newyorker.com / .newyorker-com-culture

The Pulp singer on conquering his fear of nature, the pleasures and perils of art and aging, and the band's first new album in twenty-four years.

The photojournalist documented some of the greatest human horrors of the past century, but he said, "I never, I never, photograph the misery."

Part marriage plot, part novel about novels, "Northanger Abbey" is Austen's strangest--and perhaps most underappreciated--work.

The musician talks with Amanda Petrusich about his two new albums of ambient music, and his book "What Art Does," a pocket-size argument for the value of feelings in our lives.

The artist's sprawling survey at the Guggenheim reveals an intellect unfolding and a life under way.

Also: the skateboarding play "Bowl EP," the off-kilter divas Grace Jones and Janelle Monae; Jamie Lee Curtis's early "Love Letters," and more.

MOMA pays tribute to a restlessly innovative artist whose life's work was to give abstraction soul.

Despite an abundance of plot strands and characters, Anderson's latest drills down into the father-daughter relationship depicted by its leads, Benicio del Toro and Mia Threapleton.

Amy Holden Jones's 1983 melodrama should have established her as a major Hollywood director, but, as a female filmmaker, she faced rejection.

How to lose friends and alienate people.