= Subscribers only. Sign in here. Subscribe here.

= Subscribers only.
Sign in here.
Subscribe here.

1883 / February | View All Issues |

February 1883

illustration

326 PDF

The frozen fountain·

= Subscribers only.
Sign in here.
Subscribe here.


Article

327-352 PDF

The wild Welsh coast·

= Subscribers only.
Sign in here.
Subscribe here.

Article

353-367 PDF

The local associations of Whittier’s poems·

= Subscribers only.
Sign in here.
Subscribe here.

Poetry

367 PDF

The fallow field·

= Subscribers only.
Sign in here.
Subscribe here.

Article

368-386 PDF

German political leaders·

= Subscribers only.
Sign in here.
Subscribe here.

Article

387-405 PDF

Artist strolls in Holland (II)·

= Subscribers only.
Sign in here.
Subscribe here.

Fiction

405-414 PDF

For the Major (chap. V)·

= Subscribers only.
Sign in here.
Subscribe here.

Article

414-425 PDF

Maryland and the Far South in the colonial period·

= Subscribers only.
Sign in here.
Subscribe here.

Fiction

425-438 PDF

The sequel to an old romance·

= Subscribers only.
Sign in here.
Subscribe here.

Article

438-442 PDF

Our birds and their poets·

= Subscribers only.
Sign in here.
Subscribe here.

Fiction

442-446 PDF

Eugenie’s fête day·

= Subscribers only.
Sign in here.
Subscribe here.

Fiction

447-464 PDF

Shandon bells (chaps. XXVI-XXVIII)·

= Subscribers only.
Sign in here.
Subscribe here.

Poetry

464-467 PDF

Southern rivers·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s easy chair

468-469 PDF

Editor’s easy chair·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s easy chair

468-473 PDF

Editor’s easy chair·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s easy chair

469-470 PDF

Editor’s easy chair·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s easy chair

470-472 PDF

Editor’s easy chair·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s easy chair

472-473 PDF

Editor’s easy chair·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s literary record

473-480 PDF

Editor’s literary record·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s literary record

473-480 PDF

Editor’s literary record·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s historical record

480-481 PDF

Editor’s historical record·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s drawer

482-483 PDF

Editor’s drawer·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s drawer

482-486 PDF

Editor’s drawer·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s drawer

483-484 PDF

Editor’s drawer·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s drawer

484-485 PDF

Editor’s drawer·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s drawer

485 PDF

Editor’s drawer·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s drawer

485 PDF

Editor’s drawer·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s drawer

485-486 PDF

The modern David·

= Subscribers only.
Sign in here.
Subscribe here.

Get access to 165 years of
Harper’s for only $45.99

United States Canada

THE CURRENT ISSUE

June 2016

Trump’s People

= Subscribers only.
Sign in here.
Subscribe here.

The Old Man

= Subscribers only.
Sign in here.
Subscribe here.

The Long Rescue

= Subscribers only.
Sign in here.
Subscribe here.

New Television

= Subscribers only.
Sign in here.
Subscribe here.

The Improbability Party

= Subscribers only.
Sign in here.
Subscribe here.

view Table Content

FEATURED ON HARPERS.ORG

Post
Helen Ouyang on the cost of crowd-sourcing drugs, Paul Wood on Trump's supporters, Walter Kirn on political predictions, Sonia Faleiro on a man's search for his kidnapped children, and Rivka Galchen on The People v. O. J. Simpson.

The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

Photograph (detail) © Eve Arnold/Magnum Photos
Article
Trump’s People·

= Subscribers only.
Sign in here.
Subscribe here.

"All our friends are saying, load up with plenty of ammunition, because after the stores don’t have no food they’re gonna be hitting houses. They’re going to take over America, put their flag on the Capitol.” “Who?” I asked. “ISIS. Oh yeah.”
Photograph by Mark Abramson for Harper's Magazine (detail)
Article
The Long Rescue·

= Subscribers only.
Sign in here.
Subscribe here.

He made them groom and feed the half-dozen horses used to transport the raw bricks to the furnace. Like the horses, the children were beaten with whips.
Photograph (detail) © Narendra Shrestha/EPA/Newscom
Article
The Old Man·

= Subscribers only.
Sign in here.
Subscribe here.

The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

Illustration (detail) by Jen Renninger
Article
New Television·

= Subscribers only.
Sign in here.
Subscribe here.

With its lens shifting from the courtroom to the newsroom to people’s back yards, the series evokes the way in which, for a brief, delusory moment, the O. J. verdict seemed to deliver justice for all black men.
Still from The People vs. OJ Simpson: American Crime Story © FX Networks

Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:

$62,000

Kentucky is the saddest state.

An Italian economist was questioned on suspicion of terrorism after a fellow passenger on an American Airlines flight witnessed him writing differential equations on a pad of paper.

Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!

HARPER’S FINEST

Mississippi Drift

By

Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'

Subscribe Today