Kramer followed up, notebook in hand. The New Yorker, then led by William Shawn, was averse to polemical swashbuckling; it would never print a phone number as a kicker. But its writers could take their time. Kramer embedded with the Stanton-Anthony Brigade, the "founding cadre" of a set of revolutionary cells devoted to consciousness-raising, or C.R. She sat in as members shared intimate stories, seeking patterns of oppression and strategizing methods of resistance; she watched sisterhood blossom, then break down.
Addie Citchens reads her story 'The City Is a Graveyard,' from the March 16, 2026, issue of the magazine. Citchens is a Mississippi Delta-born, New Orleans-based writer of fiction and nonfiction. Her first novel, 'Dominion,' was published in 2025 and was short-listed for the PEN/Faulkner Award for Fiction, and long-listed for the Center for Fiction's First Novel Prize.
Dilara, the protagonist of this début novel, is consumed by the absence of a stable home in her life. She and her family flee Turkey, where she is from, after a failed coup in 2016. When they end up in Italy, something inexplicable happens: Dilara's bathroom transforms into a cell in an infamous prison on the outskirts of Istanbul.
You are leaving work, your suit still damp from the morning's downpour, the skin on your palms peeling. You are clutching two supermarket bags, tins of cream soup and tuna knocking against one another. The rain is hard and your anorak is cheap. You are on your way to Stockbridge, to your parents' house, which only your father inhabits now that your mother is gone.
Many editors languish in the margins of history, their contributions largely invisible despite how much they shape whom and how we read. But in recent years, amid a wave of books unearthing overlooked figures, biographers have turned their sights to pioneering book and magazine editors-including Malcolm Cowley of Viking, Judith Jones of Knopf, Bennett Cerf of Random House, and Katharine S. White of The New Yorker -anointing them as the unsung architects of the American literary canon.
For those unfamiliar with the beloved heroine, Samantha is one of the first three historical characters introduced by American Girl in 1986. Samantha, Swedish immigrant Kirsten and WWII homefront heroine Molly demonstrated courage, compassion and resilience. Along with an 18-inch doll, each 9-year-old character was featured in a series of easy chapter books; kids could follow each fictional story as well as the historical context surrounding it.
We meet him as a Gumby-like figure, asleep on a dirt floor, with only a jug of water and a toy horse. He has no idea how he got there. When he's around seventeen years old, Kaspar meets his captor, rendered in the book as a shadowy, hatch-marked father: "The Man in Black." The man teaches him to write his name; he teaches him to take a few fumbling goose steps outside.
Set in a version of Cape Town in the years after the First World War, this sure-handed, gothic-tinged novel tells the story of Soraya, a young Muslim woman who works as a live-in housekeeper for an elderly English widow. Soraya has "a fanciful mind" and is able to see ghosts and communicate with spirits, including previous domestic workers. Much of her time is spent preparing the house, "a strange place full of fright,"