2 THE NEWYORKER, MARCH 23, 2020
CONTRIBUTORS
Emily Nussbaum (“Skin in the Game,”
p. 26) won the Pulitzer Prize for crit-
icism in 2016. She is the author of “I
Like to Watch: Arguing My Way
Through the TV Revolution.”
James Somers (“Cold War,” p. 19) is a
writer and a programmer based in
New York.
Geoff Dyer (“Existential Inconvenience,”
p. 17) most recently published “Broad-
sword Calling Danny Boy,” which is
about the film “Where Eagles Dare.”
Kate Folk (Fiction, p. 50) is a Wallace
Stegner Fellow in fiction at Stanford
University.
Robert Pinsky (Poem, p. 32) edited the
recent anthology “The Mind Has Cliffs
of Fall.” His latest poetry collection is
“At the Foundling Hospital.”
Atul Gawande (Books, p. 59) is a surgeon,
a public-health researcher, and the
C.E.O. of the health-care venture
Haven. His books include “Being Mor-
tal” and “The Checklist Manifesto.”
Jon Lee Anderson (“The Burnt Palace,”
p. 38), a staff writer, is the author of
several books, including “Che Guevara:
A Revolutionary Life.”
Jill Lepore (“But Who’s Counting?,”
p. 10) is a professor of history at Har-
vard. Later this year, she will publish
“If Then: How the Simulmatics Cor-
poration Invented the Future.”
Christoph Niemann (Cover) is the au-
thor of several books, including “Sun-
day Sketching,” “Souvenir,” and
“Hopes and Dreams.”
Kimiko Hahn (Poem, p. 54) teaches at
Queens College, City University of
New York. Her latest poetry collection
is “Foreign Bodies.”
Peter Arkle (Sketchpad, p. 7) is an il-
lustrator based in New York. His most
recent book, with Amy Goldwasser,
is “All Black Cats Are Not Alike.”
Alexandra Schwartz (The Theatre,
p. 64), a theatre critic for the magazine,
has been a staff writer since 2016.
PHOTO BOOTH
Helen Rosner on Hannah La Follette
Ryan’s photos of New York City’s
“subway hands.”
N EWS DESK
Robert P. Baird on what it means to
contain and mitigate the speed and
scale of the coronavirus.
LEFT: HANNAH LA FOLLETTE RYAN; RIGHT: JON HAN
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