Harper’s Magazine Now Available for iOS (and Soon for Android!)
Introducing the Harper’s app
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Introducing the Harper’s app
We’re pleased to announce the launch of a Harper’s Magazine app for iOS, and the imminent launch of an app for Android. Henceforth, print subscribers will be able to read Harper’s on their tablets and smartphones free of charge, while other readers around the world will be able to subscribe and purchase single issues directly on their devices.
We developed our app in partnership with 29th Street Publishing, which has built and published apps for Poetry, ProPublica, The Awl, and many others. Their publishing system makes it relatively simple for us to publish a mobile-friendly magazine that honors the simple, elegant design of the print edition of Harper’s while enhancing other aspects of the magazine, like our award-winning photography.
The challenges of rebuilding in HTML a magazine designed for print are many, and we owe thanks and congratulations to the team at 29th Street, and especially to Natalie Podrazik, Nozlee Samadzadeh, Tim Moore, and David Jacobs, who did much of the hands-on development. We’ll be working with them in the coming months to improve the app’s design and add new features, and to make your experience moving between the print and app editions and the 163-year archive on Harpers.org as seamless as possible.
In the short term, we hope you’ll draw our attention to any bugs you encounter, whether in the comments below or by emailing us at email@example.com. In the long term, we’re considering ideas like customized versions of features like the Annotation, delivery of the Harper’s Weekly Review via the app, and interfaces for the searchable Harper’s Index and Findings. If you have other thoughts, please get in touch.
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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.
Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:
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.
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“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.'”