In this issue:
"Inquietude" by Jill Lepore: The fight for the First Amendment, on campuses and football fields, from the sixties to today.
"Something in the Air" by Rachel Moore: Aromatic oils have become big business. But are they medicine or marketing?
"The Storyteller" by Janet Malcom: Her show permits liberals to enjoy themselves during what may be the most unenjoyable time of their political lives.
A CRITIC AT LARGE
"Color Corrected" by Kelefa Sanneh: Where affirmative action was about compensatory justice, diversity is meant to be a shared benefit. But does the rationale carry weight?
THE CURRENT CINEMA
"Young At Heart" by Anthony Lane: Reviews of The Florida Project and Our Souls at Night.
I have been listening to New Yorker for many years. I would love to read the magazine, but not having the time each week, I enjoy the Audible version. First the good news, and then a complaint.
The stories they select are excellent. Their readers, of which there have been three, 2 males and 1 female are quite good, EXCEPT one of the three males has a very full resonant voice that is quite annoying and difficult to understand, by comparison to the other two readers. I can adjust the equalization of my playback to match his voice, but then the others sound thin. And unfortunately, they alternate readers within one issue. I am surprised that Audible is not cognizant of this audio mismatch, or have not chose to adjust the frequency balance when they record him.
Finally as of this issue they have a new male reader with a more balanced voice (with respect to frequency response) and he reads entire issues. Thank you Audible.
My other complaint, for over a year now, falls on deaf ears. Prior to March of 2016, they would precede each story with a brief synopsis. This was most helpful since the New Yorker titles are often clever and cryptic and do not reveal the actual content of the story till after you understand it. Worse yet, the audio version sometimes uses different titles than the print version. Today they give the issue date of the New Yorker and the story title, without the brief intro/overview. OH PLEASE, New Yorker, bring back the overviews. It saves so much listening time or saves me from missing a great story that I tune out too quickly based on the first few minutes before I truly know where the author is headed.