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Elif Batuman head shot - The New Yorker

Elif Batuman

Elif Batuman has been a staff writer at The New Yorker since 2010. She has written about subjects including Epictetus, dung beetles, a Turkish village’s women’s-theatre group, and the history of psychological testing. Her first novel, “The Idiot,” was a finalist for the 2018 Pulitzer Prize in fiction. Her essay collection, “The Possessed: Adventures with Russian Books and the People Who Read Them,” was a finalist for a National Book Critics Circle Award in criticism. The recipient of a Whiting Writers’ Award, a Rona Jaffe Foundation Writers’ Award, and a Paris Review Terry Southern Prize for Humor, she holds a Ph.D. in comparative literature from Stanford University. Her latest novel, “Either/Or,” the sequel to “The Idiot,” was published in 2022.

Rereading Russian Classics in the Shadow of the Ukraine War

How to reckon with the ideology of “Anna Karenina,” “Eugene Onegin,” and other beloved books.

The Repugnant Conclusion

“Love wasn’t a slumber party with your best friend. Love was dangerous, violent, with an element of something repulsive.”

Céline Sciamma’s Quest for a New, Feminist Grammar of Cinema

In subtle, unpredictable ways, the French director is determined to move beyond received ideas of filmmaking.

Can Greek Tragedy Get Us Through the Pandemic?

A theatre company has spent years bringing catharsis to the traumatized. In the coronavirus era, that’s all of us.

Japan’s Rent-a-Family Industry

People who are short on relatives can hire a husband, a mother, a grandson. The resulting relationships can be more real than you’d expect.

How to Be a Stoic

Born nearly two thousand years before Darwin and Freud, Epictetus seems to have anticipated a way out of their prisons.

Rereading Russian Classics in the Shadow of the Ukraine War

How to reckon with the ideology of “Anna Karenina,” “Eugene Onegin,” and other beloved books.

The Repugnant Conclusion

“Love wasn’t a slumber party with your best friend. Love was dangerous, violent, with an element of something repulsive.”

Céline Sciamma’s Quest for a New, Feminist Grammar of Cinema

In subtle, unpredictable ways, the French director is determined to move beyond received ideas of filmmaking.

Can Greek Tragedy Get Us Through the Pandemic?

A theatre company has spent years bringing catharsis to the traumatized. In the coronavirus era, that’s all of us.

Japan’s Rent-a-Family Industry

People who are short on relatives can hire a husband, a mother, a grandson. The resulting relationships can be more real than you’d expect.

How to Be a Stoic

Born nearly two thousand years before Darwin and Freud, Epictetus seems to have anticipated a way out of their prisons.