
Each minute of the next six months is a thicket. The thickets contain police officers, undertakers, insurance agents, attorneys, claims adjusters, benefits counsellors, human-resources workers, notaries, friends. Unforeseen namesEmmaline Cortez, Omar Eaton, Dalary Mason, Clyde Bender-become very important then very unimportant. Somewhere in there her two daughters fly in from and back to their respective lives, in Chicago and Asheville. In early January, Nadia emerges from the last thicket. She drives up to Montreal.
Her consciousness has changed-it, the consciousness, has made her more optically alert. She notices, first, that a beautiful spare brownness has befallen the forests; and, second, that she could not care less about the brownness of the forests, not even if she turned into an orangutan. Orangutans are on her mind because she has been watching orangutan videos. Farther north, the sights-the snowy mountaintops, the ice cascades, the towers on the St. Lawrence-insist on stronger emotions. These emotions are not in her possession.
She does have one encounter with the sublime. It happens in the Adirondacks. The dense dark of night has gathered on every side, but in the west, above the heights to her left, there is a peach-colored patch of last light. Something about the peach light feels abnormal-does not conform to the sense of dusk. The light is extraterrestrial, she grasps. It has come from far, far, far, far away. The Earth has no light of its own.
Nadia addresses these thoughts to an interlocutor who is nowhere to be seen. She has only recently become aware of this inner other. Seemingly neither male nor female, the other listens patiently. When it speaks, it does so carefully. It does not take offense. None of these traits were Drew's. He was an unreliable listener, an interrupter, a blurter. He was sensitive to criticism. Who, then, is this internal entity, who has no counterpart in her past or present?
ãã®èšäºã¯ The New Yorker ã® March 03, 2025 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã ?  ãµã€ã³ã€ã³
ãã®èšäºã¯ The New Yorker ã® March 03, 2025 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã? ãµã€ã³ã€ã³
Techniques and cIdiosyncrasies

FEAR FACTOR
How the Red Scare reshaped American politics.

PLAYTIME
The old film studios had house styles: M-G-Mâs was plush and sentimental, Warner Bros.â stark and intense.

TIME AND PLACE
âTatlin: Kyivâ explores a Russian Constructivistâs Ukrainian identity.

MOURNING BECOMES HER
Akram Khanâs âGigenis: The Generation of the Earth.â

TEXAS ROUNDUP
How Greg Abbott made his state the staging ground for Donald Trump's mass-deportation campaign.

HOUSE CALL
To rent or to buy is the eternal question.

INDESCRIBABLE
The human disaster of the Irish famine.

Louisa Thomas on John Updike's "Hub Fans Bid Kid Adieu"
The original idea was an assignation. On a dreary Wednesday in September, 1960, John Updike, \"falling in love, away from marriage,\" took a taxi to see his paramour.

LIP SERVICE
Zyn and the new nicotine gold rush.