What Toni Morrison Understood About Hate

David Remnick on what the author's insights tell us about Trump's violent rhetoric. Plus: An immigration lawyer advocates for survivors in El Paso, and "After the Wedding" and "The Kitchen" reviewed. View in browser | Update your preferences Comment What Toni Morrison Understood About Hate President Trump continues to ignore the author’s greatest insights about the violence of language. By David Remnick As Told To An Immigration Lawyer Advocates for El Paso Victims Linda Corchado wants to explore securing special visas for immigrants who survived the recent mass shooting in her city. By Jonathan Blitzer Politics and More Podcast India and Pakistan Clash in Kashmir On Sunday, the Indian government revoked the semi-autonomous status of Kashmir, the Muslim-majority region on the border. News Desk Deforestation, Agriculture, and Diet Are Fuelling the Climate Crisis An urgent new report from the Intergovernmental Panel on Climate Change highlights how land use is contributing to global greenhouse emissions. By Carolyn Kormann Out of Eden Walking the Path of the Buddha in a Neglected Corner of India One man’s dream of bringing enlightenment back to its forgotten birthplace. By Paul Salopek More in Culture Postscript Toni Morrison’s Truth She saw the madness we’re living in now years ago. By Hilton Als The Current Cinema “After the Wedding” Flouts Its Own Rules The film abandons its earnest reminders of global inequality to focus on a love triangle among wealthy white Americans. By Anthony Lane Listen Orville Peck, the Masked Man Our Yee-haw Moment Deserves The singer's début album, “Pony,” might be seen as a satire, but there is something at the heart of it that’s deadly serious. By Ian Crouch The Front Row “The Kitchen,” an Engrossing Mob-Wife Drama In Andrea Berloff’s film, gangland violence is presented as the egalitarian leveller in a system that’s rigged—rather than as a part of the rigging. By Richard Brody Photo Booth Photo Booth A Young Artist Charts the Journey from “Haiti to Hood” In his theatrical series, focussed on the nostalgic power of materials, the twenty-two-year-old Daveed Baptiste charts the complicated birth of the Haitian-American, a new “New Negro” for this century of diasporic interconnection. By Doreen St. Félix Humor from The New Yorker Daily Shouts A New, Non-Apocalyptic LaGuardia For years, the airport has been known for cramped terminals and roving bands of supermutants. Well, those days are over! By Ross Wolinsky Daily Cartoon Friday, August 9th By Tom Toro Sign up for more newsletters from The New Yorker. Visit The New Yorker shop. Question about your subscription? Contact Customer Care. New Yorker digital subscribers get unlimited access to everything on newyorker.com. Log in to your account here. We’d love your feedback on this newsletter. Please send your thoughts and suggestions to TNYinbox@newyorker.com. This e-mail was sent to you by The New Yorker. To ensure delivery to your inbox (not bulk or junk folders), please add our e-mail address, NewYorker@newsletters.newyorker.com, to your address book. View our Privacy Policy Unsubscribe Copyright © Condé Nast 2019. One World Trade Center, New York, NY 10007. All rights reserved.