fin-de-siècle artists collectively known as Young Vienna, whose members included Arthur Schnitzler, Arnold Schoenberg, Stefan Zweig, and a writer who later repudiated the group, Karl Kraus.\nSalten was, in his youth, both literally and literarily promiscuous. He openly conducted many affairs—with chambermaids, operetta singers, actresses, a prominent socialist activist, and, serially or simultaneously, several women with whom other members of Young Vienna were having dalliances as well. In time, he married and settled down, but all his life he wrote anything he could get paid to write: book reviews, theatre reviews, art criticism, essays, plays, poems, novels, a book-length advertisement for a carpet company disguised as reportage, travel guides, librettos, forewords, afterwords, film scripts. His detractors regarded this torrent as evidence of hackery, but it was more straightforwardly evidence of necessity; almost alone among the members of Young Vienna, he was driven by the need to make a living.\nYet, like his father, Salten could be reckless with money. Anxious to seem like an insider, he insisted on eating, drinking, dressing, and travelling in the manner of his wealthier peers, with the result that he was constantly accruing debts, some of which he dispatched in dodgy ways—for instance, by “borrowing” and then selling a friend’s expensive books. And he could be reckless in other respects, too. Inclined to be touchy, either by temperament or because he felt the need to prove himself, he spent much of his young life fomenting disputes (he once walked into the Griensteidl and slapped Kraus in the face after the latter criticized him in print), then resolving them via lawsuits or duels. Both his personal judgment and his critical judgment could be impulsive and errant; in his thirties, he borrowed prodigiously to produce a modernist cabaret, of the kind that was all the rage in Berlin, only to see it become a critical and financial catastrophe.\nThe production that brought Salten the most infamy, however, did not bear his name: “Josefine Mutzenbacher; or, The Story of a Viennese Whore, as Told by Herself.” Published anonymously in Vienna in 1906, it has been continuously in print since then, in both German and English, and has sold some three million copies. Despite the subtitle, no one ever seems to have entertained the possibility that it was written by a prostitute, or even by a woman. In Salten’s lifetime, nearly everyone thought he wrote it, except for those who liked him too much to believe he could produce something so filthy and those who hated him too much to believe he could produce something so well written. Salten himself twice claimed not to have been responsible for it but otherwise was silent or coy on the subject. These days, everyone from academics to the Austrian government regards him as the undisputed author of the book.\nWritten in the tradition of the ribald female memoir, à la “Fanny Hill,” “Josefine Mutzenbacher” recounts the sexual adventures of the title character beginning when she is five years old, and continuing after her turn to prostitution in her early teens, following the death of her mother. Today, what is most shocking about the book is Josefine’s youth. At the time, however, most of the scandal concerned her unapologetic embrace of her career, which she both enjoyed and credited with lifting her out of poverty, educating her, and introducing her to a world far wider than the impoverished Vienna suburbs where she (like Salten) grew up.\nPerhaps inevitably, scholars have tried to draw parallels between “Josefine Mutzenbacher” and “Bambi.” Both title characters lose their mothers while still in their youth; both books introduce readers in detail to urban borderlands—the poor suburbs, the flophouses, the forests—about which most proper Viennese were largely ignorant. Still, for the most part, such comparisons seem strained. “Josefine Mutzenbacher” occupies much the same place in the Salten œuvre as his homage to carpets: the one that lies at the intersection of ambition, graphomania, and penury.\nBut the place of “Bambi” is different. If there is a through line to Salten’s scattershot career, it is his interest in writing about animals, which was evident from his first published work of fiction: “The Vagabond,” a short story about the adventures of a dachshund, written when he was twenty-one. Many other nonhuman protagonists followed, most of them ill-fated: a sparrow that dies in battle, a fly that hurls itself to death against a windowpane. Salten’s novel “The Hound of Florence” concerns a young Austrian man destined to spend every other day of his life as the archduke’s dog; in the end, he is stabbed to death, in his dog form, while trying to protect a courtesan he loves from assault. (In an even more drastic transformation than the one “Bambi” underwent, this story became, in Disney’s hands, “The Shaggy Dog.”) “Fifteen Rabbits” features, at first, fifteen rabbits, who debate the nature of God and the reason for their own persecution while their numbers gradually dwindle. “Renni the Rescuer,” about a German shepherd trained as a combat animal, features a carrier pigeon traumatized by its wartime service. And then, of course, there is “Bambi”—which, like these other stories, was not particularly suitable for children, until Disney bowdlerized it to fit the bill.\n“Bambi” was not particularly successful when it was first released. It was hampered partly by audience turnout, which was down because of the Second World War, and partly by audience expectations, since, unlike earlier Disney productions, it featured no magic and no Mickey. In time, though, “Bambi,” which was Walt’s favorite among his films, became one of the most popular movies in the history of the industry. In the four decades following its release, it earned forty-seven million dollars—more than ten times the haul of “Casablanca,” which came out the same year. Perhaps more notably, it also earned a dominant position in the canon of American nature tales. In the words of the environmental historian Ralph Lutts, “It is difficult to identify a film, story, or animal character that has had a greater influence on our vision of wildlife.”\nThat vision is of an Eden marred only by the incursion of humankind. There is no native danger in Bambi’s forest; with the exception of his brief clash with another male deer in mating season, and maybe that hardscrabble winter, the wilderness he inhabits is all natural beauty and interspecies amity. The truly grave threats he faces are always from hunters, who cause both the forest fire and the death of his mother, yet the movie seems less anti-hunting than simply anti-human. The implicit moral is not so much that killing animals is wicked as that people are wicked and wild animals are innocent. Some years ago, when the American Film Institute compiled a list of the fifty greatest movie villains of all time, it chose for slot No. 20—between Captain Bligh, of “Mutiny on the Bounty,” and Mrs. John Iselin, of “The Manchurian Candidate”—the antagonist of “Bambi”: “Man.”\nUnsurprisingly, “Bambi” has long been unpopular among hunters, one of whom sent a telegram to Walt Disney on the eve of the film’s release to inform him that it is illegal to shoot deer in the spring. Nor is the film a favorite among professional wilderness managers, who now routinely contend with what they call “the Bambi complex”: a dangerous desire to regard nature as benign and wild animals as adorable and tame, coupled with a corresponding resistance to crucial forest-management tools such as culling and controlled burns. Even some environmentalists object to its narrowness of vision—its failure to offer audiences a model of a healthy relationship between people and the rest of the natural world.\nBut perhaps the most vociferous if also the smallest group of critics consists of devotees of Salten, who recognize how drastically Disney distorted his source material. Although the animals in the novel do converse and in some cases befriend one another across species, their over-all relations are far from benign. In the course of just two pages, a fox tears apart a widely beloved pheasant, a ferret fatally wounds a squirrel, and a flock of crows attacks the young son of Friend Hare—the gentle, anxious figure who becomes Thumper in the movie—leaving him to die in excruciating pain. Later, Bambi himself nearly batters to death a rival who is begging for mercy, while Faline looks on, laughing. Far from being gratuitous, such scenes are, in the author’s telling, the whole point of the novel. Salten insisted that he wrote “Bambi” to educate naïve readers about nature as it really is: a place where life is always contingent on death, where starvation, competition, and predation are the norm.\nThat motive did not make Salten go easy on human beings. On the contrary: his depiction of our impact on nature is considerably more specific and violent than the one in the film, not to mention sadder. Consider the moment when Bambi, fleeing the hunting party that kills his mother and countless other creatures, comes across the wife of Friend Hare, in a scene that reads like something out of “Regeneration,” Pat Barker’s novel about the First World War:\n\n“Can you help me a little?” she said. Bambi looked at her and shuddered. Her hind leg dangled lifelessly in the snow, dyeing it red and melting it with warm, oozing blood. “Can you help me a little?” she repeated. She spoke as if she were well and whole, almost as if she were happy. “I don’t know what can have happened to me,” she went on. “There’s really no sense to it, but I just can’t seem to walk. . . .”\nIn the middle of her words she rolled over on her side and died.\n\nWhat purpose are scenes like that one serving in this book? Salten maintained that, despite his own affinity for hunting, he was trying to dissuade others from killing animals except when it was necessary for the health of a species or an ecosystem. (That was less hypocritical than it seems; Salten despised poachers and was horrified by the likes of Archduke Franz Ferdinand, who boasted of killing five thousand deer and was known to shoot them by the score as underlings drove them into his path.) But authors do not necessarily get the last word on the meaning of their work, and plenty of other people believe that “Bambi” is no more about animals than “Animal Farm” is. Instead, they see in it what the Nazis did: a reflection of the anti-Semitism that was on the rise all across Europe when Salten wrote it.\nThis newcomer turns out to be the grownup Gobo, who, we learn, was rescued by a member of the hunting party, taken into his home, and nursed back to health. When Gobo returns, the other forest animals gather to hear him describe the kindness of the hunter and his family, the warmth of the dwelling, and the meals that were brought to him every day. Most of them think that Gobo’s time among humans has made him dangerously naïve, but he is convinced that it has made him wiser and more worldly. “You all think He’s wicked,” he tells them. (In Salten’s books, humans are typographically styled the way God is: singular and capitalized.) “But He isn’t wicked. If He loves anybody, or if anybody serves Him, He’s good to him. Wonderfully good!”\nEvery subjugated minority is familiar with figures like Gobo—individuals who have assimilated into and become defenders of the culture of their subjugators, whether out of craven self-interest or because, like Gobo, they are sincerely enamored of it and convinced that their affection is reciprocated. Such figures often elicit the disdain or the wrath of their peers, and Salten leaves little doubt about how he feels: Bambi “was ashamed of Gobo without knowing why,” and the half-tame deer soon pays the price for his beliefs. One day, ignoring the advice of other animals, Gobo strolls into the meadow even though the scent of humans fills the air. He is confident that they won’t harm him, but he is shot in the flank while his love interest looks on. As she turns to flee, she sees the hunter bent over Gobo and hears his “wailing death shriek.”\nOne understands why Disney left that part out. So, too, a scene in Salten’s book where a dog kills a fox, which unfolds at a horrifyingly leisurely pace. The fox’s paw is shattered and bleeding, and he knows he will die soon, but he pleads with the dog: “Let me die with my family at least. We’re brothers almost, you and I.” When that fails, he accuses the dog of being a turncoat and a spy. The dog works himself into a frenzy defending the virtue and the power of his master, then itemizes all the other animals who serve humankind:\n\n“The horse, the cow, the sheep, the chickens, many, many of you and your kind are on His side and worship Him and serve Him.”\n“They’re rabble!” snarled the fox, full of a boundless contempt.\n\nIt is easy, in light of these scenes, to see why some people interpret “Bambi” as a covert account of the crisis facing European Jews in the nineteen-twenties—a story about innocent creatures forced to remain constantly vigilant against danger, from would-be betrayers within and proto-Brown Shirts without. Some of Salten’s biography supports that reading, starting with the fact that he knew a thing or two about assimilation. “I was not a Jew when I was a boy,” he once wrote; raised in a household that prized European liberalism, and educated in part by pious Catholic teachers who praised him for his knowledge of the catechism, Salten only really began to identify as Jewish in his late twenties, when he grew close to Theodor Herzl, a fellow Austro-Hungarian writer and the father of the Zionist movement. He claimed that it was Herzl’s pamphlet “The Jewish State” that made Salten, as he wrote, “willing to love my Jewishness.”\nIf so, that love was, to say the least, complicated. On the one hand, Salten began writing a weekly column for Herzl’s Jewish newspaper, in which he grew more and more critical of the assimilationist impulse that had shaped his childhood; on the other hand, he wrote it anonymously and refused to set foot in the newspaper’s offices. In later years, his increasing willingness to embrace his Judaism corresponded, not coincidentally, with the increasing anti-Semitism in Vienna, which made it impossible for Jews to forget or deny their religious background.\nIn 1925, three years after “Bambi,” Salten published “New People on Ancient Soil,” the product of a visit to Palestine and a book-length tribute to his friend’s dream of a Jewish state. A decade later, his books, together with countless others by Jewish authors, were burned by the Nazis, and two years after that, following Germany’s annexation of Austria, he moved to Switzerland. Salten died in Zurich, at the age of seventy-six, four months after Hitler killed himself.\nDoes all this make “Bambi” a parable about Jewish persecution? The fact that the Nazis thought so is hardly dispositive—fascist regimes are not known for their sophisticated literary criticism—and, for every passage that supports such a reading, numerous others complicate or contradict it. Many critics see in “Bambi” different or more diffuse political sentiments, from a generalized opposition to totalitarianism to a post-First World War commentary on the brutality of modern combat. All these readings are plausible, including the specifically Jewish one and Salten’s own interpretation of his work as a plea for greater understanding of and greater care for the natural world. Yet the most striking and consistent message of the book is neither obliquely political nor urgently ecological; it is simply, grimly existential.\nThe agent of that education is a character known as the old Prince, the oldest surviving stag in the forest, and the lessons he imparts are not subtle. When he first encounters Bambi, the latter is still a fawn, dismayed because his mother has lately grown distant—pushing him away when he tries to nurse, and walking off without caring whether he is following. Thus rebuffed, he is by himself in the middle of the forest bleating for her when the old Prince appears and scolds him. “Your mother has no time for you now,” the old Prince says. “Can’t you stay by yourself? Shame on you!”\nThat, in two sentences, is the ultimate message of “Bambi”: anything short of extreme self-reliance is shameful; interdependence is unseemly, restrictive, and dangerous. “Of all his teachings,” Salten writes, “this had been the most important: you must live alone. If you wanted to preserve yourself, if you understood existence, if you wanted to attain wisdom, you had to live alone.” This is not “The Lorax” or “Maus.” This is “The Fountainhead,” with fawns.\nMost panegyrics to the solitary life written by men have an element of misogyny in them, and “Bambi” is no exception. Seemingly brave and vivacious in her youth, Faline grows up to be timid and lachrymose; she “shrieked and shrieked,” she “bleated,” she is “the hysterical Faline.” When she and Bambi are (for lack of a better word) dating, the old Prince teaches Bambi to ignore her calls, lest they come from a hunter imitating the sound. Like Gobo, the romance between the childhood friends is doomed by the logic of the book. “Do you love me still?” Faline asks one day, to which Bambi replies, “I don’t know.” She walks away, and “all at once, his spirit felt freer than for a long time.” All other relationships with the female of the species have a similarly short life span; fatherly love is enduring and ennobling, motherly love juvenile and embarrassing. “Bambi” ends with its hero importuning two fawns, just as the old Prince had importuned him, to learn to live alone.\nThe curious thing about this insistence on solitude is that nothing in the book makes it seem appealing. The chief trajectory of Bambi’s life is not from innocence to wisdom; it is from contentment and companionship—in his youth, he cavorts with Gobo and Faline, with magpies and Friend Hare, with screech owls and squirrels—to isolation and bare-bones survival. Stranger still, this valorization of loneliness seems unrelated to the book’s second explicit moral, which concerns the relationship between human beings and other animals. In the final pages, the old Prince takes Bambi, himself now old and beginning to gray, to see something in the woods: a dead man, shot and killed by another hunter. (Amazingly, Walt Disney planned to include this scene in his film, excising it only after the sight of the corpse made an entire test audience leap out of their seats.) With the old Prince’s prompting, Bambi concludes from this experience not that we humans are a danger even unto one another but, rather, that other animals are foolish for imagining that we are gods merely because we are powerful. “There is Another who is over us all,” he realizes while contemplating the dead man, “over us and over Him.” The old Prince, satisfied that his work is done, goes off to die.\nThis vague gesture in the direction of deism has no antecedent in the book, no moral or theological trajectory to make Bambi’s insight meaningful or satisfying. On the contrary, the book is at its best when it revels in rather than pretends to resolve the mystery of existence. At one point, Bambi passes by some midges who are discussing a June bug. “How long will he live?” the young ones ask. “Forever, almost,” their elders answer. “They see the sun thirty or forty times.” Elsewhere, a brief chapter records the final conversation of a pair of oak leaves clinging to a branch at the end of autumn. They gripe about the wind and the cold, mourn their fallen peers, and try to understand what is about to happen to them. “Why must we fall?” one asks. The other doesn’t know, but has questions of its own: “Do we feel anything, do we know anything about ourselves when we’re down there?” The conversation tacks back and forth from the intimate to the existential. The two leaves worry about which of them will fall first; one of them, gone “yellow and ugly,” reassures the other that it has barely changed at all. The response, just before the inevitable end, is startlingly moving: “You’ve always been so kind to me. I’m just beginning to understand how kind you are.” That is the opposite of a paean to individualism: a belated but tender recognition of how much we mean to one another.\nIn both versions, the “Bambi” that emerges is a complex work, part nature writing, part allegory, part autobiography. What makes it such a startling source for a beloved children’s classic is ultimately not its violence or its sadness but its bleakness. Perhaps the most telling exchange in the book occurs, during that difficult winter, between Bambi’s mother and his aunt. “It’s hard to believe that it will ever be better,” his mother says. His aunt responds, “It’s hard to believe that it was ever any better.”\nIt’s tempting to read those lines, too, as a commentary on the Jewish condition, if only because—to this Jew’s ears, at least—they have the feel of classic Jewish dark humor: realistic, linguistically dexterous, and grim. Yet no one alive today can regard such a sentiment as exclusive to any subgroup. It is simply a way of seeing the world, one that can be produced by circumstance, temperament, or, as in Salten’s case, both. Reading him, one suspects that the conventional interpretation of his most famous work is backward. “Bambi” is not a parable about the plight of the Jews, but Salten sometimes regards the plight of the Jews as a parable about the human condition. The omnipresence and inevitability of danger, the need to act for oneself and seize control of one’s fate, the threat posed by intimates and strangers alike: this is Salten’s assessment of our existence.\nOne of the forgotten novelist’s most forgotten novels, “Friends from All Over the World,” is set in a zoo that is maintained by an enlightened and humane zookeeper yet remains, intrinsically, a place of suffering and cruelty. The animals within it, Salten writes, “are all sentenced to life imprisonment and are all innocent.” That is a lovely line, and one that seems to apply, in his moral universe, to all of us. In the forest—that is, in a state of nature—we are in constant danger; in society, tended and cared for but fundamentally compromised, we are still not out of the woods. ♦","isBasedOn":"https://www.newyorker.com/magazine/2022/01/24/bambi-is-even-bleaker-than-you-thought","articleSection":"a critic at large","author":[{"@type":"Person","name":"Kathryn Schulz","sameAs":"https://www.newyorker.com/contributors/kathryn-schulz"}],"dateModified":"2022-01-17T06:00:00.000-05:00","datePublished":"2022-01-13T16:27:25.247-05:00","headline":"“Bambi” Is Even Bleaker Than You Thought","image":["https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/16:9/w_1838,h_1034,c_limit/220124_r39744.jpg","https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/4:3/w_1839,h_1379,c_limit/220124_r39744.jpg","https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/1:1/w_1839,h_1839,c_limit/220124_r39744.jpg"],"keywords":["a critic at large","new yorker favorites","bambi","books","writers","biographies","children’s books","nature","animals","deer","hunting","disney","splitscreenimagerightinset","standard","magazine"],"thumbnailUrl":"https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/3:2/w_1839,h_1226,c_limit/220124_r39744.jpg","url":"https://www.newyorker.com/magazine/2022/01/24/bambi-is-even-bleaker-than-you-thought","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity. Kathryn Schulz on Felix Salten’s “Bambi,” and a new translation by Jack Zipes.","description":"The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity. Kathryn Schulz on Felix Salten’s “Bambi,” and a new translation by Jack Zipes.","mainEntityOfPage":{"@type":"WebPage","@id":"https://www.newyorker.com/magazine/2022/01/24/bambi-is-even-bleaker-than-you-thought"},"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":"Bambi","item":"https://www.newyorker.com/tag/bambi"},{"@type":"ListItem","position":3,"name":"“Bambi” Is Even Bleaker Than You Thought"}]}</script><meta id="google-signin-meta" name="google-signin-client_id" 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class="SplitScreenContentHeaderWrapper-bFxPWy gYGOyO content-header article__content-header" data-testid="SplitScreenContentHeaderWrapper"><div class="GridWrapper-cAzTTK ejVgGJ grid grid-items-2 grid-full-bleed grid-no-gap SplitScreenContentHeaderMain-fNigKG daohZh"><div class="GridItem-buujkM eHLzLy grid--item"><div class="SplitScreenContentHeaderTitleBlock-sCMXE iBmYVL"><div data-testid="ContentHeaderRubric"><div class="RubricWrapper-dKmCNX cXTooZ rubric SplitScreenContentHeaderRubric-cLHEJQ fBQcOV"><a class="RubricLink-gRWSOU fgWnkQ rubric__link" href="/magazine/a-critic-at-large"><span class="RubricName-fVtemz cLxcNi rubric__name">A Critic at Large</span></a></div></div><h1 data-testid="ContentHeaderHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplitScreenContentHeaderHed-lcUSuI iUEiRd kOQxwh dfelga">“Bambi” Is Even Bleaker Than You Thought</h1><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplitScreenContentHeaderDek-emptdL iUEiRd ijAEVA dJrDEb">The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity.</div><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines SplitScreenContentHeaderByline-kvEhqE jpcMxc"><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/kathryn-schulz">Kathryn Schulz</a></span></span></span></div><time data-testid="ContentHeaderPublishDate" dateTime="2022-01-17T06:00:00-05:00" class="SplitScreenContentHeaderPublishDate-bMGEVk egaTcp">January 17, 2022</time><div 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https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/master/w_1920,c_limit/220124_r39744.jpg 1920w, https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/master/w_2240,c_limit/220124_r39744.jpg 2240w" sizes="100vw"/><img alt="Bambi in front of a forest with animals hunting each other in the background" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/61e0992be9ad91ea016d3d4f/master/w_2560%2Cc_limit/220124_r39744.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"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Felix Salten’s 1922 novel sought to educate naïve readers about the violence of nature, as well as about man’s threat to it.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd kboznU caption__credit">Illustration by ATAK</span></div></div></div></header></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN bIesAh 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 bwyLBj"><div data-testid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa eunGjt body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><figure data-testid="IframeEmbed" class="IframeEmbedWrapper-sc-dRedg cjyRVU iframe-embed"><div data-testid="IframeEmbedContainer" class="IframeEmbedContainer-hptgUZ iKMnGB"><div class="IframeEmbedAspectRatioWrapper-hFVJps BKpgQ"><iframe class="IframeEmbedContent-cMdiev csnuAY IframeEmbedContent lazy" height="90" width="100%" sandbox="allow-scripts allow-same-origin allow-popups" title="Embedded Frame" data-src="https://audm.herokuapp.com/player-embed?pub=newyorker&articleID=61df14f115569ea4b37d1c92" allowfullscreen="" allow="autoplay *; encrypted-media *; clipboard-write; autoplay; fullscreen; picture-in-picture"></iframe></div></div></figure><p class="has-dropcap has-dropcap__lead-standard-heading paywall">It is one of the most famous murders in the history of cinema. A mother and her child are out for a walk, on the first warm day after a bitter winter. Beguiled by the changing weather, we do not see the danger coming. In fact, we never see it at all, because the man with the gun remains offscreen. We see only the mother’s sudden alarm; her panicked attempt to get her child to safety; their separation in the chaos of the moment; and then the child, outside in the cold as snow once again begins to fall, alone and crying for his mother.</p><p class="paywall">The film in question is, of course, the 1942 Walt Disney classic “<a data-offer-url="https://www.amazon.com/Bambi-Bonus-Content-Bobbie-Stewart/dp/B071RNF4R3" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Bambi-Bonus-Content-Bobbie-Stewart/dp/B071RNF4R3"}" href="https://www.amazon.com/Bambi-Bonus-Content-Bobbie-Stewart/dp/B071RNF4R3" rel="nofollow noopener" target="_blank">Bambi</a>.” Perhaps more than any other movie made for children, it is remembered chiefly for its moments of terror: not only the killing of the hero’s mother but the forest fire that threatens all the main characters with annihilation. Stephen King called “Bambi” the first horror movie he ever saw, and Pauline Kael, the longtime film critic for this magazine, claimed that she had never known children to be as frightened by supposedly scary grownup movies as they were by “Bambi.”</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><div></div><p class="paywall">Unlike many other <a href="https://www.newyorker.com/tag/disney">Disney</a> classics, from “<a data-offer-url="https://www.amazon.com/Cinderella-Signature-Ilene-Woods/dp/B07SMBGGZN" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Cinderella-Signature-Ilene-Woods/dp/B07SMBGGZN"}" href="https://www.amazon.com/Cinderella-Signature-Ilene-Woods/dp/B07SMBGGZN" rel="nofollow noopener" target="_blank">Cinderella</a>” to “<a data-offer-url="https://www.amazon.com/Frozen-Kristen-Bell/dp/B00J2PF4ZU" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Frozen-Kristen-Bell/dp/B00J2PF4ZU"}" href="https://www.amazon.com/Frozen-Kristen-Bell/dp/B00J2PF4ZU" rel="nofollow noopener" target="_blank">Frozen</a>,” this fright fest is not based on a fairy tale. It was adapted from “Bambi: A Life in the Woods,” a 1922 novel by the Austro-Hungarian writer and critic Felix Salten. The book rendered Salten famous; the movie, which altered and overshadowed its source material, rendered him virtually unknown. And it rendered the original “Bambi” obscure, too, even though it had previously been both widely acclaimed and passionately reviled. The English-language version, as translated in 1928 by the soon to be Soviet spy Whittaker Chambers, was enormously popular, earning rave reviews and selling six hundred and fifty thousand copies in the dozen-plus years before the film came out. The original version, meanwhile, was banned and burned in Nazi Germany, where it was regarded as a parable about the treatment of Jews in Europe.</p><p class="paywall">As that suggests, “Bambi” the book is even darker than “Bambi” the movie. Until now, English-language readers had to rely on the Chambers translation—which, thanks to a controversial copyright ruling, has been the only one available for almost a century. This year, however, “Bambi: A Life in the Woods” has entered the public domain, and the Chambers version has been joined by a new one: “<a data-offer-url="https://www.amazon.com/Original-Bambi-Story-Life-Forest/dp/0691197741" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Original-Bambi-Story-Life-Forest/dp/0691197741"}" href="https://www.amazon.com/Original-Bambi-Story-Life-Forest/dp/0691197741" rel="nofollow noopener" target="_blank">The Original Bambi: The Story of a Life in the Forest</a>” (Princeton), translated by Jack Zipes, with wonderful black-and-white illustrations by Alenka Sottler. Zipes, a professor emeritus of German and comparative literature at the University of Minnesota, who has also translated the fairy tales of the Brothers Grimm, maintains in his introduction that Chambers got “Bambi” almost as wrong as Disney did. Which raises two questions: How exactly did a tale about the life of a fawn become so contentious, and what is it really about?</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Felix Salten was an unlikely figure to write “Bambi,” since he was an ardent hunter who, by his own estimate, shot and killed more than two hundred deer. He was also an unlikely figure to write a parable about Jewish persecution, since, even after the book burnings, he promoted a policy of appeasement toward Nazi Germany. And he was an unlikely figure to write one of the most famous children’s stories of the twentieth century, since he wrote one of its most infamous works of child pornography.</p><p class="paywall">These contradictions are nicely encapsulated by Beverley Driver Eddy in her biography “<a data-offer-url="https://www.amazon.com/Felix-Salten-Studies-Austrian-Literature/dp/1572411694" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Felix-Salten-Studies-Austrian-Literature/dp/1572411694"}" href="https://www.amazon.com/Felix-Salten-Studies-Austrian-Literature/dp/1572411694" rel="nofollow noopener" target="_blank">Felix Salten: Man of Many Faces</a>.” Born Siegmund Salzmann, in Hungary in 1869, Salten was just three weeks old when his family moved to Vienna—a newly desirable destination for Jews, because Austria had lately granted them full citizenship. His father was a descendant of generations of rabbis who shook off his religious roots in favor of a broadminded humanism; he was also a hopelessly inept businessman who soon plunged the family into poverty. To help pay the bills, Salten started working for an insurance company in his teens, around the same time that he began submitting poetry and literary criticism to local newspapers and journals. Eventually, he began meeting other writers and creative types at a café called the Griensteidl, across the street from the national theatre. These were the fin-de-siècle artists collectively known as Young Vienna, whose members included Arthur Schnitzler, Arnold Schoenberg, Stefan Zweig, and a writer who later repudiated the group, Karl Kraus.</p><p class="paywall">Salten was, in his youth, both literally and literarily promiscuous. He openly conducted many affairs—with chambermaids, operetta singers, actresses, a prominent socialist activist, and, serially or simultaneously, several women with whom other members of Young Vienna were having dalliances as well. In time, he married and settled down, but all his life he wrote anything he could get paid to write: book reviews, theatre reviews, art criticism, essays, plays, poems, novels, a book-length advertisement for a carpet company disguised as reportage, travel guides, librettos, forewords, afterwords, film scripts. His detractors regarded this torrent as evidence of hackery, but it was more straightforwardly evidence of necessity; almost alone among the members of Young Vienna, he was driven by the need to make a living.</p><p class="paywall">Yet, like his father, Salten could be reckless with money. Anxious to seem like an insider, he insisted on eating, drinking, dressing, and travelling in the manner of his wealthier peers, with the result that he was constantly accruing debts, some of which he dispatched in dodgy ways—for instance, by “borrowing” and then selling a friend’s expensive books. And he could be reckless in other respects, too. Inclined to be touchy, either by temperament or because he felt the need to prove himself, he spent much of his young life fomenting disputes (he once walked into the Griensteidl and slapped Kraus in the face after the latter criticized him in print), then resolving them via lawsuits or duels. Both his personal judgment and his critical judgment could be impulsive and errant; in his thirties, he borrowed prodigiously to produce a modernist cabaret, of the kind that was all the rage in Berlin, only to see it become a critical and financial catastrophe.</p><p class="paywall">The production that brought Salten the most infamy, however, did not bear his name: “Josefine Mutzenbacher; or, The Story of a Viennese Whore, as Told by Herself.” Published anonymously in Vienna in 1906, it has been continuously in print since then, in both German and English, and has sold some three million copies. Despite the subtitle, no one ever seems to have entertained the possibility that it was written by a prostitute, or even by a woman. In Salten’s lifetime, nearly everyone thought he wrote it, except for those who liked him too much to believe he could produce something so filthy and those who hated him too much to believe he could produce something so well written. Salten himself twice claimed not to have been responsible for it but otherwise was silent or coy on the subject. These days, everyone from academics to the Austrian government regards him as the undisputed author of the book.</p><p class="paywall">Written in the tradition of the ribald female memoir, à la “Fanny Hill,” “Josefine Mutzenbacher” recounts the sexual adventures of the title character beginning when she is five years old, and continuing after her turn to prostitution in her early teens, following the death of her mother. Today, what is most shocking about the book is Josefine’s youth. At the time, however, most of the scandal concerned her unapologetic embrace of her career, which she both enjoyed and credited with lifting her out of poverty, educating her, and introducing her to a world far wider than the impoverished Vienna suburbs where she (like Salten) grew up.</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/a25775"}" href="https://www.newyorker.com/cartoon/a25775" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="Couple sitting at a table and having a conversation." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_1600%2Cc_limit/220124_a25775.jpg" srcSet="https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_120,c_limit/220124_a25775.jpg 120w, https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_240,c_limit/220124_a25775.jpg 240w, https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_320,c_limit/220124_a25775.jpg 320w, https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_640,c_limit/220124_a25775.jpg 640w, https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_960,c_limit/220124_a25775.jpg 960w, https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_1280,c_limit/220124_a25775.jpg 1280w, https://media.newyorker.com/cartoons/61e0992a73406cef6c6ca812/master/w_1600,c_limit/220124_a25775.jpg 1600w" sizes="100vw"/></noscript></picture></a><div class="CaptionWrapper-jSZdqE yJskm caption ResponsiveCartoonCaption-dokfdF cXfPNO responsive-cartoon__caption"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq bsWloa caption__text">“We’ve rehearsed this conversation several times in my head—do not go off script.”</span></div><div class="CaptionWrapper-jSZdqE koIZQP caption ResponsiveCartoonCredit-bKlQqO faLAFb responsive-cartoon__credit"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd bmQtfn caption__credit">Cartoon by Sarah Akinterinwa</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">Perhaps inevitably, scholars have tried to draw parallels between “Josefine Mutzenbacher” and “Bambi.” Both title characters lose their mothers while still in their youth; both books introduce readers in detail to urban borderlands—the poor suburbs, the flophouses, the forests—about which most proper Viennese were largely ignorant. Still, for the most part, such comparisons seem strained. “Josefine Mutzenbacher” occupies much the same place in the Salten œuvre as his homage to carpets: the one that lies at the intersection of ambition, graphomania, and penury.</p><div class="Container-hnJNtl gxMaIG"></div><p class="paywall">But the place of “Bambi” is different. If there is a through line to Salten’s scattershot career, it is his interest in writing about animals, which was evident from his first published work of fiction: “The Vagabond,” a short story about the adventures of a dachshund, written when he was twenty-one. Many other nonhuman protagonists followed, most of them ill-fated: a sparrow that dies in battle, a fly that hurls itself to death against a windowpane. Salten’s novel “The Hound of Florence” concerns a young Austrian man destined to spend every other day of his life as the archduke’s dog; in the end, he is stabbed to death, in his dog form, while trying to protect a courtesan he loves from assault. (In an even more drastic transformation than the one “Bambi” underwent, this story became, in Disney’s hands, “The Shaggy Dog.”) “Fifteen Rabbits” features, at first, fifteen rabbits, who debate the nature of God and the reason for their own persecution while their numbers gradually dwindle. “Renni the Rescuer,” about a German shepherd trained as a combat animal, features a carrier pigeon traumatized by its wartime service. And then, of course, there is “Bambi”—which, like these other stories, was not particularly suitable for children, until Disney bowdlerized it to fit the bill.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">If you haven’t seen the Disney version of “Bambi” since you were eight, here is a quick refresher: The title character is born one spring to an unnamed mother and a distant but magnificently antlered father. He befriends an enthusiastic young rabbit, Thumper; a sweet-tempered skunk, Flower; and a female fawn named Faline. After the death of his mother the following spring, he and Faline fall in love, but their relationship is tested by a rival deer, by a pack of hunting dogs, and, finally, by the forest fire. Having triumphed over all three, Bambi sires a pair of fawns; as the film concludes, the hero, like his father before him, is watching over his family from a faraway crag.</p><p class="paywall">“Bambi” was not particularly successful when it was first released. It was hampered partly by audience turnout, which was down because of the Second World War, and partly by audience expectations, since, unlike earlier Disney productions, it featured no magic and no Mickey. In time, though, “Bambi,” which was Walt’s favorite among his films, became one of the most popular movies in the history of the industry. In the four decades following its release, it earned forty-seven million dollars—more than ten times the haul of “Casablanca,” which came out the same year. Perhaps more notably, it also earned a dominant position in the canon of American nature tales. In the words of the environmental historian Ralph Lutts, “It is difficult to identify a film, story, or animal character that has had a greater influence on our vision of wildlife.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--item grid-layout__aside"><aside class="PersistentAsideWrapper-deVGrR daRVRt persistent-aside" style="top:9rem;margin-bottom:2.5rem;position:sticky;height:unset !important" data-testid="PersistentAsideWrapper"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="x4660s"></div></div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--display-rail" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--display-rail"></div><div class="journey-unit"></div></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></div></div></aside></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="wp3gfl"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa eunGjt body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">That vision is of an Eden marred only by the incursion of humankind. There is no native danger in Bambi’s forest; with the exception of his brief clash with another male deer in mating season, and maybe that hardscrabble winter, the wilderness he inhabits is all natural beauty and interspecies amity. The truly grave threats he faces are always from hunters, who cause both the forest fire and the death of his mother, yet the movie seems less anti-hunting than simply anti-human. The implicit moral is not so much that killing animals is wicked as that people are wicked and wild animals are innocent. Some years ago, when the American Film Institute compiled a list of the fifty greatest movie villains of all time, it chose for slot No. 20—between Captain Bligh, of “Mutiny on the Bounty,” and Mrs. John Iselin, of “The Manchurian Candidate”—the antagonist of “Bambi”: “Man.”</p><p class="paywall">Unsurprisingly, “Bambi” has long been unpopular among hunters, one of whom sent a telegram to Walt Disney on the eve of the film’s release to inform him that it is illegal to shoot deer in the spring. Nor is the film a favorite among professional wilderness managers, who now routinely contend with what they call “the Bambi complex”: a dangerous desire to regard nature as benign and wild animals as adorable and tame, coupled with a corresponding resistance to crucial forest-management tools such as culling and controlled burns. Even some environmentalists object to its narrowness of vision—its failure to offer audiences a model of a healthy relationship between people and the rest of the natural world.</p><p class="paywall">But perhaps the most vociferous if also the smallest group of critics consists of devotees of Salten, who recognize how drastically Disney distorted his source material. Although the animals in the novel do converse and in some cases befriend one another across species, their over-all relations are far from benign. In the course of just two pages, a fox tears apart a widely beloved pheasant, a ferret fatally wounds a squirrel, and a flock of crows attacks the young son of Friend Hare—the gentle, anxious figure who becomes Thumper in the movie—leaving him to die in excruciating pain. Later, Bambi himself nearly batters to death a rival who is begging for mercy, while Faline looks on, laughing. Far from being gratuitous, such scenes are, in the author’s telling, the whole point of the novel. Salten insisted that he wrote “Bambi” to educate naïve readers about nature as it really is: a place where life is always contingent on death, where starvation, competition, and predation are the norm.</p><p class="paywall">That motive did not make Salten go easy on human beings. On the contrary: his depiction of our impact on nature is considerably more specific and violent than the one in the film, not to mention sadder. Consider the moment when Bambi, fleeing the hunting party that kills his mother and countless other creatures, comes across the wife of Friend Hare, in a scene that reads like something out of “<a data-offer-url="https://www.amazon.com/Regeneration-Contemporary-Fiction-Plume-Barker/dp/0142180599" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Regeneration-Contemporary-Fiction-Plume-Barker/dp/0142180599"}" href="https://www.amazon.com/Regeneration-Contemporary-Fiction-Plume-Barker/dp/0142180599" rel="nofollow noopener" target="_blank">Regeneration</a>,” Pat Barker’s novel about the First World War:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-esRbGs jaQqnT blockquote-embed__content"><p>“Can you help me a little?” she said. Bambi looked at her and shuddered. Her hind leg dangled lifelessly in the snow, dyeing it red and melting it with warm, oozing blood. “Can you help me a little?” she repeated. She spoke as if she were well and whole, almost as if she were happy. “I don’t know what can have happened to me,” she went on. “There’s really no sense to it, but I just can’t seem to walk. . . .”</p><p>In the middle of her words she rolled over on her side and died.</p></div></blockquote><p class="paywall">What purpose are scenes like that one serving in this book? Salten maintained that, despite his own affinity for hunting, he was trying to dissuade others from killing animals except when it was necessary for the health of a species or an ecosystem. (That was less hypocritical than it seems; Salten despised poachers and was horrified by the likes of Archduke Franz Ferdinand, who boasted of killing five thousand deer and was known to shoot them by the score as underlings drove them into his path.) But authors do not necessarily get the last word on the meaning of their work, and plenty of other people believe that “Bambi” is no more about animals than “<a data-offer-url="https://www.amazon.com/Animal-Farm-George-Orwell/dp/0451526341" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Animal-Farm-George-Orwell/dp/0451526341"}" href="https://www.amazon.com/Animal-Farm-George-Orwell/dp/0451526341" rel="nofollow noopener" target="_blank">Animal Farm</a>” is. Instead, they see in it what the Nazis did: a reflection of the anti-Semitism that was on the rise all across Europe when Salten wrote it.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">As a textual matter, the best evidence for this proposition comes from two parts of “Bambi” that never made it onto the screen. The first concerns Faline’s twin brother, Gobo, who was written out of the movie. A fragile and sickly fawn, Gobo cannot flee during the hunting rampage that kills Bambi’s mother and Friend Hare’s wife. For several months, he is presumed dead. Then one day Bambi and Faline spot a deer making its way across an open meadow with reckless nonchalance, as if oblivious to any possible peril.</p><p class="paywall">This newcomer turns out to be the grownup Gobo, who, we learn, was rescued by a member of the hunting party, taken into his home, and nursed back to health. When Gobo returns, the other forest animals gather to hear him describe the kindness of the hunter and his family, the warmth of the dwelling, and the meals that were brought to him every day. Most of them think that Gobo’s time among humans has made him dangerously naïve, but he is convinced that it has made him wiser and more worldly. “You all think He’s wicked,” he tells them. (In Salten’s books, humans are typographically styled the way God is: singular and capitalized.) “But He isn’t wicked. If He loves anybody, or if anybody serves Him, He’s good to him. Wonderfully good!”</p><p class="paywall">Every subjugated minority is familiar with figures like Gobo—individuals who have assimilated into and become defenders of the culture of their subjugators, whether out of craven self-interest or because, like Gobo, they are sincerely enamored of it and convinced that their affection is reciprocated. Such figures often elicit the disdain or the wrath of their peers, and Salten leaves little doubt about how he feels: Bambi “was ashamed of Gobo without knowing why,” and the half-tame deer soon pays the price for his beliefs. One day, ignoring the advice of other animals, Gobo strolls into the meadow even though the scent of humans fills the air. He is confident that they won’t harm him, but he is shot in the flank while his love interest looks on. As she turns to flee, she sees the hunter bent over Gobo and hears his “wailing death shriek.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--item grid-layout__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></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="yui48a"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa eunGjt body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">One understands why Disney left that part out. So, too, a scene in Salten’s book where a dog kills a fox, which unfolds at a horrifyingly leisurely pace. The fox’s paw is shattered and bleeding, and he knows he will die soon, but he pleads with the dog: “Let me die with my family at least. We’re brothers almost, you and I.” When that fails, he accuses the dog of being a turncoat and a spy. The dog works himself into a frenzy defending the virtue and the power of his master, then itemizes all the other animals who serve humankind:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-esRbGs jaQqnT blockquote-embed__content"><p>“The horse, the cow, the sheep, the chickens, many, many of you and your kind are on His side and worship Him and serve Him.”</p><p>“They’re rabble!” snarled the fox, full of a boundless contempt.</p></div></blockquote><p class="paywall">It is easy, in light of these scenes, to see why some people interpret “Bambi” as a covert account of the crisis facing European Jews in the nineteen-twenties—a story about innocent creatures forced to remain constantly vigilant against danger, from would-be betrayers within and proto-Brown Shirts without. Some of Salten’s biography supports that reading, starting with the fact that he knew a thing or two about assimilation. “I was not a Jew when I was a boy,” he once wrote; raised in a household that prized European liberalism, and educated in part by pious Catholic teachers who praised him for his knowledge of the catechism, Salten only really began to identify as Jewish in his late twenties, when he grew close to Theodor Herzl, a fellow Austro-Hungarian writer and the father of the Zionist movement. He claimed that it was Herzl’s pamphlet “The Jewish State” that made Salten, as he wrote, “willing to love my Jewishness.”</p><p class="paywall">If so, that love was, to say the least, complicated. On the one hand, Salten began writing a weekly column for Herzl’s Jewish newspaper, in which he grew more and more critical of the assimilationist impulse that had shaped his childhood; on the other hand, he wrote it anonymously and refused to set foot in the newspaper’s offices. In later years, his increasing willingness to embrace his Judaism corresponded, not coincidentally, with the increasing anti-Semitism in Vienna, which made it impossible for Jews to forget or deny their religious background.</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/a25696-rd"}" href="https://www.newyorker.com/cartoon/a25696-rd" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="A bunch of penguins all thinking they see their exes." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_1600%2Cc_limit/220124_a25696_rd.jpg" srcSet="https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_120,c_limit/220124_a25696_rd.jpg 120w, https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_240,c_limit/220124_a25696_rd.jpg 240w, https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_320,c_limit/220124_a25696_rd.jpg 320w, https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_640,c_limit/220124_a25696_rd.jpg 640w, https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_960,c_limit/220124_a25696_rd.jpg 960w, https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_1280,c_limit/220124_a25696_rd.jpg 1280w, https://media.newyorker.com/cartoons/61e09929ed12fc1082eb8be7/master/w_1600,c_limit/220124_a25696_rd.jpg 1600w" sizes="100vw"/></noscript></picture></a><div class="CaptionWrapper-jSZdqE koIZQP caption ResponsiveCartoonCredit-bKlQqO faLAFb responsive-cartoon__credit"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd bmQtfn caption__credit">Cartoon by Joseph Dottino</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">In 1925, three years after “Bambi,” Salten published “New People on Ancient Soil,” the product of a visit to Palestine and a book-length tribute to his friend’s dream of a Jewish state. A decade later, his books, together with countless others by Jewish authors, were burned by the Nazis, and two years after that, following Germany’s annexation of Austria, he moved to Switzerland. Salten died in Zurich, at the age of seventy-six, four months after Hitler killed himself.</p><p class="paywall">Does all this make “Bambi” a parable about Jewish persecution? The fact that the Nazis thought so is hardly dispositive—fascist regimes are not known for their sophisticated literary criticism—and, for every passage that supports such a reading, numerous others complicate or contradict it. Many critics see in “Bambi” different or more diffuse political sentiments, from a generalized opposition to totalitarianism to a post-First World War commentary on the brutality of modern combat. All these readings are plausible, including the specifically Jewish one and Salten’s own interpretation of his work as a plea for greater understanding of and greater care for the natural world. Yet the most striking and consistent message of the book is neither obliquely political nor urgently ecological; it is simply, grimly existential.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Whatever else “Bambi” may be, it is, at heart, a coming-of-age story, cervine kin to “<a data-offer-url="https://www.amazon.com/Oliver-Twist-Norton-Critical-Editions/dp/039396292X" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Oliver-Twist-Norton-Critical-Editions/dp/039396292X"}" href="https://www.amazon.com/Oliver-Twist-Norton-Critical-Editions/dp/039396292X" rel="nofollow noopener" target="_blank">Oliver Twist</a>,” “<a data-offer-url="https://www.amazon.com/Little-Penguin-Classics-Louisa-Alcott/dp/0140390693" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Little-Penguin-Classics-Louisa-Alcott/dp/0140390693"}" href="https://www.amazon.com/Little-Penguin-Classics-Louisa-Alcott/dp/0140390693" rel="nofollow noopener" target="_blank">Little Women</a>,” and “<a data-offer-url="https://www.amazon.com/Giovannis-Room-James-Baldwin/dp/0345806565" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Giovannis-Room-James-Baldwin/dp/0345806565"}" href="https://www.amazon.com/Giovannis-Room-James-Baldwin/dp/0345806565" rel="nofollow noopener" target="_blank">Giovanni’s Room</a>.” In the language in which it was written, however, it is often described not as a bildungsroman—a general novel of maturation—but more specifically as an <em>Erziehungsroman:</em> a novel of education and training.</p><p class="paywall">The agent of that education is a character known as the old Prince, the oldest surviving stag in the forest, and the lessons he imparts are not subtle. When he first encounters Bambi, the latter is still a fawn, dismayed because his mother has lately grown distant—pushing him away when he tries to nurse, and walking off without caring whether he is following. Thus rebuffed, he is by himself in the middle of the forest bleating for her when the old Prince appears and scolds him. “Your mother has no time for you now,” the old Prince says. “Can’t you stay by yourself? Shame on you!”</p><p class="paywall">That, in two sentences, is the ultimate message of “Bambi”: anything short of extreme self-reliance is shameful; interdependence is unseemly, restrictive, and dangerous. “Of all his teachings,” Salten writes, “this had been the most important: you must live alone. If you wanted to preserve yourself, if you understood existence, if you wanted to attain wisdom, you had to live alone.” This is not “<a data-offer-url="https://www.amazon.com/Lorax-Classic-Seuss-Dr/dp/0394823370" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Lorax-Classic-Seuss-Dr/dp/0394823370"}" href="https://www.amazon.com/Lorax-Classic-Seuss-Dr/dp/0394823370" rel="nofollow noopener" target="_blank">The Lorax</a>” or “<a data-offer-url="https://www.amazon.com/Complete-Maus-Art-Spiegelman/dp/0679406417" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Complete-Maus-Art-Spiegelman/dp/0679406417"}" href="https://www.amazon.com/Complete-Maus-Art-Spiegelman/dp/0679406417" rel="nofollow noopener" target="_blank">Maus</a>.” This is “The Fountainhead,” with fawns.</p><p class="paywall">Most panegyrics to the solitary life written by men have an element of misogyny in them, and “Bambi” is no exception. Seemingly brave and vivacious in her youth, Faline grows up to be timid and lachrymose; she “shrieked and shrieked,” she “bleated,” she is “the hysterical Faline.” When she and Bambi are (for lack of a better word) dating, the old Prince teaches Bambi to ignore her calls, lest they come from a hunter imitating the sound. Like Gobo, the romance between the childhood friends is doomed by the logic of the book. “Do you love me still?” Faline asks one day, to which Bambi replies, “I don’t know.” She walks away, and “all at once, his spirit felt freer than for a long time.” All other relationships with the female of the species have a similarly short life span; fatherly love is enduring and ennobling, motherly love juvenile and embarrassing. “Bambi” ends with its hero importuning two fawns, just as the old Prince had importuned him, to learn to live alone.</p><p class="paywall">The curious thing about this insistence on solitude is that nothing in the book makes it seem appealing. The chief trajectory of Bambi’s life is not from innocence to wisdom; it is from contentment and companionship—in his youth, he cavorts with Gobo and Faline, with magpies and Friend Hare, with screech owls and squirrels—to isolation and bare-bones survival. Stranger still, this valorization of loneliness seems unrelated to the book’s second explicit moral, which concerns the relationship between human beings and other animals. In the final pages, the old Prince takes Bambi, himself now old and beginning to gray, to see something in the woods: a dead man, shot and killed by another hunter. (Amazingly, Walt Disney planned to include this scene in his film, excising it only after the sight of the corpse made an entire test audience leap out of their seats.) With the old Prince’s prompting, Bambi concludes from this experience not that we humans are a danger even unto one another but, rather, that other animals are foolish for imagining that we are gods merely because we are powerful. “There is Another who is over us all,” he realizes while contemplating the dead man, “over us and over Him.” The old Prince, satisfied that his work is done, goes off to die.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--item grid-layout__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="w97ab"></div></div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--display-rail" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--display-rail"></div><div class="journey-unit"></div></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></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="kveunh"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa eunGjt body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">This vague gesture in the direction of deism has no antecedent in the book, no moral or theological trajectory to make Bambi’s insight meaningful or satisfying. On the contrary, the book is at its best when it revels in rather than pretends to resolve the mystery of existence. At one point, Bambi passes by some midges who are discussing a June bug. “How long will he live?” the young ones ask. “Forever, almost,” their elders answer. “They see the sun thirty or forty times.” Elsewhere, a brief chapter records the final conversation of a pair of oak leaves clinging to a branch at the end of autumn. They gripe about the wind and the cold, mourn their fallen peers, and try to understand what is about to happen to them. “Why must we fall?” one asks. The other doesn’t know, but has questions of its own: “Do we feel anything, do we know anything about ourselves when we’re down there?” The conversation tacks back and forth from the intimate to the existential. The two leaves worry about which of them will fall first; one of them, gone “yellow and ugly,” reassures the other that it has barely changed at all. The response, just before the inevitable end, is startlingly moving: “You’ve always been so kind to me. I’m just beginning to understand how kind you are.” That is the opposite of a paean to individualism: a belated but tender recognition of how much we mean to one another.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">What are we to make of this muddy, many-minded story? Zipes, in his introduction, blames some of the confusion on Chambers, contending that he mistranslated Salten, flattening both the political and the metaphysical dimensions of the work and paving the way for Disney to turn it into a children’s story. But that claim is borne out neither by examples in the introduction nor by a comparison of the two English versions, which differ mainly on aesthetic grounds. Zipes is knowledgeable about his subject matter, but he is not a lucid thinker or a gifted writer (a representative sentence from the introduction: “Salten was able to capture this existential quandary through a compassionate yet objective lens, using an innovative writing technique that few writers have ever been able to achieve”), and the Chambers translation, from which I have quoted here, is much the better one.</p><p class="paywall">In both versions, the “Bambi” that emerges is a complex work, part nature writing, part allegory, part autobiography. What makes it such a startling source for a beloved children’s classic is ultimately not its violence or its sadness but its bleakness. Perhaps the most telling exchange in the book occurs, during that difficult winter, between Bambi’s mother and his aunt. “It’s hard to believe that it will ever be better,” his mother says. His aunt responds, “It’s hard to believe that it was ever any better.”</p><p class="paywall">It’s tempting to read those lines, too, as a commentary on the Jewish condition, if only because—to this Jew’s ears, at least—they have the feel of classic Jewish dark humor: realistic, linguistically dexterous, and grim. Yet no one alive today can regard such a sentiment as exclusive to any subgroup. It is simply a way of seeing the world, one that can be produced by circumstance, temperament, or, as in Salten’s case, both. Reading him, one suspects that the conventional interpretation of his most famous work is backward. “Bambi” is not a parable about the plight of the Jews, but Salten sometimes regards the plight of the Jews as a parable about the human condition. The omnipresence and inevitability of danger, the need to act for oneself and seize control of one’s fate, the threat posed by intimates and strangers alike: this is Salten’s assessment of our existence.</p><p class="paywall">One of the forgotten novelist’s most forgotten novels, “Friends from All Over the World,” is set in a zoo that is maintained by an enlightened and humane zookeeper yet remains, intrinsically, a place of suffering and cruelty. The animals within it, Salten writes, “are all sentenced to life imprisonment and are all innocent.” That is a lovely line, and one that seems to apply, in his moral universe, to all of us. In the forest—that is, in a state of nature—we are in constant danger; in society, tended and cared for but fundamentally compromised, we are still not out of the woods. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--item grid-layout__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="u8h7ak"></div></div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--display-rail" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--display-rail"></div><div class="journey-unit"></div></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 PaywallInlineBarrierWithWrapperGrid-fyrGfS kLQIUk 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container--body"><div class="container--body-inner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><footer class="ContentFooterMagazineDisclaimer-gzKAqo juLugu" data-testid="MagazineDisclaimerWrapper">Published in the print edition of the <a href="/magazine/2022/01/24">January 24, 2022</a>, issue, with the headline “Eat Prey Love.”</footer></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="LinkStackWrapper-NFLYw kgtXXB linkstack" data-testid="LinkStack"><div class="SectionTitleRoot-dBGvdq iDpOxJ 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 killer who <a href="/magazine/1995/06/05/the-killer-who-got-into-harvard" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">got into Harvard</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>How Steve Martin <a href="/magazine/2007/10/29/in-the-bird-cage" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">learned what’s funny</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Growing up as the <a href="/magazine/1998/11/16/the-lion-and-me" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">son of the Cowardly Lion</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>The light of the <a href="/tech/annals-of-technology/the-first-light-of-the-trinity-atomic-test" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">world’s first nuclear bomb</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>A thief who <a href="/magazine/2004/05/17/the-silver-thief" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">stole only silver</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Amelia Earhart’s <a href="/magazine/2009/09/14/amelia-earhart-last-flight" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">last flight</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Fiction by Milan Kundera: “<a href="/magazine/1984/03/19/the-unbearable-lightness-of-being" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">The Unbearable Lightness of Being</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 sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><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 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giFhKz"><a href="/contributors/kathryn-schulz">Kathryn Schulz</a>, a staff writer at The New Yorker covering books, science, and culture, won the 2016 Pulitzer Prize for feature writing. She is the author of “<a href="https://www.amazon.com/Lost-Found-Memoir-Kathryn-Schulz/dp/0525512462">Lost & Found</a>.”</div><div class="ContributorBioFooter-brqDlv dMbIUd"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div data-testid="TagCloudWrapper" class="TagCloudWrapper-gGgndx guyhEV ContentFooterTagCloud-krQmRG esZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectionHeader-cOforY iUEiRd jEHmrR kQQRmu">More:</span><a href="/tag/bambi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Bambi</span></a><a href="/tag/books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Books</span></a><a href="/tag/writers" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Writers</span></a><a href="/tag/biographies" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Biographies</span></a><a href="/tag/childrens-books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Children’s Books</span></a><a href="/tag/nature" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Nature</span></a><a href="/tag/animals" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Animals</span></a><a href="/tag/deer" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Deer</span></a><a href="/tag/hunting" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Hunting</span></a><a href="/tag/disney" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Disney</span></a></div></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 data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan ContentFooterRelated-kEBiFe kVUuwq"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 SummaryCollectionGridComponent-ktyEog bdTTVU summary-collection-grid RecircListDefaultOverlaySummaryCollectionGrid-AHJhY ffqnnA 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 linnUJ SummaryCollectionGridSectionTitle-fCmYwG eAcJMh" data-testid="SectionTitle"><header class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">Read More</header></div><div class="SummaryCollectionGridItems-DZShR ioydyD 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 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 eKCcVq" data-item="{"dangerousHed":"Donald Trump’s U.F.C. Victory Party","index":0,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/donald-trumps-ufc-victory-party#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/donald-trumps-ufc-victory-party#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/673b9517c475f8e0c13a8004/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump’s U.F.C. Victory Party" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">News</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/news/the-lede/donald-trumps-ufc-victory-party#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">Donald Trump’s U.F.C. Victory Party</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/donald-trumps-ufc-victory-party#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/673b9517c475f8e0c13a8004/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump’s U.F.C. Victory Party" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/673b9517c475f8e0c13a8004/4:3/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">Dana White, the C.E.O. of the Ultimate Fighting Championship, helped Trump reach young male voters. Now White says he’s done with politics: “I want nothing to do with this shit.”</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>Sam Eagan</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 eKCcVq" data-item="{"dangerousHed":"A New Rallying Cry for the Irony-Poisoned Right","index":1,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/your-body-my-choice-a-new-rallying-cry-for-the-irony-poisoned-right#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/your-body-my-choice-a-new-rallying-cry-for-the-irony-poisoned-right#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6734e04ca88a07cf2d34599f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="A New Rallying Cry for the Irony-Poisoned Right" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">News</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/news/the-lede/your-body-my-choice-a-new-rallying-cry-for-the-irony-poisoned-right#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">A New Rallying Cry for the Irony-Poisoned Right</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/your-body-my-choice-a-new-rallying-cry-for-the-irony-poisoned-right#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6734e04ca88a07cf2d34599f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="A New Rallying Cry for the Irony-Poisoned Right" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6734e04ca88a07cf2d34599f/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">It took less than twenty-four hours after Trump’s reëlection for young men to take up a slogan that could define the coming era of gendered regression: “Your body, my choice.”</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>Jia Tolentino</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 eKCcVq" data-item="{"dangerousHed":"“A Real Pain” Fails to Stay in Its Discomfort Zone","index":2,"contentType":"venue","hotelLink":"https://www.newyorker.com/culture/the-front-row/a-real-pain-fails-to-stay-in-its-discomfort-zone#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/culture/the-front-row/a-real-pain-fails-to-stay-in-its-discomfort-zone#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/67293e2c1ecf315c67d8c809/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="“A Real Pain” Fails to Stay in Its Discomfort Zone" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">Culture</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/culture/the-front-row/a-real-pain-fails-to-stay-in-its-discomfort-zone#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">“A Real Pain” Fails to Stay in Its Discomfort Zone</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/culture/the-front-row/a-real-pain-fails-to-stay-in-its-discomfort-zone#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/67293e2c1ecf315c67d8c809/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="“A Real Pain” Fails to Stay in Its Discomfort Zone" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67293e2c1ecf315c67d8c809/4:3/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">In Jesse Eisenberg’s film, a shticky bromance obscures a thoughtful attempt to probe the legacy of the Holocaust.</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>Richard Brody</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 eKCcVq" data-item="{"dangerousHed":"An Investigation Into How Prosecutors Picked Death-Penalty Juries","index":3,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2024/11/25/how-capital-case-defendants-in-california-lost-their-rights#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/2024/11/25/how-capital-case-defendants-in-california-lost-their-rights#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6734ee61846c68e7be40b861/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="An Investigation Into How Prosecutors Picked Death-Penalty Juries" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">Magazine</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/2024/11/25/how-capital-case-defendants-in-california-lost-their-rights#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">An Investigation Into How Prosecutors Picked Death-Penalty Juries</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/2024/11/25/how-capital-case-defendants-in-california-lost-their-rights#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6734ee61846c68e7be40b861/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="An Investigation Into How Prosecutors Picked Death-Penalty Juries" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6734ee61846c68e7be40b861/4:3/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">One of the notes on potential jurors read, “I liked him better than any other Jew But No Way,” then added, “Must Kick, too Risky.”</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>Jennifer Gonnerman</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm eKCcVq ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="fiazjl"></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 eKCcVq" data-item="{"dangerousHed":"The Americans Prepping for a Second Civil War","index":4,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2024/11/11/among-the-civil-war-preppers#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/2024/11/11/among-the-civil-war-preppers#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6721228efab88ef251e1c179/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Americans Prepping for a Second Civil War" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">Magazine</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/2024/11/11/among-the-civil-war-preppers#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">The Americans Prepping for a Second Civil War</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/2024/11/11/among-the-civil-war-preppers#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6721228efab88ef251e1c179/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Americans Prepping for a Second Civil War" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6721228efab88ef251e1c179/4:3/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">Many now believe that the U.S. could descend into political violence. Some are joining survivalist communities, canning food—and buying guns.</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>Charles Bethea</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 eKCcVq" data-item="{"dangerousHed":"What’s the Difference Between a Rampaging Mob and a Righteous Protest?","index":5,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2024/11/25/multitudes-dan-hancox-book-review-the-crowd-in-the-early-middle-ages-shane-bobrycki#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/2024/11/25/multitudes-dan-hancox-book-review-the-crowd-in-the-early-middle-ages-shane-bobrycki#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6734c503d527fccafff3e860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What’s the Difference Between a Rampaging Mob and a Righteous Protest?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">Magazine</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/2024/11/25/multitudes-dan-hancox-book-review-the-crowd-in-the-early-middle-ages-shane-bobrycki#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">What’s the Difference Between a Rampaging Mob and a Righteous Protest?</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/2024/11/25/multitudes-dan-hancox-book-review-the-crowd-in-the-early-middle-ages-shane-bobrycki#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6734c503d527fccafff3e860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What’s the Difference Between a Rampaging Mob and a Righteous Protest?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6734c503d527fccafff3e860/4:3/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">From the French Revolution to January 6th, crowds have been heroized and vilified. Now they’re a field of study.</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>Adam Gopnik</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 eKCcVq" data-item="{"dangerousHed":"Rafael Nadal’s Last Stand","index":6,"contentType":"venue","hotelLink":"https://www.newyorker.com/sports/sporting-scene/rafael-nadals-last-stand#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/sports/sporting-scene/rafael-nadals-last-stand#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6737d72268e97bc0cbd94bff/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Rafael Nadal’s Last Stand" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">Sports</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/sports/sporting-scene/rafael-nadals-last-stand#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">Rafael Nadal’s Last Stand</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/sports/sporting-scene/rafael-nadals-last-stand#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6737d72268e97bc0cbd94bff/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Rafael Nadal’s Last Stand" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6737d72268e97bc0cbd94bff/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">Amid his impending retirement, the tennis champion leaves behind a legacy of courage.</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>Louisa Thomas</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 eKCcVq" data-item="{"dangerousHed":"Understanding Latino Support for Donald Trump","index":7,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/understanding-latino-support-for-donald-trump#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/understanding-latino-support-for-donald-trump#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/67380f690a69bf0f9dfe36f8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Understanding Latino Support for Donald Trump" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">News</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/news/the-lede/understanding-latino-support-for-donald-trump#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">Understanding Latino Support for Donald Trump</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/understanding-latino-support-for-donald-trump#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/67380f690a69bf0f9dfe36f8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Understanding Latino Support for Donald Trump" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67380f690a69bf0f9dfe36f8/4:3/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">Democrats have often described Latinos as decisive when they support liberal candidates and inconsequential when they don’t.</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>Geraldo Cadava</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 eKCcVq" data-item="{"dangerousHed":"What Does It Mean That Donald Trump Is a Fascist?","index":8,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/dispatches/what-does-it-mean-that-donald-trump-is-a-fascist#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/dispatches/what-does-it-mean-that-donald-trump-is-a-fascist#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/672d43d8f393a9ac8b8d7128/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What Does It Mean That Donald Trump Is a Fascist?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">Magazine</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/dispatches/what-does-it-mean-that-donald-trump-is-a-fascist#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">What Does It Mean That Donald Trump Is a Fascist?</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/dispatches/what-does-it-mean-that-donald-trump-is-a-fascist#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/672d43d8f393a9ac8b8d7128/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What Does It Mean That Donald Trump Is a Fascist?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/672d43d8f393a9ac8b8d7128/4:3/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">Trump takes the tools of dictators and adapts them for the Internet. We should expect him to try to cling to power until death, and create a cult of January 6th martyrs.</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>Timothy Snyder</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 eKCcVq" data-item="{"dangerousHed":"Why N.S.A. Rules Say No to Smartphones, No to Texting, Yes to Podcasts","index":9,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2024/11/25/why-nsa-rules-say-no-to-smartphones-no-to-texting-yes-to-podcasts#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1","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/2024/11/25/why-nsa-rules-say-no-to-smartphones-no-to-texting-yes-to-podcasts#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6737dbfb70028fcd2cb67022/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Why N.S.A. Rules Say No to Smartphones, No to Texting, Yes to Podcasts" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl hHwfjN 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">Magazine</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/magazine/2024/11/25/why-nsa-rules-say-no-to-smartphones-no-to-texting-yes-to-podcasts#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">Why N.S.A. Rules Say No to Smartphones, No to Texting, Yes to Podcasts</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/2024/11/25/why-nsa-rules-say-no-to-smartphones-no-to-texting-yes-to-podcasts#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/6737dbfb70028fcd2cb67022/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Why N.S.A. Rules Say No to Smartphones, No to Texting, Yes to Podcasts" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6737dbfb70028fcd2cb67022/4:3/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 agency, known for listening, is getting into the (extremely vetted) talking game, with “No Such Podcast.”</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>Robert Sullivan</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 eKCcVq" data-item="{"dangerousHed":"The Mini Crossword: Friday, November 22, 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href="https://www.newyorker.com/puzzles-and-games-dept/mini-crossword/2024/11/22#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ eAqtuL summary-item__hed" data-testid="SummaryItemHed">The Mini Crossword: Friday, November 22, 2024</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/puzzles-and-games-dept/mini-crossword/2024/11/22#intcid=_the-new-yorker-article-bottom-recirc_72e977a2-98d4-4999-bcf8-88353923aa72_roberta-similarity1_fallback_popular4-1" 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/65ccdd562727e7b5adf2bc6f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/65ccdd562727e7b5adf2bc6f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/65ccdd562727e7b5adf2bc6f/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/65ccdd562727e7b5adf2bc6f/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65ccdd562727e7b5adf2bc6f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/65ccdd562727e7b5adf2bc6f/4:3/w_240,c_limit/undefined 240w, 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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>Mollie Cowger</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 eKCcVq" data-item="{"dangerousHed":"Election 2024: Live Presidential Results Map | Donald Trump Defeats Kamala Harris, Republicans Take the 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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/6728f6ede096e1c71de0b7a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6728f6ede096e1c71de0b7a7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6728f6ede096e1c71de0b7a7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6728f6ede096e1c71de0b7a7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6728f6ede096e1c71de0b7a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6728f6ede096e1c71de0b7a7/4:3/w_240,c_limit/undefined 240w, 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Kathryn Schulz on Felix Salten’s “Bambi,” and a new translation by Jack Zipes.","head.keywords":"bambi,books,writers,biographies,children’s books,nature,animals,deer,hunting,disney","head.og.type":"article","head.robots":"index, follow, noarchive, max-image-preview:large","head.title":"“Bambi” Is Even Bleaker Than You Thought | The New Yorker","tenant":"the-new-yorker","head.social.title":"“Bambi” Is Even Bleaker Than You Thought","head.social.description":"The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity.","head.promo.dek":"The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity.","head.social.opinion":"false","head.jsonld":[{"@context":"http:\u002F\u002Fschema.org","@type":"NewsArticle","articleBody":"The film in question is, of course, the 1942 Walt Disney classic “Bambi.” Perhaps more than any other movie made for children, it is remembered chiefly for its moments of terror: not only the killing of the hero’s mother but the forest fire that threatens all the main characters with annihilation. Stephen King called “Bambi” the first horror movie he ever saw, and Pauline Kael, the longtime film critic for this magazine, claimed that she had never known children to be as frightened by supposedly scary grownup movies as they were by “Bambi.”\nUnlike many other Disney classics, from “Cinderella” to “Frozen,” this fright fest is not based on a fairy tale. It was adapted from “Bambi: A Life in the Woods,” a 1922 novel by the Austro-Hungarian writer and critic Felix Salten. The book rendered Salten famous; the movie, which altered and overshadowed its source material, rendered him virtually unknown. And it rendered the original “Bambi” obscure, too, even though it had previously been both widely acclaimed and passionately reviled. The English-language version, as translated in 1928 by the soon to be Soviet spy Whittaker Chambers, was enormously popular, earning rave reviews and selling six hundred and fifty thousand copies in the dozen-plus years before the film came out. The original version, meanwhile, was banned and burned in Nazi Germany, where it was regarded as a parable about the treatment of Jews in Europe.\nAs that suggests, “Bambi” the book is even darker than “Bambi” the movie. Until now, English-language readers had to rely on the Chambers translation—which, thanks to a controversial copyright ruling, has been the only one available for almost a century. This year, however, “Bambi: A Life in the Woods” has entered the public domain, and the Chambers version has been joined by a new one: “The Original Bambi: The Story of a Life in the Forest” (Princeton), translated by Jack Zipes, with wonderful black-and-white illustrations by Alenka Sottler. Zipes, a professor emeritus of German and comparative literature at the University of Minnesota, who has also translated the fairy tales of the Brothers Grimm, maintains in his introduction that Chambers got “Bambi” almost as wrong as Disney did. Which raises two questions: How exactly did a tale about the life of a fawn become so contentious, and what is it really about?\nThese contradictions are nicely encapsulated by Beverley Driver Eddy in her biography “Felix Salten: Man of Many Faces.” Born Siegmund Salzmann, in Hungary in 1869, Salten was just three weeks old when his family moved to Vienna—a newly desirable destination for Jews, because Austria had lately granted them full citizenship. His father was a descendant of generations of rabbis who shook off his religious roots in favor of a broadminded humanism; he was also a hopelessly inept businessman who soon plunged the family into poverty. To help pay the bills, Salten started working for an insurance company in his teens, around the same time that he began submitting poetry and literary criticism to local newspapers and journals. Eventually, he began meeting other writers and creative types at a café called the Griensteidl, across the street from the national theatre. These were the fin-de-siècle artists collectively known as Young Vienna, whose members included Arthur Schnitzler, Arnold Schoenberg, Stefan Zweig, and a writer who later repudiated the group, Karl Kraus.\nSalten was, in his youth, both literally and literarily promiscuous. He openly conducted many affairs—with chambermaids, operetta singers, actresses, a prominent socialist activist, and, serially or simultaneously, several women with whom other members of Young Vienna were having dalliances as well. In time, he married and settled down, but all his life he wrote anything he could get paid to write: book reviews, theatre reviews, art criticism, essays, plays, poems, novels, a book-length advertisement for a carpet company disguised as reportage, travel guides, librettos, forewords, afterwords, film scripts. His detractors regarded this torrent as evidence of hackery, but it was more straightforwardly evidence of necessity; almost alone among the members of Young Vienna, he was driven by the need to make a living.\nYet, like his father, Salten could be reckless with money. Anxious to seem like an insider, he insisted on eating, drinking, dressing, and travelling in the manner of his wealthier peers, with the result that he was constantly accruing debts, some of which he dispatched in dodgy ways—for instance, by “borrowing” and then selling a friend’s expensive books. And he could be reckless in other respects, too. Inclined to be touchy, either by temperament or because he felt the need to prove himself, he spent much of his young life fomenting disputes (he once walked into the Griensteidl and slapped Kraus in the face after the latter criticized him in print), then resolving them via lawsuits or duels. Both his personal judgment and his critical judgment could be impulsive and errant; in his thirties, he borrowed prodigiously to produce a modernist cabaret, of the kind that was all the rage in Berlin, only to see it become a critical and financial catastrophe.\nThe production that brought Salten the most infamy, however, did not bear his name: “Josefine Mutzenbacher; or, The Story of a Viennese Whore, as Told by Herself.” Published anonymously in Vienna in 1906, it has been continuously in print since then, in both German and English, and has sold some three million copies. Despite the subtitle, no one ever seems to have entertained the possibility that it was written by a prostitute, or even by a woman. In Salten’s lifetime, nearly everyone thought he wrote it, except for those who liked him too much to believe he could produce something so filthy and those who hated him too much to believe he could produce something so well written. Salten himself twice claimed not to have been responsible for it but otherwise was silent or coy on the subject. These days, everyone from academics to the Austrian government regards him as the undisputed author of the book.\nWritten in the tradition of the ribald female memoir, à la “Fanny Hill,” “Josefine Mutzenbacher” recounts the sexual adventures of the title character beginning when she is five years old, and continuing after her turn to prostitution in her early teens, following the death of her mother. Today, what is most shocking about the book is Josefine’s youth. At the time, however, most of the scandal concerned her unapologetic embrace of her career, which she both enjoyed and credited with lifting her out of poverty, educating her, and introducing her to a world far wider than the impoverished Vienna suburbs where she (like Salten) grew up.\nPerhaps inevitably, scholars have tried to draw parallels between “Josefine Mutzenbacher” and “Bambi.” Both title characters lose their mothers while still in their youth; both books introduce readers in detail to urban borderlands—the poor suburbs, the flophouses, the forests—about which most proper Viennese were largely ignorant. Still, for the most part, such comparisons seem strained. “Josefine Mutzenbacher” occupies much the same place in the Salten œuvre as his homage to carpets: the one that lies at the intersection of ambition, graphomania, and penury.\nBut the place of “Bambi” is different. If there is a through line to Salten’s scattershot career, it is his interest in writing about animals, which was evident from his first published work of fiction: “The Vagabond,” a short story about the adventures of a dachshund, written when he was twenty-one. Many other nonhuman protagonists followed, most of them ill-fated: a sparrow that dies in battle, a fly that hurls itself to death against a windowpane. Salten’s novel “The Hound of Florence” concerns a young Austrian man destined to spend every other day of his life as the archduke’s dog; in the end, he is stabbed to death, in his dog form, while trying to protect a courtesan he loves from assault. (In an even more drastic transformation than the one “Bambi” underwent, this story became, in Disney’s hands, “The Shaggy Dog.”) “Fifteen Rabbits” features, at first, fifteen rabbits, who debate the nature of God and the reason for their own persecution while their numbers gradually dwindle. “Renni the Rescuer,” about a German shepherd trained as a combat animal, features a carrier pigeon traumatized by its wartime service. And then, of course, there is “Bambi”—which, like these other stories, was not particularly suitable for children, until Disney bowdlerized it to fit the bill.\n“Bambi” was not particularly successful when it was first released. It was hampered partly by audience turnout, which was down because of the Second World War, and partly by audience expectations, since, unlike earlier Disney productions, it featured no magic and no Mickey. In time, though, “Bambi,” which was Walt’s favorite among his films, became one of the most popular movies in the history of the industry. In the four decades following its release, it earned forty-seven million dollars—more than ten times the haul of “Casablanca,” which came out the same year. Perhaps more notably, it also earned a dominant position in the canon of American nature tales. In the words of the environmental historian Ralph Lutts, “It is difficult to identify a film, story, or animal character that has had a greater influence on our vision of wildlife.”\nThat vision is of an Eden marred only by the incursion of humankind. There is no native danger in Bambi’s forest; with the exception of his brief clash with another male deer in mating season, and maybe that hardscrabble winter, the wilderness he inhabits is all natural beauty and interspecies amity. The truly grave threats he faces are always from hunters, who cause both the forest fire and the death of his mother, yet the movie seems less anti-hunting than simply anti-human. The implicit moral is not so much that killing animals is wicked as that people are wicked and wild animals are innocent. Some years ago, when the American Film Institute compiled a list of the fifty greatest movie villains of all time, it chose for slot No. 20—between Captain Bligh, of “Mutiny on the Bounty,” and Mrs. John Iselin, of “The Manchurian Candidate”—the antagonist of “Bambi”: “Man.”\nUnsurprisingly, “Bambi” has long been unpopular among hunters, one of whom sent a telegram to Walt Disney on the eve of the film’s release to inform him that it is illegal to shoot deer in the spring. Nor is the film a favorite among professional wilderness managers, who now routinely contend with what they call “the Bambi complex”: a dangerous desire to regard nature as benign and wild animals as adorable and tame, coupled with a corresponding resistance to crucial forest-management tools such as culling and controlled burns. Even some environmentalists object to its narrowness of vision—its failure to offer audiences a model of a healthy relationship between people and the rest of the natural world.\nBut perhaps the most vociferous if also the smallest group of critics consists of devotees of Salten, who recognize how drastically Disney distorted his source material. Although the animals in the novel do converse and in some cases befriend one another across species, their over-all relations are far from benign. In the course of just two pages, a fox tears apart a widely beloved pheasant, a ferret fatally wounds a squirrel, and a flock of crows attacks the young son of Friend Hare—the gentle, anxious figure who becomes Thumper in the movie—leaving him to die in excruciating pain. Later, Bambi himself nearly batters to death a rival who is begging for mercy, while Faline looks on, laughing. Far from being gratuitous, such scenes are, in the author’s telling, the whole point of the novel. Salten insisted that he wrote “Bambi” to educate naïve readers about nature as it really is: a place where life is always contingent on death, where starvation, competition, and predation are the norm.\nThat motive did not make Salten go easy on human beings. On the contrary: his depiction of our impact on nature is considerably more specific and violent than the one in the film, not to mention sadder. Consider the moment when Bambi, fleeing the hunting party that kills his mother and countless other creatures, comes across the wife of Friend Hare, in a scene that reads like something out of “Regeneration,” Pat Barker’s novel about the First World War:\n\n“Can you help me a little?” she said. Bambi looked at her and shuddered. Her hind leg dangled lifelessly in the snow, dyeing it red and melting it with warm, oozing blood. “Can you help me a little?” she repeated. She spoke as if she were well and whole, almost as if she were happy. “I don’t know what can have happened to me,” she went on. “There’s really no sense to it, but I just can’t seem to walk. . . .”\nIn the middle of her words she rolled over on her side and died.\n\nWhat purpose are scenes like that one serving in this book? Salten maintained that, despite his own affinity for hunting, he was trying to dissuade others from killing animals except when it was necessary for the health of a species or an ecosystem. (That was less hypocritical than it seems; Salten despised poachers and was horrified by the likes of Archduke Franz Ferdinand, who boasted of killing five thousand deer and was known to shoot them by the score as underlings drove them into his path.) But authors do not necessarily get the last word on the meaning of their work, and plenty of other people believe that “Bambi” is no more about animals than “Animal Farm” is. Instead, they see in it what the Nazis did: a reflection of the anti-Semitism that was on the rise all across Europe when Salten wrote it.\nThis newcomer turns out to be the grownup Gobo, who, we learn, was rescued by a member of the hunting party, taken into his home, and nursed back to health. When Gobo returns, the other forest animals gather to hear him describe the kindness of the hunter and his family, the warmth of the dwelling, and the meals that were brought to him every day. Most of them think that Gobo’s time among humans has made him dangerously naïve, but he is convinced that it has made him wiser and more worldly. “You all think He’s wicked,” he tells them. (In Salten’s books, humans are typographically styled the way God is: singular and capitalized.) “But He isn’t wicked. If He loves anybody, or if anybody serves Him, He’s good to him. Wonderfully good!”\nEvery subjugated minority is familiar with figures like Gobo—individuals who have assimilated into and become defenders of the culture of their subjugators, whether out of craven self-interest or because, like Gobo, they are sincerely enamored of it and convinced that their affection is reciprocated. Such figures often elicit the disdain or the wrath of their peers, and Salten leaves little doubt about how he feels: Bambi “was ashamed of Gobo without knowing why,” and the half-tame deer soon pays the price for his beliefs. One day, ignoring the advice of other animals, Gobo strolls into the meadow even though the scent of humans fills the air. He is confident that they won’t harm him, but he is shot in the flank while his love interest looks on. As she turns to flee, she sees the hunter bent over Gobo and hears his “wailing death shriek.”\nOne understands why Disney left that part out. So, too, a scene in Salten’s book where a dog kills a fox, which unfolds at a horrifyingly leisurely pace. The fox’s paw is shattered and bleeding, and he knows he will die soon, but he pleads with the dog: “Let me die with my family at least. We’re brothers almost, you and I.” When that fails, he accuses the dog of being a turncoat and a spy. The dog works himself into a frenzy defending the virtue and the power of his master, then itemizes all the other animals who serve humankind:\n\n“The horse, the cow, the sheep, the chickens, many, many of you and your kind are on His side and worship Him and serve Him.”\n“They’re rabble!” snarled the fox, full of a boundless contempt.\n\nIt is easy, in light of these scenes, to see why some people interpret “Bambi” as a covert account of the crisis facing European Jews in the nineteen-twenties—a story about innocent creatures forced to remain constantly vigilant against danger, from would-be betrayers within and proto-Brown Shirts without. Some of Salten’s biography supports that reading, starting with the fact that he knew a thing or two about assimilation. “I was not a Jew when I was a boy,” he once wrote; raised in a household that prized European liberalism, and educated in part by pious Catholic teachers who praised him for his knowledge of the catechism, Salten only really began to identify as Jewish in his late twenties, when he grew close to Theodor Herzl, a fellow Austro-Hungarian writer and the father of the Zionist movement. He claimed that it was Herzl’s pamphlet “The Jewish State” that made Salten, as he wrote, “willing to love my Jewishness.”\nIf so, that love was, to say the least, complicated. On the one hand, Salten began writing a weekly column for Herzl’s Jewish newspaper, in which he grew more and more critical of the assimilationist impulse that had shaped his childhood; on the other hand, he wrote it anonymously and refused to set foot in the newspaper’s offices. In later years, his increasing willingness to embrace his Judaism corresponded, not coincidentally, with the increasing anti-Semitism in Vienna, which made it impossible for Jews to forget or deny their religious background.\nIn 1925, three years after “Bambi,” Salten published “New People on Ancient Soil,” the product of a visit to Palestine and a book-length tribute to his friend’s dream of a Jewish state. A decade later, his books, together with countless others by Jewish authors, were burned by the Nazis, and two years after that, following Germany’s annexation of Austria, he moved to Switzerland. Salten died in Zurich, at the age of seventy-six, four months after Hitler killed himself.\nDoes all this make “Bambi” a parable about Jewish persecution? The fact that the Nazis thought so is hardly dispositive—fascist regimes are not known for their sophisticated literary criticism—and, for every passage that supports such a reading, numerous others complicate or contradict it. Many critics see in “Bambi” different or more diffuse political sentiments, from a generalized opposition to totalitarianism to a post-First World War commentary on the brutality of modern combat. All these readings are plausible, including the specifically Jewish one and Salten’s own interpretation of his work as a plea for greater understanding of and greater care for the natural world. Yet the most striking and consistent message of the book is neither obliquely political nor urgently ecological; it is simply, grimly existential.\nThe agent of that education is a character known as the old Prince, the oldest surviving stag in the forest, and the lessons he imparts are not subtle. When he first encounters Bambi, the latter is still a fawn, dismayed because his mother has lately grown distant—pushing him away when he tries to nurse, and walking off without caring whether he is following. Thus rebuffed, he is by himself in the middle of the forest bleating for her when the old Prince appears and scolds him. “Your mother has no time for you now,” the old Prince says. “Can’t you stay by yourself? Shame on you!”\nThat, in two sentences, is the ultimate message of “Bambi”: anything short of extreme self-reliance is shameful; interdependence is unseemly, restrictive, and dangerous. “Of all his teachings,” Salten writes, “this had been the most important: you must live alone. If you wanted to preserve yourself, if you understood existence, if you wanted to attain wisdom, you had to live alone.” This is not “The Lorax” or “Maus.” This is “The Fountainhead,” with fawns.\nMost panegyrics to the solitary life written by men have an element of misogyny in them, and “Bambi” is no exception. Seemingly brave and vivacious in her youth, Faline grows up to be timid and lachrymose; she “shrieked and shrieked,” she “bleated,” she is “the hysterical Faline.” When she and Bambi are (for lack of a better word) dating, the old Prince teaches Bambi to ignore her calls, lest they come from a hunter imitating the sound. Like Gobo, the romance between the childhood friends is doomed by the logic of the book. “Do you love me still?” Faline asks one day, to which Bambi replies, “I don’t know.” She walks away, and “all at once, his spirit felt freer than for a long time.” All other relationships with the female of the species have a similarly short life span; fatherly love is enduring and ennobling, motherly love juvenile and embarrassing. “Bambi” ends with its hero importuning two fawns, just as the old Prince had importuned him, to learn to live alone.\nThe curious thing about this insistence on solitude is that nothing in the book makes it seem appealing. The chief trajectory of Bambi’s life is not from innocence to wisdom; it is from contentment and companionship—in his youth, he cavorts with Gobo and Faline, with magpies and Friend Hare, with screech owls and squirrels—to isolation and bare-bones survival. Stranger still, this valorization of loneliness seems unrelated to the book’s second explicit moral, which concerns the relationship between human beings and other animals. In the final pages, the old Prince takes Bambi, himself now old and beginning to gray, to see something in the woods: a dead man, shot and killed by another hunter. (Amazingly, Walt Disney planned to include this scene in his film, excising it only after the sight of the corpse made an entire test audience leap out of their seats.) With the old Prince’s prompting, Bambi concludes from this experience not that we humans are a danger even unto one another but, rather, that other animals are foolish for imagining that we are gods merely because we are powerful. “There is Another who is over us all,” he realizes while contemplating the dead man, “over us and over Him.” The old Prince, satisfied that his work is done, goes off to die.\nThis vague gesture in the direction of deism has no antecedent in the book, no moral or theological trajectory to make Bambi’s insight meaningful or satisfying. On the contrary, the book is at its best when it revels in rather than pretends to resolve the mystery of existence. At one point, Bambi passes by some midges who are discussing a June bug. “How long will he live?” the young ones ask. “Forever, almost,” their elders answer. “They see the sun thirty or forty times.” Elsewhere, a brief chapter records the final conversation of a pair of oak leaves clinging to a branch at the end of autumn. They gripe about the wind and the cold, mourn their fallen peers, and try to understand what is about to happen to them. “Why must we fall?” one asks. The other doesn’t know, but has questions of its own: “Do we feel anything, do we know anything about ourselves when we’re down there?” The conversation tacks back and forth from the intimate to the existential. The two leaves worry about which of them will fall first; one of them, gone “yellow and ugly,” reassures the other that it has barely changed at all. The response, just before the inevitable end, is startlingly moving: “You’ve always been so kind to me. I’m just beginning to understand how kind you are.” That is the opposite of a paean to individualism: a belated but tender recognition of how much we mean to one another.\nIn both versions, the “Bambi” that emerges is a complex work, part nature writing, part allegory, part autobiography. What makes it such a startling source for a beloved children’s classic is ultimately not its violence or its sadness but its bleakness. Perhaps the most telling exchange in the book occurs, during that difficult winter, between Bambi’s mother and his aunt. “It’s hard to believe that it will ever be better,” his mother says. His aunt responds, “It’s hard to believe that it was ever any better.”\nIt’s tempting to read those lines, too, as a commentary on the Jewish condition, if only because—to this Jew’s ears, at least—they have the feel of classic Jewish dark humor: realistic, linguistically dexterous, and grim. Yet no one alive today can regard such a sentiment as exclusive to any subgroup. It is simply a way of seeing the world, one that can be produced by circumstance, temperament, or, as in Salten’s case, both. Reading him, one suspects that the conventional interpretation of his most famous work is backward. “Bambi” is not a parable about the plight of the Jews, but Salten sometimes regards the plight of the Jews as a parable about the human condition. The omnipresence and inevitability of danger, the need to act for oneself and seize control of one’s fate, the threat posed by intimates and strangers alike: this is Salten’s assessment of our existence.\nOne of the forgotten novelist’s most forgotten novels, “Friends from All Over the World,” is set in a zoo that is maintained by an enlightened and humane zookeeper yet remains, intrinsically, a place of suffering and cruelty. The animals within it, Salten writes, “are all sentenced to life imprisonment and are all innocent.” That is a lovely line, and one that seems to apply, in his moral universe, to all of us. In the forest—that is, in a state of nature—we are in constant danger; in society, tended and cared for but fundamentally compromised, we are still not out of the woods. ♦","isBasedOn":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F01\u002F24\u002Fbambi-is-even-bleaker-than-you-thought","articleSection":"a critic at large","author":[{"@type":"Person","name":"Kathryn Schulz","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fkathryn-schulz"}],"dateModified":"2022-01-17T06:00:00.000-05:00","datePublished":"2022-01-13T16:27:25.247-05:00","headline":"“Bambi” Is Even Bleaker Than You Thought","image":["https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F61e0992be9ad91ea016d3d4f\u002F16:9\u002Fw_1838,h_1034,c_limit\u002F220124_r39744.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F61e0992be9ad91ea016d3d4f\u002F4:3\u002Fw_1839,h_1379,c_limit\u002F220124_r39744.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F61e0992be9ad91ea016d3d4f\u002F1:1\u002Fw_1839,h_1839,c_limit\u002F220124_r39744.jpg"],"keywords":["a critic at large","new yorker favorites","bambi","books","writers","biographies","children’s books","nature","animals","deer","hunting","disney","splitscreenimagerightinset","standard","magazine"],"thumbnailUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F61e0992be9ad91ea016d3d4f\u002F3:2\u002Fw_1839,h_1226,c_limit\u002F220124_r39744.jpg","url":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F01\u002F24\u002Fbambi-is-even-bleaker-than-you-thought","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity. Kathryn Schulz on Felix Salten’s “Bambi,” and a new translation by Jack Zipes.","description":"The original book is far more grisly than the beloved Disney classic—and has an unsettling message about humanity. Kathryn Schulz on Felix Salten’s “Bambi,” and a new translation by Jack Zipes.","mainEntityOfPage":{"@type":"WebPage","@id":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F01\u002F24\u002Fbambi-is-even-bleaker-than-you-thought"},"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":"Bambi","item":"https:\u002F\u002Fwww.newyorker.com\u002Ftag\u002Fbambi"},{"@type":"ListItem","position":3,"name":"“Bambi” Is Even Bleaker Than You Thought"}]}],"head.contentID":"61df14f115569ea4b37d1c92","head.pageType":"article","head.photos":{"image-16-9":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F61e0992be9ad91ea016d3d4f\u002F16:9\u002Fw_1000,c_limit\u002F220124_r39744.jpg","image-1-1":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F61e0992be9ad91ea016d3d4f\u002F1:1\u002Fw_1000,c_limit\u002F220124_r39744.jpg"},"head.firstPublishDate":"2022-01-13T21:27:25.247Z","head.primaryTagsRoot":"tags","head.hasSponsoredContent":false,"head.modifiedDate":"2022-01-17T11:00:00.000Z","head.noIndex":false,"linkBannerData":{"bannerType":"link-list","dek":"","hed":"Science and Tech","image":{},"links":[],"tracking":{"trackingIdentifier":"banner-new-yorker-favorites","attributes":{"id":"6296e666510b97e07b62f94b","url":"science-and-tech\u002Flink-banner","source":"CHANNEL"}}},"linkBannerId":["6296e666510b97e07b62f94b"],"navigation":{"aboutText":"The writers you love. 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staff writer at *The New Yorker* since 1995. The magazine’s chief Washington correspondent, she covers politics, culture, and national security. Previously, she worked at the *Wall Street Journal*, where she covered the bombing of the U.S. Marine barracks in Beirut, the Gulf War, and the fall of the Berlin Wall. In 1984, she became the paper’s first female White House correspondent. She received Peabody and Emmy awards for her reporting in Frontline’s 2023 documentary “Clarence and Ginni: Politics, Power and the Supreme Court.” Mayer is an author of best-selling books, including “[Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307947904\u002F?ots=1&slotNum=0&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” which the *Times* named as one of the ten best books of 2016, and which began as a [2010](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [*New Yorker*](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [piece](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) about the Koch brothers’ deep influence on American politics. She also wrote the 2008 *Times* best-seller “[The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307456293\u002F?ots=1&slotNum=1&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” a finalist for the National Book Award, which was based on her *New Yorker* articles and was named one of the top ten works of journalism of the decade by N.Y.U.’s Arthur L. Carter Journalism Institute, and one of the ten best books of the year by the *Times*. She is a co-author, with Jill Abramson, of “[Strange Justice](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395633184\u002F?ots=1&slotNum=2&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” also a finalist for the National Book Award, and, with Doyle McManus, of “[Landslide: The Unmaking of the President, 1984-1988](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395517575\u002F?ots=1&slotNum=3&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20).”\n\nIn 2009, Mayer was chosen as Princeton University’s Ferris Professor of Journalism. Her numerous honors include the George Polk Award, the John Chancellor Award, a Guggenheim Fellowship, the Goldsmith Book Prize, the Edward Weintal Prize, the Ridenhour Prize, two Helen Bernstein Book Awards for Excellence in Journalism, the J. Anthony Lukas Prize, the Hillman Prize, the Robert F. Kennedy Book Award, the James Aronson Award for social-justice journalism, the Toner Prize for political reporting, the I. F. Stone Medal for Journalistic Independence, the Frances Perkins Intelligence and Courage Award, the Nellie Bly Award for Investigative Reporting, the Mirror Award for the “single best article” on the media in 2020, and, most recently, the First Amendment Award from the Reporters Committee for Freedom of the Press.\n\nMayer has served as a visiting fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics, and Public Policy. In 2022, she was inducted into the Society of Professional Journalists’ Hall of Fame. She is also a member of the American Academy of Arts and Sciences and the American Philosophical Society.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-justice-file","name":"The Justice File"},"channels":[{"name":"The Justice File"},{"name":"New Yorker Favorites"}],"hed":"The Killer Who Got Into Harvard","dek":"A teen honors student was admitted to the freshman class. 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His latest book “[Arthur Miller: American Witness](https:\u002F\u002Fwww.amazon.com\u002FArthur-Miller-American-Witness-Jewish\u002Fdp\u002F0300234929\u002Fref=sr_1_1?crid=3TZ8UQP894SN5&keywords=arthur+miller+american+witness&qid=1667786107&sprefix=arthur+miller+amer%2Caps%2C152&sr=8-1)” came out November, 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"John Lahr is a staff writer and has been contributing to *The New Yorker* since 1991. A veteran of all aspects of the theatre, Lahr has contributed behind-the-scenes portraits, reviews, and Profiles, and has expanded the magazine’s drama coverage beyond Broadway to include the work of international theatre and regional companies.\n\nA former theatre critic at *The Nation*, the *Village Voice*, and British *Vogue*, among other publications, Lahr has published seventeen books on theatre and two novels, “[The Autograph Hound](https:\u002F\u002Fwww.amazon.com\u002Fautograph-hound-John-Lahr\u002Fdp\u002F0394480937)” and “[Hot to Trot](https:\u002F\u002Fwww.amazon.com\u002FHot-trot-John-Lahr\u002Fdp\u002F0394493524).” His book “[Dame Edna Everage and the Rise of Western Civilization](https:\u002F\u002Fwww.amazon.com\u002FDame-Edna-Everage-Western-Civilisation\u002Fdp\u002F0520223055)” won the 1992 Roger Machell Prize for best book on the performing arts. His other works include “[Light Fantastic: Adventures in Theatre](https:\u002F\u002Fwww.amazon.com\u002FLight-Fantastic-Adventures-John-Lahr\u002Fdp\u002F0385315465),” (1996) and “[Show and Tell:](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626) *[New Yorker](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)* [Profiles](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)” (2000). In 2001, he edited “[The Diaries of Kenneth Tynan](https:\u002F\u002Fwww.amazon.com\u002FDiaries-Kenneth-Tynan\u002Fdp\u002F1582342458).” His expanded *New Yorker* article on Frank Sinatra was made into a book with photographs, “[Frank Sinatra: The Artist and the Man](https:\u002F\u002Fwww.amazon.com\u002FSinatra-Artist-Man-John-Lahr\u002Fdp\u002F0375501444).” Lahr’s book “[Tennessee Williams: Mad Pilgrimage of the Flesh](https:\u002F\u002Fwww.amazon.com\u002FTennessee-Williams-Mad-Pilgrimage-Flesh\u002Fdp\u002F0393021246)” was a finalist for the National Book Award and the winner of the 2014 National Book Critics Circle Award for Biography.\n\nLahr served as literary adviser to the Tyrone Guthrie Theatre in Minneapolis in 1968, and as adviser to the Vivian Beaumont Theatre from 1969 to 1971. He was the co-producer of the 1987 film “Prick Up Your Ears,” based on his Joe Orton biography of the same title, and was the editor of “The Orton Diaries.” Lahr has also written numerous movie scripts. His short film “Sticky My Fingers . . . Fleet My Feet,” directed by John Hancock, was nominated for an Academy Award in 1971.\n\nLahr is a two-time winner of the George Jean Nathan Award for Dramatic Criticism. In 1968, he became the prize’s youngest recipient; he was honored again in 1993. Lahr has written many stage adaptations, which have been performed in England and the United States, including:“Accidental Death of an Anarchist,” “The Manchurian Candidate,” “The Bluebird of Unhappiness: A Woody Allen Revue,” and “Diary of a Somebody,” which began at the Royal National Theatre, played the West End, and later toured England. He co-created, with Elaine Strich, the Tony Award-winning “Elaine Stritch at Liberty,” which won the 2002 Drama Desk Award for outstanding book of a musical. Lahr was the first drama critic to win a Tony Award.\n\nLahr is the son of the comedian Bert Lahr, whom he wrote about in his biography “[Notes on a Cowardly Lion](https:\u002F\u002Fwww.amazon.com\u002FNotes-Cowardly-Lion-Biography-Bert\u002Fdp\u002F1504048431).”","socialMedia":[{"handle":"johnlahrwriter","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"personal-history","name":"Personal History"},"channels":[{"name":"Personal History"}],"hed":"The Lion and Me","dek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","promoHed":"The Lion and Me","promoDek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","url":"magazine\u002F1998\u002F11\u002F16\u002Fthe-lion-and-me","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"591143bcf8fa3e67faf0dbb8","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a05188b51cf59fc42471e","url":"contributors\u002Fjudith-thurman","name":"Judith Thurman","title":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. 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. 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Court.”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b74ebe912338a378654","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b74ebe912338a378653_mayer-jane.png"}],"metadata":{"contentType":"photo"}},"bio":"Jane Mayer has been a staff writer at *The New Yorker* since 1995. The magazine’s chief Washington correspondent, she covers politics, culture, and national security. Previously, she worked at the *Wall Street Journal*, where she covered the bombing of the U.S. Marine barracks in Beirut, the Gulf War, and the fall of the Berlin Wall. In 1984, she became the paper’s first female White House correspondent. She received Peabody and Emmy awards for her reporting in Frontline’s 2023 documentary “Clarence and Ginni: Politics, Power and the Supreme Court.” Mayer is an author of best-selling books, including “[Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307947904\u002F?ots=1&slotNum=0&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” which the *Times* named as one of the ten best books of 2016, and which began as a [2010](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [*New Yorker*](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [piece](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) about the Koch brothers’ deep influence on American politics. She also wrote the 2008 *Times* best-seller “[The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307456293\u002F?ots=1&slotNum=1&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” a finalist for the National Book Award, which was based on her *New Yorker* articles and was named one of the top ten works of journalism of the decade by N.Y.U.’s Arthur L. Carter Journalism Institute, and one of the ten best books of the year by the *Times*. She is a co-author, with Jill Abramson, of “[Strange Justice](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395633184\u002F?ots=1&slotNum=2&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” also a finalist for the National Book Award, and, with Doyle McManus, of “[Landslide: The Unmaking of the President, 1984-1988](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395517575\u002F?ots=1&slotNum=3&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20).”\n\nIn 2009, Mayer was chosen as Princeton University’s Ferris Professor of Journalism. Her numerous honors include the George Polk Award, the John Chancellor Award, a Guggenheim Fellowship, the Goldsmith Book Prize, the Edward Weintal Prize, the Ridenhour Prize, two Helen Bernstein Book Awards for Excellence in Journalism, the J. Anthony Lukas Prize, the Hillman Prize, the Robert F. Kennedy Book Award, the James Aronson Award for social-justice journalism, the Toner Prize for political reporting, the I. F. Stone Medal for Journalistic Independence, the Frances Perkins Intelligence and Courage Award, the Nellie Bly Award for Investigative Reporting, the Mirror Award for the “single best article” on the media in 2020, and, most recently, the First Amendment Award from the Reporters Committee for Freedom of the Press.\n\nMayer has served as a visiting fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics, and Public Policy. In 2022, she was inducted into the Society of Professional Journalists’ Hall of Fame. She is also a member of the American Academy of Arts and Sciences and the American Philosophical Society.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-justice-file","name":"The Justice File"},"channels":[{"name":"The Justice File"},{"name":"New Yorker Favorites"}],"hed":"The Killer Who Got Into Harvard","dek":"A teen honors student was admitted to the freshman class. 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His latest book “[Arthur Miller: American Witness](https:\u002F\u002Fwww.amazon.com\u002FArthur-Miller-American-Witness-Jewish\u002Fdp\u002F0300234929\u002Fref=sr_1_1?crid=3TZ8UQP894SN5&keywords=arthur+miller+american+witness&qid=1667786107&sprefix=arthur+miller+amer%2Caps%2C152&sr=8-1)” came out November, 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"John Lahr is a staff writer and has been contributing to *The New Yorker* since 1991. A veteran of all aspects of the theatre, Lahr has contributed behind-the-scenes portraits, reviews, and Profiles, and has expanded the magazine’s drama coverage beyond Broadway to include the work of international theatre and regional companies.\n\nA former theatre critic at *The Nation*, the *Village Voice*, and British *Vogue*, among other publications, Lahr has published seventeen books on theatre and two novels, “[The Autograph Hound](https:\u002F\u002Fwww.amazon.com\u002Fautograph-hound-John-Lahr\u002Fdp\u002F0394480937)” and “[Hot to Trot](https:\u002F\u002Fwww.amazon.com\u002FHot-trot-John-Lahr\u002Fdp\u002F0394493524).” His book “[Dame Edna Everage and the Rise of Western Civilization](https:\u002F\u002Fwww.amazon.com\u002FDame-Edna-Everage-Western-Civilisation\u002Fdp\u002F0520223055)” won the 1992 Roger Machell Prize for best book on the performing arts. His other works include “[Light Fantastic: Adventures in Theatre](https:\u002F\u002Fwww.amazon.com\u002FLight-Fantastic-Adventures-John-Lahr\u002Fdp\u002F0385315465),” (1996) and “[Show and Tell:](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626) *[New Yorker](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)* [Profiles](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)” (2000). In 2001, he edited “[The Diaries of Kenneth Tynan](https:\u002F\u002Fwww.amazon.com\u002FDiaries-Kenneth-Tynan\u002Fdp\u002F1582342458).” His expanded *New Yorker* article on Frank Sinatra was made into a book with photographs, “[Frank Sinatra: The Artist and the Man](https:\u002F\u002Fwww.amazon.com\u002FSinatra-Artist-Man-John-Lahr\u002Fdp\u002F0375501444).” Lahr’s book “[Tennessee Williams: Mad Pilgrimage of the Flesh](https:\u002F\u002Fwww.amazon.com\u002FTennessee-Williams-Mad-Pilgrimage-Flesh\u002Fdp\u002F0393021246)” was a finalist for the National Book Award and the winner of the 2014 National Book Critics Circle Award for Biography.\n\nLahr served as literary adviser to the Tyrone Guthrie Theatre in Minneapolis in 1968, and as adviser to the Vivian Beaumont Theatre from 1969 to 1971. He was the co-producer of the 1987 film “Prick Up Your Ears,” based on his Joe Orton biography of the same title, and was the editor of “The Orton Diaries.” Lahr has also written numerous movie scripts. His short film “Sticky My Fingers . . . Fleet My Feet,” directed by John Hancock, was nominated for an Academy Award in 1971.\n\nLahr is a two-time winner of the George Jean Nathan Award for Dramatic Criticism. In 1968, he became the prize’s youngest recipient; he was honored again in 1993. Lahr has written many stage adaptations, which have been performed in England and the United States, including:“Accidental Death of an Anarchist,” “The Manchurian Candidate,” “The Bluebird of Unhappiness: A Woody Allen Revue,” and “Diary of a Somebody,” which began at the Royal National Theatre, played the West End, and later toured England. He co-created, with Elaine Strich, the Tony Award-winning “Elaine Stritch at Liberty,” which won the 2002 Drama Desk Award for outstanding book of a musical. Lahr was the first drama critic to win a Tony Award.\n\nLahr is the son of the comedian Bert Lahr, whom he wrote about in his biography “[Notes on a Cowardly Lion](https:\u002F\u002Fwww.amazon.com\u002FNotes-Cowardly-Lion-Biography-Bert\u002Fdp\u002F1504048431).”","socialMedia":[{"handle":"johnlahrwriter","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"personal-history","name":"Personal History"},"channels":[{"name":"Personal History"}],"hed":"The Lion and Me","dek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","promoHed":"The Lion and Me","promoDek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","url":"magazine\u002F1998\u002F11\u002F16\u002Fthe-lion-and-me","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"591143bcf8fa3e67faf0dbb8","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a05188b51cf59fc42471e","url":"contributors\u002Fjudith-thurman","name":"Judith Thurman","title":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. 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. 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The magazine’s chief Washington correspondent, she covers politics, culture, and national security. Previously, she worked at the *Wall Street Journal*, where she covered the bombing of the U.S. Marine barracks in Beirut, the Gulf War, and the fall of the Berlin Wall. In 1984, she became the paper’s first female White House correspondent. She received Peabody and Emmy awards for her reporting in Frontline’s 2023 documentary “Clarence and Ginni: Politics, Power and the Supreme Court.” Mayer is an author of best-selling books, including “[Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307947904\u002F?ots=1&slotNum=0&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” which the *Times* named as one of the ten best books of 2016, and which began as a [2010](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [*New Yorker*](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [piece](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) about the Koch brothers’ deep influence on American politics. She also wrote the 2008 *Times* best-seller “[The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307456293\u002F?ots=1&slotNum=1&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” a finalist for the National Book Award, which was based on her *New Yorker* articles and was named one of the top ten works of journalism of the decade by N.Y.U.’s Arthur L. Carter Journalism Institute, and one of the ten best books of the year by the *Times*. She is a co-author, with Jill Abramson, of “[Strange Justice](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395633184\u002F?ots=1&slotNum=2&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” also a finalist for the National Book Award, and, with Doyle McManus, of “[Landslide: The Unmaking of the President, 1984-1988](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395517575\u002F?ots=1&slotNum=3&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20).”\n\nIn 2009, Mayer was chosen as Princeton University’s Ferris Professor of Journalism. Her numerous honors include the George Polk Award, the John Chancellor Award, a Guggenheim Fellowship, the Goldsmith Book Prize, the Edward Weintal Prize, the Ridenhour Prize, two Helen Bernstein Book Awards for Excellence in Journalism, the J. Anthony Lukas Prize, the Hillman Prize, the Robert F. Kennedy Book Award, the James Aronson Award for social-justice journalism, the Toner Prize for political reporting, the I. F. Stone Medal for Journalistic Independence, the Frances Perkins Intelligence and Courage Award, the Nellie Bly Award for Investigative Reporting, the Mirror Award for the “single best article” on the media in 2020, and, most recently, the First Amendment Award from the Reporters Committee for Freedom of the Press.\n\nMayer has served as a visiting fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics, and Public Policy. In 2022, she was inducted into the Society of Professional Journalists’ Hall of Fame. She is also a member of the American Academy of Arts and Sciences and the American Philosophical Society.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-justice-file","name":"The Justice File"},"channels":[{"name":"The Justice File"},{"name":"New Yorker Favorites"}],"hed":"The Killer Who Got Into Harvard","dek":"A teen honors student was admitted to the freshman class. 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His latest book “[Arthur Miller: American Witness](https:\u002F\u002Fwww.amazon.com\u002FArthur-Miller-American-Witness-Jewish\u002Fdp\u002F0300234929\u002Fref=sr_1_1?crid=3TZ8UQP894SN5&keywords=arthur+miller+american+witness&qid=1667786107&sprefix=arthur+miller+amer%2Caps%2C152&sr=8-1)” came out November, 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"John Lahr is a staff writer and has been contributing to *The New Yorker* since 1991. A veteran of all aspects of the theatre, Lahr has contributed behind-the-scenes portraits, reviews, and Profiles, and has expanded the magazine’s drama coverage beyond Broadway to include the work of international theatre and regional companies.\n\nA former theatre critic at *The Nation*, the *Village Voice*, and British *Vogue*, among other publications, Lahr has published seventeen books on theatre and two novels, “[The Autograph Hound](https:\u002F\u002Fwww.amazon.com\u002Fautograph-hound-John-Lahr\u002Fdp\u002F0394480937)” and “[Hot to Trot](https:\u002F\u002Fwww.amazon.com\u002FHot-trot-John-Lahr\u002Fdp\u002F0394493524).” His book “[Dame Edna Everage and the Rise of Western Civilization](https:\u002F\u002Fwww.amazon.com\u002FDame-Edna-Everage-Western-Civilisation\u002Fdp\u002F0520223055)” won the 1992 Roger Machell Prize for best book on the performing arts. His other works include “[Light Fantastic: Adventures in Theatre](https:\u002F\u002Fwww.amazon.com\u002FLight-Fantastic-Adventures-John-Lahr\u002Fdp\u002F0385315465),” (1996) and “[Show and Tell:](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626) *[New Yorker](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)* [Profiles](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)” (2000). In 2001, he edited “[The Diaries of Kenneth Tynan](https:\u002F\u002Fwww.amazon.com\u002FDiaries-Kenneth-Tynan\u002Fdp\u002F1582342458).” His expanded *New Yorker* article on Frank Sinatra was made into a book with photographs, “[Frank Sinatra: The Artist and the Man](https:\u002F\u002Fwww.amazon.com\u002FSinatra-Artist-Man-John-Lahr\u002Fdp\u002F0375501444).” Lahr’s book “[Tennessee Williams: Mad Pilgrimage of the Flesh](https:\u002F\u002Fwww.amazon.com\u002FTennessee-Williams-Mad-Pilgrimage-Flesh\u002Fdp\u002F0393021246)” was a finalist for the National Book Award and the winner of the 2014 National Book Critics Circle Award for Biography.\n\nLahr served as literary adviser to the Tyrone Guthrie Theatre in Minneapolis in 1968, and as adviser to the Vivian Beaumont Theatre from 1969 to 1971. He was the co-producer of the 1987 film “Prick Up Your Ears,” based on his Joe Orton biography of the same title, and was the editor of “The Orton Diaries.” Lahr has also written numerous movie scripts. His short film “Sticky My Fingers . . . Fleet My Feet,” directed by John Hancock, was nominated for an Academy Award in 1971.\n\nLahr is a two-time winner of the George Jean Nathan Award for Dramatic Criticism. In 1968, he became the prize’s youngest recipient; he was honored again in 1993. Lahr has written many stage adaptations, which have been performed in England and the United States, including:“Accidental Death of an Anarchist,” “The Manchurian Candidate,” “The Bluebird of Unhappiness: A Woody Allen Revue,” and “Diary of a Somebody,” which began at the Royal National Theatre, played the West End, and later toured England. He co-created, with Elaine Strich, the Tony Award-winning “Elaine Stritch at Liberty,” which won the 2002 Drama Desk Award for outstanding book of a musical. Lahr was the first drama critic to win a Tony Award.\n\nLahr is the son of the comedian Bert Lahr, whom he wrote about in his biography “[Notes on a Cowardly Lion](https:\u002F\u002Fwww.amazon.com\u002FNotes-Cowardly-Lion-Biography-Bert\u002Fdp\u002F1504048431).”","socialMedia":[{"handle":"johnlahrwriter","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"personal-history","name":"Personal History"},"channels":[{"name":"Personal History"}],"hed":"The Lion and Me","dek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","promoHed":"The Lion and Me","promoDek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","url":"magazine\u002F1998\u002F11\u002F16\u002Fthe-lion-and-me","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"591143bcf8fa3e67faf0dbb8","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a05188b51cf59fc42471e","url":"contributors\u002Fjudith-thurman","name":"Judith Thurman","title":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. 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. 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Court.”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b74ebe912338a378654","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b74ebe912338a378653_mayer-jane.png"}],"metadata":{"contentType":"photo"}},"bio":"Jane Mayer has been a staff writer at *The New Yorker* since 1995. The magazine’s chief Washington correspondent, she covers politics, culture, and national security. Previously, she worked at the *Wall Street Journal*, where she covered the bombing of the U.S. Marine barracks in Beirut, the Gulf War, and the fall of the Berlin Wall. In 1984, she became the paper’s first female White House correspondent. She received Peabody and Emmy awards for her reporting in Frontline’s 2023 documentary “Clarence and Ginni: Politics, Power and the Supreme Court.” Mayer is an author of best-selling books, including “[Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307947904\u002F?ots=1&slotNum=0&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” which the *Times* named as one of the ten best books of 2016, and which began as a [2010](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [*New Yorker*](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [piece](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) about the Koch brothers’ deep influence on American politics. She also wrote the 2008 *Times* best-seller “[The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307456293\u002F?ots=1&slotNum=1&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” a finalist for the National Book Award, which was based on her *New Yorker* articles and was named one of the top ten works of journalism of the decade by N.Y.U.’s Arthur L. Carter Journalism Institute, and one of the ten best books of the year by the *Times*. She is a co-author, with Jill Abramson, of “[Strange Justice](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395633184\u002F?ots=1&slotNum=2&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” also a finalist for the National Book Award, and, with Doyle McManus, of “[Landslide: The Unmaking of the President, 1984-1988](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395517575\u002F?ots=1&slotNum=3&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20).”\n\nIn 2009, Mayer was chosen as Princeton University’s Ferris Professor of Journalism. Her numerous honors include the George Polk Award, the John Chancellor Award, a Guggenheim Fellowship, the Goldsmith Book Prize, the Edward Weintal Prize, the Ridenhour Prize, two Helen Bernstein Book Awards for Excellence in Journalism, the J. Anthony Lukas Prize, the Hillman Prize, the Robert F. Kennedy Book Award, the James Aronson Award for social-justice journalism, the Toner Prize for political reporting, the I. F. Stone Medal for Journalistic Independence, the Frances Perkins Intelligence and Courage Award, the Nellie Bly Award for Investigative Reporting, the Mirror Award for the “single best article” on the media in 2020, and, most recently, the First Amendment Award from the Reporters Committee for Freedom of the Press.\n\nMayer has served as a visiting fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics, and Public Policy. In 2022, she was inducted into the Society of Professional Journalists’ Hall of Fame. She is also a member of the American Academy of Arts and Sciences and the American Philosophical Society.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-justice-file","name":"The Justice File"},"channels":[{"name":"The Justice File"},{"name":"New Yorker Favorites"}],"hed":"The Killer Who Got Into Harvard","dek":"A teen honors student was admitted to the freshman class. 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His latest book “[Arthur Miller: American Witness](https:\u002F\u002Fwww.amazon.com\u002FArthur-Miller-American-Witness-Jewish\u002Fdp\u002F0300234929\u002Fref=sr_1_1?crid=3TZ8UQP894SN5&keywords=arthur+miller+american+witness&qid=1667786107&sprefix=arthur+miller+amer%2Caps%2C152&sr=8-1)” came out November, 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"John Lahr is a staff writer and has been contributing to *The New Yorker* since 1991. A veteran of all aspects of the theatre, Lahr has contributed behind-the-scenes portraits, reviews, and Profiles, and has expanded the magazine’s drama coverage beyond Broadway to include the work of international theatre and regional companies.\n\nA former theatre critic at *The Nation*, the *Village Voice*, and British *Vogue*, among other publications, Lahr has published seventeen books on theatre and two novels, “[The Autograph Hound](https:\u002F\u002Fwww.amazon.com\u002Fautograph-hound-John-Lahr\u002Fdp\u002F0394480937)” and “[Hot to Trot](https:\u002F\u002Fwww.amazon.com\u002FHot-trot-John-Lahr\u002Fdp\u002F0394493524).” His book “[Dame Edna Everage and the Rise of Western Civilization](https:\u002F\u002Fwww.amazon.com\u002FDame-Edna-Everage-Western-Civilisation\u002Fdp\u002F0520223055)” won the 1992 Roger Machell Prize for best book on the performing arts. His other works include “[Light Fantastic: Adventures in Theatre](https:\u002F\u002Fwww.amazon.com\u002FLight-Fantastic-Adventures-John-Lahr\u002Fdp\u002F0385315465),” (1996) and “[Show and Tell:](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626) *[New Yorker](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)* [Profiles](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)” (2000). In 2001, he edited “[The Diaries of Kenneth Tynan](https:\u002F\u002Fwww.amazon.com\u002FDiaries-Kenneth-Tynan\u002Fdp\u002F1582342458).” His expanded *New Yorker* article on Frank Sinatra was made into a book with photographs, “[Frank Sinatra: The Artist and the Man](https:\u002F\u002Fwww.amazon.com\u002FSinatra-Artist-Man-John-Lahr\u002Fdp\u002F0375501444).” Lahr’s book “[Tennessee Williams: Mad Pilgrimage of the Flesh](https:\u002F\u002Fwww.amazon.com\u002FTennessee-Williams-Mad-Pilgrimage-Flesh\u002Fdp\u002F0393021246)” was a finalist for the National Book Award and the winner of the 2014 National Book Critics Circle Award for Biography.\n\nLahr served as literary adviser to the Tyrone Guthrie Theatre in Minneapolis in 1968, and as adviser to the Vivian Beaumont Theatre from 1969 to 1971. He was the co-producer of the 1987 film “Prick Up Your Ears,” based on his Joe Orton biography of the same title, and was the editor of “The Orton Diaries.” Lahr has also written numerous movie scripts. His short film “Sticky My Fingers . . . Fleet My Feet,” directed by John Hancock, was nominated for an Academy Award in 1971.\n\nLahr is a two-time winner of the George Jean Nathan Award for Dramatic Criticism. In 1968, he became the prize’s youngest recipient; he was honored again in 1993. Lahr has written many stage adaptations, which have been performed in England and the United States, including:“Accidental Death of an Anarchist,” “The Manchurian Candidate,” “The Bluebird of Unhappiness: A Woody Allen Revue,” and “Diary of a Somebody,” which began at the Royal National Theatre, played the West End, and later toured England. He co-created, with Elaine Strich, the Tony Award-winning “Elaine Stritch at Liberty,” which won the 2002 Drama Desk Award for outstanding book of a musical. Lahr was the first drama critic to win a Tony Award.\n\nLahr is the son of the comedian Bert Lahr, whom he wrote about in his biography “[Notes on a Cowardly Lion](https:\u002F\u002Fwww.amazon.com\u002FNotes-Cowardly-Lion-Biography-Bert\u002Fdp\u002F1504048431).”","socialMedia":[{"handle":"johnlahrwriter","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"personal-history","name":"Personal History"},"channels":[{"name":"Personal History"}],"hed":"The Lion and Me","dek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","promoHed":"The Lion and Me","promoDek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","url":"magazine\u002F1998\u002F11\u002F16\u002Fthe-lion-and-me","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"591143bcf8fa3e67faf0dbb8","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a05188b51cf59fc42471e","url":"contributors\u002Fjudith-thurman","name":"Judith Thurman","title":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. 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. 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Court.”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b74ebe912338a378654","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b74ebe912338a378653_mayer-jane.png"}],"metadata":{"contentType":"photo"}},"bio":"Jane Mayer has been a staff writer at *The New Yorker* since 1995. The magazine’s chief Washington correspondent, she covers politics, culture, and national security. Previously, she worked at the *Wall Street Journal*, where she covered the bombing of the U.S. Marine barracks in Beirut, the Gulf War, and the fall of the Berlin Wall. In 1984, she became the paper’s first female White House correspondent. She received Peabody and Emmy awards for her reporting in Frontline’s 2023 documentary “Clarence and Ginni: Politics, Power and the Supreme Court.” Mayer is an author of best-selling books, including “[Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307947904\u002F?ots=1&slotNum=0&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” which the *Times* named as one of the ten best books of 2016, and which began as a [2010](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [*New Yorker*](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [piece](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) about the Koch brothers’ deep influence on American politics. She also wrote the 2008 *Times* best-seller “[The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307456293\u002F?ots=1&slotNum=1&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” a finalist for the National Book Award, which was based on her *New Yorker* articles and was named one of the top ten works of journalism of the decade by N.Y.U.’s Arthur L. Carter Journalism Institute, and one of the ten best books of the year by the *Times*. She is a co-author, with Jill Abramson, of “[Strange Justice](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395633184\u002F?ots=1&slotNum=2&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” also a finalist for the National Book Award, and, with Doyle McManus, of “[Landslide: The Unmaking of the President, 1984-1988](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395517575\u002F?ots=1&slotNum=3&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20).”\n\nIn 2009, Mayer was chosen as Princeton University’s Ferris Professor of Journalism. Her numerous honors include the George Polk Award, the John Chancellor Award, a Guggenheim Fellowship, the Goldsmith Book Prize, the Edward Weintal Prize, the Ridenhour Prize, two Helen Bernstein Book Awards for Excellence in Journalism, the J. Anthony Lukas Prize, the Hillman Prize, the Robert F. Kennedy Book Award, the James Aronson Award for social-justice journalism, the Toner Prize for political reporting, the I. F. Stone Medal for Journalistic Independence, the Frances Perkins Intelligence and Courage Award, the Nellie Bly Award for Investigative Reporting, the Mirror Award for the “single best article” on the media in 2020, and, most recently, the First Amendment Award from the Reporters Committee for Freedom of the Press.\n\nMayer has served as a visiting fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics, and Public Policy. In 2022, she was inducted into the Society of Professional Journalists’ Hall of Fame. She is also a member of the American Academy of Arts and Sciences and the American Philosophical Society.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-justice-file","name":"The Justice File"},"channels":[{"name":"The Justice File"},{"name":"New Yorker Favorites"}],"hed":"The Killer Who Got Into Harvard","dek":"A teen honors student was admitted to the freshman class. 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His latest book “[Arthur Miller: American Witness](https:\u002F\u002Fwww.amazon.com\u002FArthur-Miller-American-Witness-Jewish\u002Fdp\u002F0300234929\u002Fref=sr_1_1?crid=3TZ8UQP894SN5&keywords=arthur+miller+american+witness&qid=1667786107&sprefix=arthur+miller+amer%2Caps%2C152&sr=8-1)” came out November, 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"John Lahr is a staff writer and has been contributing to *The New Yorker* since 1991. A veteran of all aspects of the theatre, Lahr has contributed behind-the-scenes portraits, reviews, and Profiles, and has expanded the magazine’s drama coverage beyond Broadway to include the work of international theatre and regional companies.\n\nA former theatre critic at *The Nation*, the *Village Voice*, and British *Vogue*, among other publications, Lahr has published seventeen books on theatre and two novels, “[The Autograph Hound](https:\u002F\u002Fwww.amazon.com\u002Fautograph-hound-John-Lahr\u002Fdp\u002F0394480937)” and “[Hot to Trot](https:\u002F\u002Fwww.amazon.com\u002FHot-trot-John-Lahr\u002Fdp\u002F0394493524).” His book “[Dame Edna Everage and the Rise of Western Civilization](https:\u002F\u002Fwww.amazon.com\u002FDame-Edna-Everage-Western-Civilisation\u002Fdp\u002F0520223055)” won the 1992 Roger Machell Prize for best book on the performing arts. His other works include “[Light Fantastic: Adventures in Theatre](https:\u002F\u002Fwww.amazon.com\u002FLight-Fantastic-Adventures-John-Lahr\u002Fdp\u002F0385315465),” (1996) and “[Show and Tell:](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626) *[New Yorker](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)* [Profiles](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)” (2000). In 2001, he edited “[The Diaries of Kenneth Tynan](https:\u002F\u002Fwww.amazon.com\u002FDiaries-Kenneth-Tynan\u002Fdp\u002F1582342458).” His expanded *New Yorker* article on Frank Sinatra was made into a book with photographs, “[Frank Sinatra: The Artist and the Man](https:\u002F\u002Fwww.amazon.com\u002FSinatra-Artist-Man-John-Lahr\u002Fdp\u002F0375501444).” Lahr’s book “[Tennessee Williams: Mad Pilgrimage of the Flesh](https:\u002F\u002Fwww.amazon.com\u002FTennessee-Williams-Mad-Pilgrimage-Flesh\u002Fdp\u002F0393021246)” was a finalist for the National Book Award and the winner of the 2014 National Book Critics Circle Award for Biography.\n\nLahr served as literary adviser to the Tyrone Guthrie Theatre in Minneapolis in 1968, and as adviser to the Vivian Beaumont Theatre from 1969 to 1971. He was the co-producer of the 1987 film “Prick Up Your Ears,” based on his Joe Orton biography of the same title, and was the editor of “The Orton Diaries.” Lahr has also written numerous movie scripts. His short film “Sticky My Fingers . . . Fleet My Feet,” directed by John Hancock, was nominated for an Academy Award in 1971.\n\nLahr is a two-time winner of the George Jean Nathan Award for Dramatic Criticism. In 1968, he became the prize’s youngest recipient; he was honored again in 1993. Lahr has written many stage adaptations, which have been performed in England and the United States, including:“Accidental Death of an Anarchist,” “The Manchurian Candidate,” “The Bluebird of Unhappiness: A Woody Allen Revue,” and “Diary of a Somebody,” which began at the Royal National Theatre, played the West End, and later toured England. He co-created, with Elaine Strich, the Tony Award-winning “Elaine Stritch at Liberty,” which won the 2002 Drama Desk Award for outstanding book of a musical. Lahr was the first drama critic to win a Tony Award.\n\nLahr is the son of the comedian Bert Lahr, whom he wrote about in his biography “[Notes on a Cowardly Lion](https:\u002F\u002Fwww.amazon.com\u002FNotes-Cowardly-Lion-Biography-Bert\u002Fdp\u002F1504048431).”","socialMedia":[{"handle":"johnlahrwriter","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"personal-history","name":"Personal History"},"channels":[{"name":"Personal History"}],"hed":"The Lion and Me","dek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","promoHed":"The Lion and Me","promoDek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","url":"magazine\u002F1998\u002F11\u002F16\u002Fthe-lion-and-me","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"591143bcf8fa3e67faf0dbb8","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a05188b51cf59fc42471e","url":"contributors\u002Fjudith-thurman","name":"Judith Thurman","title":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. 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":"Amelia Earhart’s Last Flight","dek":"The aviation pioneer was many things before—and after—her career as a pilot was cut short when her plane disappeared in the Pacific.","promoHed":"Amelia Earhart’s Last Flight","promoDek":"The aviation pioneer was many things before—and after—her career as a pilot was cut short when her plane disappeared in the Pacific.","url":"magazine\u002F2009\u002F09\u002F14\u002Famelia-earhart-last-flight","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097463019dfc3494ea28c9\u002Fmaster\u002Fpass\u002F090914_r18774_p646.jpg","altText":"Amelia Earhart","aspectRatios":[{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097463019dfc3494ea28c8_090914_r18774_p646.jpg","width":646,"height":617,"format":"JPEG","modifications":null}],"caption":"Earhart in 1928, when she became famous as the first woman to fly across the Atlantic, even though, she protested, she was only a passenger. 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Court.”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b74ebe912338a378654","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b74ebe912338a378653_mayer-jane.png"}],"metadata":{"contentType":"photo"}},"bio":"Jane Mayer has been a staff writer at *The New Yorker* since 1995. The magazine’s chief Washington correspondent, she covers politics, culture, and national security. Previously, she worked at the *Wall Street Journal*, where she covered the bombing of the U.S. Marine barracks in Beirut, the Gulf War, and the fall of the Berlin Wall. In 1984, she became the paper’s first female White House correspondent. She received Peabody and Emmy awards for her reporting in Frontline’s 2023 documentary “Clarence and Ginni: Politics, Power and the Supreme Court.” Mayer is an author of best-selling books, including “[Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307947904\u002F?ots=1&slotNum=0&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” which the *Times* named as one of the ten best books of 2016, and which began as a [2010](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [*New Yorker*](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [piece](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) about the Koch brothers’ deep influence on American politics. She also wrote the 2008 *Times* best-seller “[The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307456293\u002F?ots=1&slotNum=1&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” a finalist for the National Book Award, which was based on her *New Yorker* articles and was named one of the top ten works of journalism of the decade by N.Y.U.’s Arthur L. Carter Journalism Institute, and one of the ten best books of the year by the *Times*. She is a co-author, with Jill Abramson, of “[Strange Justice](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395633184\u002F?ots=1&slotNum=2&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” also a finalist for the National Book Award, and, with Doyle McManus, of “[Landslide: The Unmaking of the President, 1984-1988](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395517575\u002F?ots=1&slotNum=3&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20).”\n\nIn 2009, Mayer was chosen as Princeton University’s Ferris Professor of Journalism. Her numerous honors include the George Polk Award, the John Chancellor Award, a Guggenheim Fellowship, the Goldsmith Book Prize, the Edward Weintal Prize, the Ridenhour Prize, two Helen Bernstein Book Awards for Excellence in Journalism, the J. Anthony Lukas Prize, the Hillman Prize, the Robert F. Kennedy Book Award, the James Aronson Award for social-justice journalism, the Toner Prize for political reporting, the I. F. Stone Medal for Journalistic Independence, the Frances Perkins Intelligence and Courage Award, the Nellie Bly Award for Investigative Reporting, the Mirror Award for the “single best article” on the media in 2020, and, most recently, the First Amendment Award from the Reporters Committee for Freedom of the Press.\n\nMayer has served as a visiting fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics, and Public Policy. In 2022, she was inducted into the Society of Professional Journalists’ Hall of Fame. She is also a member of the American Academy of Arts and Sciences and the American Philosophical Society.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-justice-file","name":"The Justice File"},"channels":[{"name":"The Justice File"},{"name":"New Yorker Favorites"}],"hed":"The Killer Who Got Into Harvard","dek":"A teen honors student was admitted to the freshman class. 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His latest book “[Arthur Miller: American Witness](https:\u002F\u002Fwww.amazon.com\u002FArthur-Miller-American-Witness-Jewish\u002Fdp\u002F0300234929\u002Fref=sr_1_1?crid=3TZ8UQP894SN5&keywords=arthur+miller+american+witness&qid=1667786107&sprefix=arthur+miller+amer%2Caps%2C152&sr=8-1)” came out November, 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"John Lahr is a staff writer and has been contributing to *The New Yorker* since 1991. A veteran of all aspects of the theatre, Lahr has contributed behind-the-scenes portraits, reviews, and Profiles, and has expanded the magazine’s drama coverage beyond Broadway to include the work of international theatre and regional companies.\n\nA former theatre critic at *The Nation*, the *Village Voice*, and British *Vogue*, among other publications, Lahr has published seventeen books on theatre and two novels, “[The Autograph Hound](https:\u002F\u002Fwww.amazon.com\u002Fautograph-hound-John-Lahr\u002Fdp\u002F0394480937)” and “[Hot to Trot](https:\u002F\u002Fwww.amazon.com\u002FHot-trot-John-Lahr\u002Fdp\u002F0394493524).” His book “[Dame Edna Everage and the Rise of Western Civilization](https:\u002F\u002Fwww.amazon.com\u002FDame-Edna-Everage-Western-Civilisation\u002Fdp\u002F0520223055)” won the 1992 Roger Machell Prize for best book on the performing arts. His other works include “[Light Fantastic: Adventures in Theatre](https:\u002F\u002Fwww.amazon.com\u002FLight-Fantastic-Adventures-John-Lahr\u002Fdp\u002F0385315465),” (1996) and “[Show and Tell:](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626) *[New Yorker](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)* [Profiles](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)” (2000). In 2001, he edited “[The Diaries of Kenneth Tynan](https:\u002F\u002Fwww.amazon.com\u002FDiaries-Kenneth-Tynan\u002Fdp\u002F1582342458).” His expanded *New Yorker* article on Frank Sinatra was made into a book with photographs, “[Frank Sinatra: The Artist and the Man](https:\u002F\u002Fwww.amazon.com\u002FSinatra-Artist-Man-John-Lahr\u002Fdp\u002F0375501444).” Lahr’s book “[Tennessee Williams: Mad Pilgrimage of the Flesh](https:\u002F\u002Fwww.amazon.com\u002FTennessee-Williams-Mad-Pilgrimage-Flesh\u002Fdp\u002F0393021246)” was a finalist for the National Book Award and the winner of the 2014 National Book Critics Circle Award for Biography.\n\nLahr served as literary adviser to the Tyrone Guthrie Theatre in Minneapolis in 1968, and as adviser to the Vivian Beaumont Theatre from 1969 to 1971. He was the co-producer of the 1987 film “Prick Up Your Ears,” based on his Joe Orton biography of the same title, and was the editor of “The Orton Diaries.” Lahr has also written numerous movie scripts. His short film “Sticky My Fingers . . . Fleet My Feet,” directed by John Hancock, was nominated for an Academy Award in 1971.\n\nLahr is a two-time winner of the George Jean Nathan Award for Dramatic Criticism. In 1968, he became the prize’s youngest recipient; he was honored again in 1993. Lahr has written many stage adaptations, which have been performed in England and the United States, including:“Accidental Death of an Anarchist,” “The Manchurian Candidate,” “The Bluebird of Unhappiness: A Woody Allen Revue,” and “Diary of a Somebody,” which began at the Royal National Theatre, played the West End, and later toured England. He co-created, with Elaine Strich, the Tony Award-winning “Elaine Stritch at Liberty,” which won the 2002 Drama Desk Award for outstanding book of a musical. Lahr was the first drama critic to win a Tony Award.\n\nLahr is the son of the comedian Bert Lahr, whom he wrote about in his biography “[Notes on a Cowardly Lion](https:\u002F\u002Fwww.amazon.com\u002FNotes-Cowardly-Lion-Biography-Bert\u002Fdp\u002F1504048431).”","socialMedia":[{"handle":"johnlahrwriter","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"personal-history","name":"Personal History"},"channels":[{"name":"Personal History"}],"hed":"The Lion and Me","dek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","promoHed":"The Lion and Me","promoDek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","url":"magazine\u002F1998\u002F11\u002F16\u002Fthe-lion-and-me","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"591143bcf8fa3e67faf0dbb8","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a05188b51cf59fc42471e","url":"contributors\u002Fjudith-thurman","name":"Judith Thurman","title":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. 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. 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Court.”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b74ebe912338a378654","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b74ebe912338a378653_mayer-jane.png"}],"metadata":{"contentType":"photo"}},"bio":"Jane Mayer has been a staff writer at *The New Yorker* since 1995. The magazine’s chief Washington correspondent, she covers politics, culture, and national security. Previously, she worked at the *Wall Street Journal*, where she covered the bombing of the U.S. Marine barracks in Beirut, the Gulf War, and the fall of the Berlin Wall. In 1984, she became the paper’s first female White House correspondent. She received Peabody and Emmy awards for her reporting in Frontline’s 2023 documentary “Clarence and Ginni: Politics, Power and the Supreme Court.” Mayer is an author of best-selling books, including “[Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307947904\u002F?ots=1&slotNum=0&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” which the *Times* named as one of the ten best books of 2016, and which began as a [2010](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [*New Yorker*](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) [piece](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2010\u002F08\u002F30\u002Fcovert-operations) about the Koch brothers’ deep influence on American politics. She also wrote the 2008 *Times* best-seller “[The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307456293\u002F?ots=1&slotNum=1&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” a finalist for the National Book Award, which was based on her *New Yorker* articles and was named one of the top ten works of journalism of the decade by N.Y.U.’s Arthur L. Carter Journalism Institute, and one of the ten best books of the year by the *Times*. She is a co-author, with Jill Abramson, of “[Strange Justice](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395633184\u002F?ots=1&slotNum=2&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20),” also a finalist for the National Book Award, and, with Doyle McManus, of “[Landslide: The Unmaking of the President, 1984-1988](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0395517575\u002F?ots=1&slotNum=3&imprToken=6eb8e67a-47b4-8e93-d1a&tag=thneyo0f-20).”\n\nIn 2009, Mayer was chosen as Princeton University’s Ferris Professor of Journalism. Her numerous honors include the George Polk Award, the John Chancellor Award, a Guggenheim Fellowship, the Goldsmith Book Prize, the Edward Weintal Prize, the Ridenhour Prize, two Helen Bernstein Book Awards for Excellence in Journalism, the J. Anthony Lukas Prize, the Hillman Prize, the Robert F. Kennedy Book Award, the James Aronson Award for social-justice journalism, the Toner Prize for political reporting, the I. F. Stone Medal for Journalistic Independence, the Frances Perkins Intelligence and Courage Award, the Nellie Bly Award for Investigative Reporting, the Mirror Award for the “single best article” on the media in 2020, and, most recently, the First Amendment Award from the Reporters Committee for Freedom of the Press.\n\nMayer has served as a visiting fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics, and Public Policy. In 2022, she was inducted into the Society of Professional Journalists’ Hall of Fame. She is also a member of the American Academy of Arts and Sciences and the American Philosophical Society.","socialMedia":[],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"the-justice-file","name":"The Justice File"},"channels":[{"name":"The Justice File"},{"name":"New Yorker Favorites"}],"hed":"The Killer Who Got Into Harvard","dek":"A teen honors student was admitted to the freshman class. 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His latest book “[Arthur Miller: American Witness](https:\u002F\u002Fwww.amazon.com\u002FArthur-Miller-American-Witness-Jewish\u002Fdp\u002F0300234929\u002Fref=sr_1_1?crid=3TZ8UQP894SN5&keywords=arthur+miller+american+witness&qid=1667786107&sprefix=arthur+miller+amer%2Caps%2C152&sr=8-1)” came out November, 2022.","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"John Lahr is a staff writer and has been contributing to *The New Yorker* since 1991. A veteran of all aspects of the theatre, Lahr has contributed behind-the-scenes portraits, reviews, and Profiles, and has expanded the magazine’s drama coverage beyond Broadway to include the work of international theatre and regional companies.\n\nA former theatre critic at *The Nation*, the *Village Voice*, and British *Vogue*, among other publications, Lahr has published seventeen books on theatre and two novels, “[The Autograph Hound](https:\u002F\u002Fwww.amazon.com\u002Fautograph-hound-John-Lahr\u002Fdp\u002F0394480937)” and “[Hot to Trot](https:\u002F\u002Fwww.amazon.com\u002FHot-trot-John-Lahr\u002Fdp\u002F0394493524).” His book “[Dame Edna Everage and the Rise of Western Civilization](https:\u002F\u002Fwww.amazon.com\u002FDame-Edna-Everage-Western-Civilisation\u002Fdp\u002F0520223055)” won the 1992 Roger Machell Prize for best book on the performing arts. His other works include “[Light Fantastic: Adventures in Theatre](https:\u002F\u002Fwww.amazon.com\u002FLight-Fantastic-Adventures-John-Lahr\u002Fdp\u002F0385315465),” (1996) and “[Show and Tell:](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626) *[New Yorker](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)* [Profiles](https:\u002F\u002Fwww.amazon.com\u002FShow-Tell-New-Yorker-Profiles\u002Fdp\u002F1585670626)” (2000). In 2001, he edited “[The Diaries of Kenneth Tynan](https:\u002F\u002Fwww.amazon.com\u002FDiaries-Kenneth-Tynan\u002Fdp\u002F1582342458).” His expanded *New Yorker* article on Frank Sinatra was made into a book with photographs, “[Frank Sinatra: The Artist and the Man](https:\u002F\u002Fwww.amazon.com\u002FSinatra-Artist-Man-John-Lahr\u002Fdp\u002F0375501444).” Lahr’s book “[Tennessee Williams: Mad Pilgrimage of the Flesh](https:\u002F\u002Fwww.amazon.com\u002FTennessee-Williams-Mad-Pilgrimage-Flesh\u002Fdp\u002F0393021246)” was a finalist for the National Book Award and the winner of the 2014 National Book Critics Circle Award for Biography.\n\nLahr served as literary adviser to the Tyrone Guthrie Theatre in Minneapolis in 1968, and as adviser to the Vivian Beaumont Theatre from 1969 to 1971. He was the co-producer of the 1987 film “Prick Up Your Ears,” based on his Joe Orton biography of the same title, and was the editor of “The Orton Diaries.” Lahr has also written numerous movie scripts. His short film “Sticky My Fingers . . . Fleet My Feet,” directed by John Hancock, was nominated for an Academy Award in 1971.\n\nLahr is a two-time winner of the George Jean Nathan Award for Dramatic Criticism. In 1968, he became the prize’s youngest recipient; he was honored again in 1993. Lahr has written many stage adaptations, which have been performed in England and the United States, including:“Accidental Death of an Anarchist,” “The Manchurian Candidate,” “The Bluebird of Unhappiness: A Woody Allen Revue,” and “Diary of a Somebody,” which began at the Royal National Theatre, played the West End, and later toured England. He co-created, with Elaine Strich, the Tony Award-winning “Elaine Stritch at Liberty,” which won the 2002 Drama Desk Award for outstanding book of a musical. Lahr was the first drama critic to win a Tony Award.\n\nLahr is the son of the comedian Bert Lahr, whom he wrote about in his biography “[Notes on a Cowardly Lion](https:\u002F\u002Fwww.amazon.com\u002FNotes-Cowardly-Lion-Biography-Bert\u002Fdp\u002F1504048431).”","socialMedia":[{"handle":"johnlahrwriter","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"personal-history","name":"Personal History"},"channels":[{"name":"Personal History"}],"hed":"The Lion and Me","dek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","promoHed":"The Lion and Me","promoDek":"The meaning of “The Wizard of Oz” and one of its enduring comic characters hits close to home.","url":"magazine\u002F1998\u002F11\u002F16\u002Fthe-lion-and-me","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60cb9c2ee6b6c6e0e9b6bd34\u002Fmaster\u002Fpass\u002Fra903.jpg","altText":"The author and his father, Bert Lahr ","aspectRatios":[{"name":"2:1","url":null,"width":2560,"height":1280,"format":null,"modifications":{"crop":{"height":1280,"width":2560,"x":0,"y":0}}},{"name":"2:2","url":null,"width":988,"height":988,"format":null,"modifications":{"crop":{"height":988,"width":988,"x":1246,"y":230}}},{"name":"16:9","url":null,"width":2560,"height":1440,"format":null,"modifications":{"crop":{"height":1440,"width":2560,"x":0,"y":0}}},{"name":"4:3","url":null,"width":2560,"height":1920,"format":null,"modifications":{"crop":{"height":1920,"width":2560,"x":0,"y":0}}},{"name":"1:1","url":null,"width":2153,"height":2153,"format":null,"modifications":{"crop":{"height":2153,"width":2153,"x":203.5,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2021\u002F06\u002F17\u002F60cb9c2ee6b6c6e0e9b6bd33_ra903.jpg","width":2560,"height":2153,"format":"JPEG","modifications":null}],"caption":"The author and his father, Bert Lahr.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph from Getty","filename":"ra903.jpg","id":"60cb9c2ee6b6c6e0e9b6bd34","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"591143bcf8fa3e67faf0dbb8","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590a05188b51cf59fc42471e","url":"contributors\u002Fjudith-thurman","name":"Judith Thurman","title":"Judith Thurman began contributing to *The New Yorker* in 1987 and became a staff writer in 2000. 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. 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has-dropcap__lead-standard-heading paywall"},"It is one of the most famous murders in the history of cinema. A mother and her child are out for a walk, on the first warm day after a bitter winter. Beguiled by the changing weather, we do not see the danger coming. In fact, we never see it at all, because the man with the gun remains offscreen. We see only the mother’s sudden alarm; her panicked attempt to get her child to safety; their separation in the chaos of the moment; and then the child, outside in the cold as snow once again begins to fall, alone and crying for his mother."]],["p",{"class":"paywall"},"The film in question is, of course, the 1942 Walt Disney classic “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FBambi-Bonus-Content-Bobbie-Stewart\u002Fdp\u002FB071RNF4R3","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FBambi-Bonus-Content-Bobbie-Stewart\u002Fdp\u002FB071RNF4R3"},"isExternal":true},"Bambi"],".” Perhaps more than any other movie made for children, it is remembered chiefly for its moments of terror: not only the killing of the hero’s mother but the forest fire that threatens all the main characters with annihilation. Stephen King called “Bambi” the first horror movie he ever saw, and Pauline Kael, the longtime film critic for this magazine, claimed that she had never known children to be as frightened by supposedly scary grownup movies as they were by “Bambi.”"],["cm-unit"],["journey-inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["p",{"class":"paywall"},"Unlike many other ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Ftag\u002Fdisney","isExternal":false},"Disney"]," classics, from “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FCinderella-Signature-Ilene-Woods\u002Fdp\u002FB07SMBGGZN","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FCinderella-Signature-Ilene-Woods\u002Fdp\u002FB07SMBGGZN"},"isExternal":true},"Cinderella"],"” to “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FFrozen-Kristen-Bell\u002Fdp\u002FB00J2PF4ZU","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FFrozen-Kristen-Bell\u002Fdp\u002FB00J2PF4ZU"},"isExternal":true},"Frozen"],",” this fright fest is not based on a fairy tale. It was adapted from “Bambi: A Life in the Woods,” a 1922 novel by the Austro-Hungarian writer and critic Felix Salten. The book rendered Salten famous; the movie, which altered and overshadowed its source material, rendered him virtually unknown. And it rendered the original “Bambi” obscure, too, even though it had previously been both widely acclaimed and passionately reviled. The English-language version, as translated in 1928 by the soon to be Soviet spy Whittaker Chambers, was enormously popular, earning rave reviews and selling six hundred and fifty thousand copies in the dozen-plus years before the film came out. The original version, meanwhile, was banned and burned in Nazi Germany, where it was regarded as a parable about the treatment of Jews in Europe."],["p",{"class":"paywall"},"As that suggests, “Bambi” the book is even darker than “Bambi” the movie. Until now, English-language readers had to rely on the Chambers translation—which, thanks to a controversial copyright ruling, has been the only one available for almost a century. This year, however, “Bambi: A Life in the Woods” has entered the public domain, and the Chambers version has been joined by a new one: “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FOriginal-Bambi-Story-Life-Forest\u002Fdp\u002F0691197741","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FOriginal-Bambi-Story-Life-Forest\u002Fdp\u002F0691197741"},"isExternal":true},"The Original Bambi: The Story of a Life in the Forest"],"” (Princeton), translated by Jack Zipes, with wonderful black-and-white illustrations by Alenka Sottler. Zipes, a professor emeritus of German and comparative literature at the University of Minnesota, who has also translated the fairy tales of the Brothers Grimm, maintains in his introduction that Chambers got “Bambi” almost as wrong as Disney did. Which raises two questions: How exactly did a tale about the life of a fawn become so contentious, and what is it really about?"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Felix Salten was an unlikely figure to write “Bambi,” since he was an ardent hunter who, by his own estimate, shot and killed more than two hundred deer. He was also an unlikely figure to write a parable about Jewish persecution, since, even after the book burnings, he promoted a policy of appeasement toward Nazi Germany. And he was an unlikely figure to write one of the most famous children’s stories of the twentieth century, since he wrote one of its most infamous works of child pornography."]],["p",{"class":"paywall"},"These contradictions are nicely encapsulated by Beverley Driver Eddy in her biography “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FFelix-Salten-Studies-Austrian-Literature\u002Fdp\u002F1572411694","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FFelix-Salten-Studies-Austrian-Literature\u002Fdp\u002F1572411694"},"isExternal":true},"Felix Salten: Man of Many Faces"],".” Born Siegmund Salzmann, in Hungary in 1869, Salten was just three weeks old when his family moved to Vienna—a newly desirable destination for Jews, because Austria had lately granted them full citizenship. His father was a descendant of generations of rabbis who shook off his religious roots in favor of a broadminded humanism; he was also a hopelessly inept businessman who soon plunged the family into poverty. To help pay the bills, Salten started working for an insurance company in his teens, around the same time that he began submitting poetry and literary criticism to local newspapers and journals. Eventually, he began meeting other writers and creative types at a café called the Griensteidl, across the street from the national theatre. These were the fin-de-siècle artists collectively known as Young Vienna, whose members included Arthur Schnitzler, Arnold Schoenberg, Stefan Zweig, and a writer who later repudiated the group, Karl Kraus."],["p",{"class":"paywall"},"Salten was, in his youth, both literally and literarily promiscuous. He openly conducted many affairs—with chambermaids, operetta singers, actresses, a prominent socialist activist, and, serially or simultaneously, several women with whom other members of Young Vienna were having dalliances as well. In time, he married and settled down, but all his life he wrote anything he could get paid to write: book reviews, theatre reviews, art criticism, essays, plays, poems, novels, a book-length advertisement for a carpet company disguised as reportage, travel guides, librettos, forewords, afterwords, film scripts. His detractors regarded this torrent as evidence of hackery, but it was more straightforwardly evidence of necessity; almost alone among the members of Young Vienna, he was driven by the need to make a living."],["p",{"class":"paywall"},"Yet, like his father, Salten could be reckless with money. Anxious to seem like an insider, he insisted on eating, drinking, dressing, and travelling in the manner of his wealthier peers, with the result that he was constantly accruing debts, some of which he dispatched in dodgy ways—for instance, by “borrowing” and then selling a friend’s expensive books. And he could be reckless in other respects, too. Inclined to be touchy, either by temperament or because he felt the need to prove himself, he spent much of his young life fomenting disputes (he once walked into the Griensteidl and slapped Kraus in the face after the latter criticized him in print), then resolving them via lawsuits or duels. Both his personal judgment and his critical judgment could be impulsive and errant; in his thirties, he borrowed prodigiously to produce a modernist cabaret, of the kind that was all the rage in Berlin, only to see it become a critical and financial catastrophe."],["p",{"class":"paywall"},"The production that brought Salten the most infamy, however, did not bear his name: “Josefine Mutzenbacher; or, The Story of a Viennese Whore, as Told by Herself.” Published anonymously in Vienna in 1906, it has been continuously in print since then, in both German and English, and has sold some three million copies. Despite the subtitle, no one ever seems to have entertained the possibility that it was written by a prostitute, or even by a woman. In Salten’s lifetime, nearly everyone thought he wrote it, except for those who liked him too much to believe he could produce something so filthy and those who hated him too much to believe he could produce something so well written. Salten himself twice claimed not to have been responsible for it but otherwise was silent or coy on the subject. These days, everyone from academics to the Austrian government regards him as the undisputed author of the book."],["p",{"class":"paywall"},"Written in the tradition of the ribald female memoir, à la “Fanny Hill,” “Josefine Mutzenbacher” recounts the sexual adventures of the title character beginning when she is five years old, and continuing after her turn to prostitution in her early teens, following the death of her mother. Today, what is most shocking about the book is Josefine’s youth. At the time, however, most of the scandal concerned her unapologetic embrace of her career, which she both enjoyed and credited with lifting her out of poverty, educating her, and introducing her to a world far wider than the impoverished Vienna suburbs where she (like Salten) grew up."],["inline-embed",{"props":{"name":"inset-left","attrs":{},"childTypes":["cartoon"]},"ref":"","type":"callout:inset-left"},["inline-embed",{"props":{"image":{"id":"61e0992a73406cef6c6ca812","altText":"Couple sitting at a table and having a conversation.","contentType":"cartoon","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e0992a73406cef6c6ca812\u002Fmaster\u002Fw_640,c_limit\u002F220124_a25775.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e0992a73406cef6c6ca812\u002Fmaster\u002Fw_120,c_limit\u002F220124_a25775.jpg 120w, 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Akinterinwa","links":[{"network":"facebook","behavior":"popup","url":"https:\u002F\u002Fwww.facebook.com\u002Fdialog\u002Ffeed?&display=popup&caption=&app_id=1147169538698836&link=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa25775%3Futm_source%3Dfacebook%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned","label":"Share on Facebook"},{"network":"twitter","url":"https:\u002F\u002Ftwitter.com\u002Fintent\u002Ftweet\u002F?url=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa25775%3Futm_source%3Dtwitter%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned&text=&via=NewYorker","label":"Share on X"},{"network":"email","url":"mailto:?subject=&body=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa25775%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\u002Fa25775","label":"A New Yorker Cartoon"}]}},"level":"block","ref":"61e0992a73406cef6c6ca812","type":"cartoon"}]],["p",{"class":"paywall"},"Perhaps inevitably, scholars have tried to draw parallels between “Josefine Mutzenbacher” and “Bambi.” Both title characters lose their mothers while still in their youth; both books introduce readers in detail to urban borderlands—the poor suburbs, the flophouses, the forests—about which most proper Viennese were largely ignorant. Still, for the most part, such comparisons seem strained. “Josefine Mutzenbacher” occupies much the same place in the Salten œuvre as his homage to carpets: the one that lies at the intersection of ambition, graphomania, and penury."],["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"},"But the place of “Bambi” is different. If there is a through line to Salten’s scattershot career, it is his interest in writing about animals, which was evident from his first published work of fiction: “The Vagabond,” a short story about the adventures of a dachshund, written when he was twenty-one. Many other nonhuman protagonists followed, most of them ill-fated: a sparrow that dies in battle, a fly that hurls itself to death against a windowpane. Salten’s novel “The Hound of Florence” concerns a young Austrian man destined to spend every other day of his life as the archduke’s dog; in the end, he is stabbed to death, in his dog form, while trying to protect a courtesan he loves from assault. (In an even more drastic transformation than the one “Bambi” underwent, this story became, in Disney’s hands, “The Shaggy Dog.”) “Fifteen Rabbits” features, at first, fifteen rabbits, who debate the nature of God and the reason for their own persecution while their numbers gradually dwindle. “Renni the Rescuer,” about a German shepherd trained as a combat animal, features a carrier pigeon traumatized by its wartime service. And then, of course, there is “Bambi”—which, like these other stories, was not particularly suitable for children, until Disney bowdlerized it to fit the bill."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"If you haven’t seen the Disney version of “Bambi” since you were eight, here is a quick refresher: The title character is born one spring to an unnamed mother and a distant but magnificently antlered father. He befriends an enthusiastic young rabbit, Thumper; a sweet-tempered skunk, Flower; and a female fawn named Faline. After the death of his mother the following spring, he and Faline fall in love, but their relationship is tested by a rival deer, by a pack of hunting dogs, and, finally, by the forest fire. Having triumphed over all three, Bambi sires a pair of fawns; as the film concludes, the hero, like his father before him, is watching over his family from a faraway crag."]],["p",{"class":"paywall"},"“Bambi” was not particularly successful when it was first released. It was hampered partly by audience turnout, which was down because of the Second World War, and partly by audience expectations, since, unlike earlier Disney productions, it featured no magic and no Mickey. In time, though, “Bambi,” which was Walt’s favorite among his films, became one of the most popular movies in the history of the industry. In the four decades following its release, it earned forty-seven million dollars—more than ten times the haul of “Casablanca,” which came out the same year. Perhaps more notably, it also earned a dominant position in the canon of American nature tales. In the words of the environmental historian Ralph Lutts, “It is difficult to identify a film, story, or animal character that has had a greater influence on our vision of wildlife.”"],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"That vision is of an Eden marred only by the incursion of humankind. There is no native danger in Bambi’s forest; with the exception of his brief clash with another male deer in mating season, and maybe that hardscrabble winter, the wilderness he inhabits is all natural beauty and interspecies amity. The truly grave threats he faces are always from hunters, who cause both the forest fire and the death of his mother, yet the movie seems less anti-hunting than simply anti-human. The implicit moral is not so much that killing animals is wicked as that people are wicked and wild animals are innocent. Some years ago, when the American Film Institute compiled a list of the fifty greatest movie villains of all time, it chose for slot No. 20—between Captain Bligh, of “Mutiny on the Bounty,” and Mrs. John Iselin, of “The Manchurian Candidate”—the antagonist of “Bambi”: “Man.”"],["p",{"class":"paywall"},"Unsurprisingly, “Bambi” has long been unpopular among hunters, one of whom sent a telegram to Walt Disney on the eve of the film’s release to inform him that it is illegal to shoot deer in the spring. Nor is the film a favorite among professional wilderness managers, who now routinely contend with what they call “the Bambi complex”: a dangerous desire to regard nature as benign and wild animals as adorable and tame, coupled with a corresponding resistance to crucial forest-management tools such as culling and controlled burns. Even some environmentalists object to its narrowness of vision—its failure to offer audiences a model of a healthy relationship between people and the rest of the natural world."],["p",{"class":"paywall"},"But perhaps the most vociferous if also the smallest group of critics consists of devotees of Salten, who recognize how drastically Disney distorted his source material. Although the animals in the novel do converse and in some cases befriend one another across species, their over-all relations are far from benign. In the course of just two pages, a fox tears apart a widely beloved pheasant, a ferret fatally wounds a squirrel, and a flock of crows attacks the young son of Friend Hare—the gentle, anxious figure who becomes Thumper in the movie—leaving him to die in excruciating pain. Later, Bambi himself nearly batters to death a rival who is begging for mercy, while Faline looks on, laughing. Far from being gratuitous, such scenes are, in the author’s telling, the whole point of the novel. Salten insisted that he wrote “Bambi” to educate naïve readers about nature as it really is: a place where life is always contingent on death, where starvation, competition, and predation are the norm."],["p",{"class":"paywall"},"That motive did not make Salten go easy on human beings. On the contrary: his depiction of our impact on nature is considerably more specific and violent than the one in the film, not to mention sadder. Consider the moment when Bambi, fleeing the hunting party that kills his mother and countless other creatures, comes across the wife of Friend Hare, in a scene that reads like something out of “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FRegeneration-Contemporary-Fiction-Plume-Barker\u002Fdp\u002F0142180599","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FRegeneration-Contemporary-Fiction-Plume-Barker\u002Fdp\u002F0142180599"},"isExternal":true},"Regeneration"],",” Pat Barker’s novel about the First World War:"],["blockquote",{"class":"paywall"},["p","“Can you help me a little?” she said. Bambi looked at her and shuddered. Her hind leg dangled lifelessly in the snow, dyeing it red and melting it with warm, oozing blood. “Can you help me a little?” she repeated. She spoke as if she were well and whole, almost as if she were happy. “I don’t know what can have happened to me,” she went on. “There’s really no sense to it, but I just can’t seem to walk. . . .”"],["p","In the middle of her words she rolled over on her side and died."]],["p",{"class":"paywall"},"What purpose are scenes like that one serving in this book? Salten maintained that, despite his own affinity for hunting, he was trying to dissuade others from killing animals except when it was necessary for the health of a species or an ecosystem. (That was less hypocritical than it seems; Salten despised poachers and was horrified by the likes of Archduke Franz Ferdinand, who boasted of killing five thousand deer and was known to shoot them by the score as underlings drove them into his path.) But authors do not necessarily get the last word on the meaning of their work, and plenty of other people believe that “Bambi” is no more about animals than “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FAnimal-Farm-George-Orwell\u002Fdp\u002F0451526341","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FAnimal-Farm-George-Orwell\u002Fdp\u002F0451526341"},"isExternal":true},"Animal Farm"],"” is. Instead, they see in it what the Nazis did: a reflection of the anti-Semitism that was on the rise all across Europe when Salten wrote it."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"As a textual matter, the best evidence for this proposition comes from two parts of “Bambi” that never made it onto the screen. The first concerns Faline’s twin brother, Gobo, who was written out of the movie. A fragile and sickly fawn, Gobo cannot flee during the hunting rampage that kills Bambi’s mother and Friend Hare’s wife. For several months, he is presumed dead. Then one day Bambi and Faline spot a deer making its way across an open meadow with reckless nonchalance, as if oblivious to any possible peril."]],["p",{"class":"paywall"},"This newcomer turns out to be the grownup Gobo, who, we learn, was rescued by a member of the hunting party, taken into his home, and nursed back to health. When Gobo returns, the other forest animals gather to hear him describe the kindness of the hunter and his family, the warmth of the dwelling, and the meals that were brought to him every day. Most of them think that Gobo’s time among humans has made him dangerously naïve, but he is convinced that it has made him wiser and more worldly. “You all think He’s wicked,” he tells them. (In Salten’s books, humans are typographically styled the way God is: singular and capitalized.) “But He isn’t wicked. If He loves anybody, or if anybody serves Him, He’s good to him. Wonderfully good!”"],["p",{"class":"paywall"},"Every subjugated minority is familiar with figures like Gobo—individuals who have assimilated into and become defenders of the culture of their subjugators, whether out of craven self-interest or because, like Gobo, they are sincerely enamored of it and convinced that their affection is reciprocated. Such figures often elicit the disdain or the wrath of their peers, and Salten leaves little doubt about how he feels: Bambi “was ashamed of Gobo without knowing why,” and the half-tame deer soon pays the price for his beliefs. One day, ignoring the advice of other animals, Gobo strolls into the meadow even though the scent of humans fills the air. He is confident that they won’t harm him, but he is shot in the flank while his love interest looks on. As she turns to flee, she sees the hunter bent over Gobo and hears his “wailing death shriek.”"],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"One understands why Disney left that part out. So, too, a scene in Salten’s book where a dog kills a fox, which unfolds at a horrifyingly leisurely pace. The fox’s paw is shattered and bleeding, and he knows he will die soon, but he pleads with the dog: “Let me die with my family at least. We’re brothers almost, you and I.” When that fails, he accuses the dog of being a turncoat and a spy. The dog works himself into a frenzy defending the virtue and the power of his master, then itemizes all the other animals who serve humankind:"],["blockquote",{"class":"paywall"},["p","“The horse, the cow, the sheep, the chickens, many, many of you and your kind are on His side and worship Him and serve Him.”"],["p","“They’re rabble!” snarled the fox, full of a boundless contempt."]],["p",{"class":"paywall"},"It is easy, in light of these scenes, to see why some people interpret “Bambi” as a covert account of the crisis facing European Jews in the nineteen-twenties—a story about innocent creatures forced to remain constantly vigilant against danger, from would-be betrayers within and proto-Brown Shirts without. Some of Salten’s biography supports that reading, starting with the fact that he knew a thing or two about assimilation. “I was not a Jew when I was a boy,” he once wrote; raised in a household that prized European liberalism, and educated in part by pious Catholic teachers who praised him for his knowledge of the catechism, Salten only really began to identify as Jewish in his late twenties, when he grew close to Theodor Herzl, a fellow Austro-Hungarian writer and the father of the Zionist movement. He claimed that it was Herzl’s pamphlet “The Jewish State” that made Salten, as he wrote, “willing to love my Jewishness.”"],["p",{"class":"paywall"},"If so, that love was, to say the least, complicated. On the one hand, Salten began writing a weekly column for Herzl’s Jewish newspaper, in which he grew more and more critical of the assimilationist impulse that had shaped his childhood; on the other hand, he wrote it anonymously and refused to set foot in the newspaper’s offices. In later years, his increasing willingness to embrace his Judaism corresponded, not coincidentally, with the increasing anti-Semitism in Vienna, which made it impossible for Jews to forget or deny their religious background."],["inline-embed",{"props":{"name":"inset-left","attrs":{},"childTypes":["cartoon"]},"ref":"","type":"callout:inset-left"},["inline-embed",{"props":{"image":{"id":"61e09929ed12fc1082eb8be7","altText":"A bunch of penguins all thinking they see their exes.","contentType":"cartoon","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e09929ed12fc1082eb8be7\u002Fmaster\u002Fw_640,c_limit\u002F220124_a25696_rd.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e09929ed12fc1082eb8be7\u002Fmaster\u002Fw_120,c_limit\u002F220124_a25696_rd.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e09929ed12fc1082eb8be7\u002Fmaster\u002Fw_240,c_limit\u002F220124_a25696_rd.jpg 240w, 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https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e09929ed12fc1082eb8be7\u002Fmaster\u002Fw_640,c_limit\u002F220124_a25696_rd.jpg 640w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e09929ed12fc1082eb8be7\u002Fmaster\u002Fw_960,c_limit\u002F220124_a25696_rd.jpg 960w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e09929ed12fc1082eb8be7\u002Fmaster\u002Fw_1280,c_limit\u002F220124_a25696_rd.jpg 1280w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F61e09929ed12fc1082eb8be7\u002Fmaster\u002Fw_1600,c_limit\u002F220124_a25696_rd.jpg 1600w","height":1179}},"dangerousCaption":"","dangerousCredit":"Cartoon by Joseph Dottino","links":[{"network":"facebook","behavior":"popup","url":"https:\u002F\u002Fwww.facebook.com\u002Fdialog\u002Ffeed?&display=popup&caption=&app_id=1147169538698836&link=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa25696-rd%3Futm_source%3Dfacebook%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned","label":"Share on Facebook"},{"network":"twitter","url":"https:\u002F\u002Ftwitter.com\u002Fintent\u002Ftweet\u002F?url=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa25696-rd%3Futm_source%3Dtwitter%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned&text=&via=NewYorker","label":"Share on X"},{"network":"email","url":"mailto:?subject=&body=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa25696-rd%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\u002Ffeatured\u002Fis-that-my-ex-joseph-dottino.html","label":"Get in store"},{"network":"canonical","url":"https:\u002F\u002Fwww.newyorker.com\u002Fcartoon\u002Fa25696-rd","label":"A New Yorker Cartoon"}]}},"level":"block","ref":"61e09929ed12fc1082eb8be7","type":"cartoon"}]],["p",{"class":"paywall"},"In 1925, three years after “Bambi,” Salten published “New People on Ancient Soil,” the product of a visit to Palestine and a book-length tribute to his friend’s dream of a Jewish state. A decade later, his books, together with countless others by Jewish authors, were burned by the Nazis, and two years after that, following Germany’s annexation of Austria, he moved to Switzerland. Salten died in Zurich, at the age of seventy-six, four months after Hitler killed himself."],["p",{"class":"paywall"},"Does all this make “Bambi” a parable about Jewish persecution? The fact that the Nazis thought so is hardly dispositive—fascist regimes are not known for their sophisticated literary criticism—and, for every passage that supports such a reading, numerous others complicate or contradict it. Many critics see in “Bambi” different or more diffuse political sentiments, from a generalized opposition to totalitarianism to a post-First World War commentary on the brutality of modern combat. All these readings are plausible, including the specifically Jewish one and Salten’s own interpretation of his work as a plea for greater understanding of and greater care for the natural world. Yet the most striking and consistent message of the book is neither obliquely political nor urgently ecological; it is simply, grimly existential."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Whatever else “Bambi” may be, it is, at heart, a coming-of-age story, cervine kin to “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FOliver-Twist-Norton-Critical-Editions\u002Fdp\u002F039396292X","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FOliver-Twist-Norton-Critical-Editions\u002Fdp\u002F039396292X"},"isExternal":true},"Oliver Twist"],",” “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FLittle-Penguin-Classics-Louisa-Alcott\u002Fdp\u002F0140390693","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FLittle-Penguin-Classics-Louisa-Alcott\u002Fdp\u002F0140390693"},"isExternal":true},"Little Women"],",” and “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FGiovannis-Room-James-Baldwin\u002Fdp\u002F0345806565","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FGiovannis-Room-James-Baldwin\u002Fdp\u002F0345806565"},"isExternal":true},"Giovanni’s Room"],".” In the language in which it was written, however, it is often described not as a bildungsroman—a general novel of maturation—but more specifically as an ",["em","Erziehungsroman:"]," a novel of education and training."]],["p",{"class":"paywall"},"The agent of that education is a character known as the old Prince, the oldest surviving stag in the forest, and the lessons he imparts are not subtle. When he first encounters Bambi, the latter is still a fawn, dismayed because his mother has lately grown distant—pushing him away when he tries to nurse, and walking off without caring whether he is following. Thus rebuffed, he is by himself in the middle of the forest bleating for her when the old Prince appears and scolds him. “Your mother has no time for you now,” the old Prince says. “Can’t you stay by yourself? Shame on you!”"],["p",{"class":"paywall"},"That, in two sentences, is the ultimate message of “Bambi”: anything short of extreme self-reliance is shameful; interdependence is unseemly, restrictive, and dangerous. “Of all his teachings,” Salten writes, “this had been the most important: you must live alone. If you wanted to preserve yourself, if you understood existence, if you wanted to attain wisdom, you had to live alone.” This is not “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FLorax-Classic-Seuss-Dr\u002Fdp\u002F0394823370","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FLorax-Classic-Seuss-Dr\u002Fdp\u002F0394823370"},"isExternal":true},"The Lorax"],"” or “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FComplete-Maus-Art-Spiegelman\u002Fdp\u002F0679406417","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FComplete-Maus-Art-Spiegelman\u002Fdp\u002F0679406417"},"isExternal":true},"Maus"],".” This is “The Fountainhead,” with fawns."],["p",{"class":"paywall"},"Most panegyrics to the solitary life written by men have an element of misogyny in them, and “Bambi” is no exception. Seemingly brave and vivacious in her youth, Faline grows up to be timid and lachrymose; she “shrieked and shrieked,” she “bleated,” she is “the hysterical Faline.” When she and Bambi are (for lack of a better word) dating, the old Prince teaches Bambi to ignore her calls, lest they come from a hunter imitating the sound. Like Gobo, the romance between the childhood friends is doomed by the logic of the book. “Do you love me still?” Faline asks one day, to which Bambi replies, “I don’t know.” She walks away, and “all at once, his spirit felt freer than for a long time.” All other relationships with the female of the species have a similarly short life span; fatherly love is enduring and ennobling, motherly love juvenile and embarrassing. “Bambi” ends with its hero importuning two fawns, just as the old Prince had importuned him, to learn to live alone."],["p",{"class":"paywall"},"The curious thing about this insistence on solitude is that nothing in the book makes it seem appealing. The chief trajectory of Bambi’s life is not from innocence to wisdom; it is from contentment and companionship—in his youth, he cavorts with Gobo and Faline, with magpies and Friend Hare, with screech owls and squirrels—to isolation and bare-bones survival. Stranger still, this valorization of loneliness seems unrelated to the book’s second explicit moral, which concerns the relationship between human beings and other animals. In the final pages, the old Prince takes Bambi, himself now old and beginning to gray, to see something in the woods: a dead man, shot and killed by another hunter. (Amazingly, Walt Disney planned to include this scene in his film, excising it only after the sight of the corpse made an entire test audience leap out of their seats.) With the old Prince’s prompting, Bambi concludes from this experience not that we humans are a danger even unto one another but, rather, that other animals are foolish for imagining that we are gods merely because we are powerful. “There is Another who is over us all,” he realizes while contemplating the dead man, “over us and over Him.” The old Prince, satisfied that his work is done, goes off to die."],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"This vague gesture in the direction of deism has no antecedent in the book, no moral or theological trajectory to make Bambi’s insight meaningful or satisfying. On the contrary, the book is at its best when it revels in rather than pretends to resolve the mystery of existence. At one point, Bambi passes by some midges who are discussing a June bug. “How long will he live?” the young ones ask. “Forever, almost,” their elders answer. “They see the sun thirty or forty times.” Elsewhere, a brief chapter records the final conversation of a pair of oak leaves clinging to a branch at the end of autumn. They gripe about the wind and the cold, mourn their fallen peers, and try to understand what is about to happen to them. “Why must we fall?” one asks. The other doesn’t know, but has questions of its own: “Do we feel anything, do we know anything about ourselves when we’re down there?” The conversation tacks back and forth from the intimate to the existential. The two leaves worry about which of them will fall first; one of them, gone “yellow and ugly,” reassures the other that it has barely changed at all. The response, just before the inevitable end, is startlingly moving: “You’ve always been so kind to me. I’m just beginning to understand how kind you are.” That is the opposite of a paean to individualism: a belated but tender recognition of how much we mean to one another."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"What are we to make of this muddy, many-minded story? Zipes, in his introduction, blames some of the confusion on Chambers, contending that he mistranslated Salten, flattening both the political and the metaphysical dimensions of the work and paving the way for Disney to turn it into a children’s story. But that claim is borne out neither by examples in the introduction nor by a comparison of the two English versions, which differ mainly on aesthetic grounds. Zipes is knowledgeable about his subject matter, but he is not a lucid thinker or a gifted writer (a representative sentence from the introduction: “Salten was able to capture this existential quandary through a compassionate yet objective lens, using an innovative writing technique that few writers have ever been able to achieve”), and the Chambers translation, from which I have quoted here, is much the better one."]],["p",{"class":"paywall"},"In both versions, the “Bambi” that emerges is a complex work, part nature writing, part allegory, part autobiography. What makes it such a startling source for a beloved children’s classic is ultimately not its violence or its sadness but its bleakness. Perhaps the most telling exchange in the book occurs, during that difficult winter, between Bambi’s mother and his aunt. “It’s hard to believe that it will ever be better,” his mother says. His aunt responds, “It’s hard to believe that it was ever any better.”"],["p",{"class":"paywall"},"It’s tempting to read those lines, too, as a commentary on the Jewish condition, if only because—to this Jew’s ears, at least—they have the feel of classic Jewish dark humor: realistic, linguistically dexterous, and grim. Yet no one alive today can regard such a sentiment as exclusive to any subgroup. It is simply a way of seeing the world, one that can be produced by circumstance, temperament, or, as in Salten’s case, both. Reading him, one suspects that the conventional interpretation of his most famous work is backward. “Bambi” is not a parable about the plight of the Jews, but Salten sometimes regards the plight of the Jews as a parable about the human condition. The omnipresence and inevitability of danger, the need to act for oneself and seize control of one’s fate, the threat posed by intimates and strangers alike: this is Salten’s assessment of our existence."],["p",{"class":"paywall"},"One of the forgotten novelist’s most forgotten novels, “Friends from All Over the World,” is set in a zoo that is maintained by an enlightened and humane zookeeper yet remains, intrinsically, a place of suffering and cruelty. The animals within it, Salten writes, “are all sentenced to life imprisonment and are all innocent.” That is a lovely line, and one that seems to apply, in his moral universe, to all of us. In the forest—that is, in a state of nature—we are in constant danger; in society, tended and cared for but fundamentally compromised, we are still not out of the woods. ♦"]],"pageStructure":[["inline-embed",200,"iframe"],["inline-embed",210,"callout"],["p",95],["cm-unit",0],["p",148],["p",153],["inline-embed",174,"callout"],["p",170],["p",123],["p",162],["p",156],["p",106],["inline-embed",0,"callout"],["p",83],["inline-embed",0,"cneinterlude"],["p",213],["inline-embed",240,"callout"],["p",139],["ad",0],["p",149],["p",116],["p",167],["p",81],["blockquote",188],["p",146],["inline-embed",180,"callout"],["p",133],["p",145],["ad",0],["p",101],["blockquote",70],["p",156],["p",90],["inline-embed",0,"callout"],["p",78],["p",125],["inline-embed",124,"callout"],["p",106],["p",77],["p",172],["p",215],["ad",0],["p",248],["inline-embed",288,"callout"],["p",86],["p",148],["p",102]],"hasAffiliateLinks":false,"affiliateLinksCount":0,"isCommerceContent":false,"contributorSpotLightProps":{"header":{"name":"Kathryn Schulz","title":"Kathryn Schulz, a staff writer at The New Yorker covering books, science, and culture, won the 2016 Pulitzer Prize for feature writing. She is the author of “[Lost & Found](https:\u002F\u002Fwww.amazon.com\u002FLost-Found-Memoir-Kathryn-Schulz\u002Fdp\u002F0525512462).”","url":"\u002Fcontributors\u002Fkathryn-schulz","image":{"altText":"","sources":{"sm":{"aspectRatio":"1:1","width":240,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"},"md":{"aspectRatio":"1:1","width":240,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"},"lg":{"aspectRatio":"1:1","width":270,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_270,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"},"xl":{"aspectRatio":"1:1","width":270,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_270,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"},"xxl":{"aspectRatio":"1:1","width":270,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_270,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"}},"segmentedSources":{"sm":[{"aspectRatio":"1:1","width":240,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"}],"lg":[{"aspectRatio":"1:1","width":270,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_270,c_limit\u002Fundefined","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_120,c_limit\u002Fundefined 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097ec78b51cf59fc4242db\u002F1:1\u002Fw_240,c_limit\u002Fundefined 240w"}]}},"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fkathryn-schulz\"\u003EKathryn Schulz\u003C\u002Fa\u003E joined \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E as a staff writer in 2015, covering books, science, and culture. In 2016, she won the Pulitzer Prize for feature writing and a National Magazine Award for “\u003Ca href=\"http:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2015\u002F07\u002F20\u002Fthe-really-big-one\"\u003EThe Really Big One\u003C\u002Fa\u003E,” her story on seismic risk in the Pacific Northwest. 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