= Subscribers only. Sign in here. Subscribe here.

= Subscribers only.
Sign in here.
Subscribe here.

1929 / November | View All Issues |

November 1929

illustration

Frontispiece PDF

The critic·

= Subscribers only.
Sign in here.
Subscribe here.


Fiction

673-679 PDF

Dressing-up·

= Subscribers only.
Sign in here.
Subscribe here.

Poetry

679 PDF

Expatriate·

= Subscribers only.
Sign in here.
Subscribe here.

Article

680-692 PDF

Our island universe·

= Subscribers only.
Sign in here.
Subscribe here.

Reflections of a resident of Manhattan

Fiction

691-699 PDF

Sunset camp·

= Subscribers only.
Sign in here.
Subscribe here.

Poetry

699 PDF

Futility·

= Subscribers only.
Sign in here.
Subscribe here.

Article

700-710 PDF

Gastonia·

= Subscribers only.
Sign in here.
Subscribe here.

Article

711-719 PDF

The Spanish woman·

= Subscribers only.
Sign in here.
Subscribe here.

Article

720-732 PDF

Building the 200-inch telescope·

= Subscribers only.
Sign in here.
Subscribe here.

Fiction

733-743 PDF

The ten tin cans·

= Subscribers only.
Sign in here.
Subscribe here.

Article

744-754 PDF

Football on the wane?·

= Subscribers only.
Sign in here.
Subscribe here.

Article

755-762 PDF

Is America young?·

= Subscribers only.
Sign in here.
Subscribe here.

Poetry

762 PDF

Silence·

= Subscribers only.
Sign in here.
Subscribe here.

Article

763-773 PDF

An English view of personal rights·

= Subscribers only.
Sign in here.
Subscribe here.

Article

774-779 PDF

Drama’s new domain–the high school·

= Subscribers only.
Sign in here.
Subscribe here.

The lion’s mouth

780-782 PDF

Timidity·

= Subscribers only.
Sign in here.
Subscribe here.

Our national sin

The lion’s mouth

782-784 PDF

Turn to the left·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s easy chair

785-788 PDF

Much ado, and more making·

= Subscribers only.
Sign in here.
Subscribe here.

Editor’s easy chair

785-788 PDF

Editor’s easy chair·

= Subscribers only.
Sign in here.
Subscribe here.

Personal and otherwise

789-791 PDF

Personal and otherwise·

= Subscribers only.
Sign in here.
Subscribe here.

Personal and otherwise

791 PDF

Personal and otherwise·

= Subscribers only.
Sign in here.
Subscribe here.

Personal and otherwise

791 PDF

Personal and otherwise·

= Subscribers only.
Sign in here.
Subscribe here.

Personal and otherwise

791 PDF

Personal and otherwise·

= Subscribers only.
Sign in here.
Subscribe here.

Personal and otherwise

791-792 PDF

Personal and otherwise·

= Subscribers only.
Sign in here.
Subscribe here.

Personal and otherwise

792 PDF

Personal and otherwise·

= Subscribers only.
Sign in here.
Subscribe here.

Personal and otherwise

792 PDF

Personal and otherwise·

= 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