Adam Gopnik

Adam Gopnik pages through “Milton Glaser: Pop,” a new overview of a design revolution, edited by Steven Heller, Mirko Ilić, and Beth Kleber.

After a year of tragedy and uncertainty, New Yorkers are revisiting old haunts—and sharing them with new faces. Adam Gopnik writes about the post-pandemic awakening.

The cartoonist has created a universe of spidery lines and nervous spaces, turning anxious truth-telling into an authoritative art, Adam Gopnik writes.

Why do we still search for relics of the Bard?

Two muses, one loaf.

Adam Gopnik investigates what President Abraham Lincoln actually said and what was said about him, and explores why different versions of quotations exist.

Adam Gopnik on why the evolutionary theorist Charles Darwin spent so long preparing to write his masterpiece, “On the Origin of Species.”

“To know Dick Avedon was to know the sun.” Adam Gopnik remembers The New Yorker’s staff photographer.

Signed comment about the evolving Canadian national character and the unusual outcome of the recent Winter Olympics judging scandal... The Canadian pairs …

Adam Gopnik on the Austin H. MacCormick Island Academy, a school for teen-agers who are incarcerated on Rikers Island.

Signed comment about celebrity and memory... As with sex before its revolution, celebrity has many to exploit it but few to defend it. Tells about the …

Adam Gopnik on critiques about the portrayal of violence in American popular culture, in the wake of the Columbine massacre.

Adam Gopnik on the Berkeley ideals that the American chef brings to Paris: the belief that it’s possible—even imperative—to do good by eating well.

Adam Gopnik on the literary structure of Kenneth Starr’s report on President Bill Clinton and Monica Lewinsky.

Adam Gopnik recalls his years in Freudian psychoanalysis.

Signed comment about summer. The American ideal of summer is unreal. The truth is that summer is a muggy climate and an overworked population. And, …

Adam Gopnik writes about Frederick Law Olmsted, the landscape architect who helped to create the design for New York City‘s Central Park.

Adam Gopnik reviews Joyce Milton’s “Tramp,” a biography of Charlie Chaplin, and reflects on the comedian’s grounding in British music-hall tradition, his leftist politics, and the childlike purity of his art.

Adam Gopnik on the controversial author of “Alice in Wonderland.”

Comment about the bombing in Oklahoma City and about depictions of violence in the media. "Terror Strikes the Heartland," read one headline, echoing a note…

Adam Gopnik on how the search for what it all means became the search for what the coverage of it all means.

Adam Gopnik on Pierre Chareau’s modernist Glass House, in nineteen-thirties Paris—and the dreams that still haunt it.

Adam Gopnik’s 1993 Profile of Steve Martin at work on his first play, “Picasso at the Lapin Agile”—the story of an imaginary encounter between Pablo Picasso and Albert Einstein.

A reëvaluation of Allen’s comic opus as a writer, filmmaker, and monologuist shows that a clash between the humorist and his culture was an artistic inevitability, Adam Gopnik writes.

Nearly every day for decades, Irving V. Link tanned by the luxury pool, Adam Gopnik writes. Then his idyllic life style came under threat from the hotel’s owner, the Sultan of Brunei.