HeyJaredKaty Waldman
- Indexed articles, last 90 days
- 5
- Latest publication
- Aug 31, 2026
- Outlet visibility, for The New Yorker
- Top 50K sites
- Earliest in this view
- Jul 13, 2026
Latest articles
âThe Disappearersâ Stages the Pain and Pleasure of Jamaican Gay Life (opens the original)
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Marlon Jamesâs novels, though they range from historical fiction to high fantasy, share a distinct spiritual frequencyâa mix of bravado and bereavement. They are heroic in their scope, ambition, length, extremity, variety, unclassifiability, and apparent impulse to wrestle an entire world of external phenomena and internal experience between two covers. Yet this muchness tends to orbit a central absence. In Jamesâs third book, âA Brief History of Seven Killings,â from 2014, a kaleidosc
An Uncompromising Belgian Novelistâs Afterlife as a BookTok Star (opens the original)
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Go to any brick-and-mortar bookstore and youâll probably see at least one table dedicated to titles that âpop on BookTok.â Since around 2020, the literary precinct of the social-media platform TikTok seems to have usurped older marketing and publicity strategies as a primary driver of sales. The hashtagâs more than fifty-two million videos tend to feature telegenic young people emoting in front of brightly colored shelves; the recommendations flow into each other, a self-replenishing str
“I Who Have Never Known Men” and “We Were Forbidden,” Reviewed (opens the original)
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Jacqueline Harpman wrote her best-known works in the nineteen-nineties, but her fiction’s elegiac loneliness seems to anticipate our own solitary, screen-bound era.
The White House Press Corps in the Second Trump Era (opens the original)
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In one of Kent Nishimura’s photographs of the White House press corps, which The New Yorker commissioned, the correspondent Beni Harmony readies herself for a segment featuring the President and the First Lady. She’s covering a 2025 Halloween event; her face, which is illuminated by an unseen source, has a waxy, flashlight-under-the-chin quality. The Washington Monument rises flimsily in the background, visually echoing a rickety ladder on which a photographer perches, wearing an uncertain expre
The Lost Art of the Bromance (opens the original)
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“Jackass: Best and Last” came to theatres this summer, starring a fifty-five-year-old Johnny Knoxville, still the beau ideal of pointless havoc and bro-y one-upmanship. The original “Jackass,” launched in 2000, was an MTV cult show about a group of guys who got together to do idiotic, dangerous stunts. The series made approximately half its potential audience (guess which half) feel insane. The other half felt inspired or spiritually seen, even if they weren’t personally covering their genitals
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For The New Yorker, the outlet · Measured Aug 1, 2026
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