Gia Tolentino

I think when you read the piece. When you read the piece, you really... When you read the piece, she's really interested in this kind of domestic... god-goddess notion.

Of the pieces that Joan Didion wrote for The New Yorker, there were some reporting pieces from California. The other critical piece that she wrote was about Ernest Hemingway and about Hemingway's sentences and perfectionism of sentences. The defense of perfectionism. Exactly. What a link between Martha Stewart and Papa Hemingway.

Of the pieces that Joan Didion wrote for The New Yorker, there were some reporting pieces from California. The other critical piece that she wrote was about Ernest Hemingway and about Hemingway's sentences and perfectionism of sentences. The defense of perfectionism. Exactly. What a link between Martha Stewart and Papa Hemingway.

Of the pieces that Joan Didion wrote for The New Yorker, there were some reporting pieces from California. The other critical piece that she wrote was about Ernest Hemingway and about Hemingway's sentences and perfectionism of sentences. The defense of perfectionism. Exactly. What a link between Martha Stewart and Papa Hemingway.

Gia, you mentioned that Martha Stewart hit a bump, shall we call it. She was convicted on charges related to insider trading investigations, and she spent several months in prison. But when she got out of jail, she rebounded like crazy. Could Joan Didion have written the same profile of Martha Stewart just a few years later?

Gia, you mentioned that Martha Stewart hit a bump, shall we call it. She was convicted on charges related to insider trading investigations, and she spent several months in prison. But when she got out of jail, she rebounded like crazy. Could Joan Didion have written the same profile of Martha Stewart just a few years later?

Gia, you mentioned that Martha Stewart hit a bump, shall we call it. She was convicted on charges related to insider trading investigations, and she spent several months in prison. But when she got out of jail, she rebounded like crazy. Could Joan Didion have written the same profile of Martha Stewart just a few years later?

That's from Joan Didion's essay on Martha Stewart, headlined Everywoman.com. Excerpts were read for us by actor Amy Warren, and Gia Tolentino wrote about Didion's essay, and you can find both pieces at newyorker.com slash takes. That's newyorker.com slash takes, T-A-K-E-S. More in a moment.

That's from Joan Didion's essay on Martha Stewart, headlined Everywoman.com. Excerpts were read for us by actor Amy Warren, and Gia Tolentino wrote about Didion's essay, and you can find both pieces at newyorker.com slash takes. That's newyorker.com slash takes, T-A-K-E-S. More in a moment.

That's from Joan Didion's essay on Martha Stewart, headlined Everywoman.com. Excerpts were read for us by actor Amy Warren, and Gia Tolentino wrote about Didion's essay, and you can find both pieces at newyorker.com slash takes. That's newyorker.com slash takes, T-A-K-E-S. More in a moment.

We also asked the cartoonist Roz Chast for her take on the magazine's centennial. And Roz wanted to write about one of her illustrious forebearers, the late George Booth, who contributed cartoons to The New Yorker for decades and decades, half his life or more. Booth is known for his dogs. He was for sure the world champion dog cartoonist.

We also asked the cartoonist Roz Chast for her take on the magazine's centennial. And Roz wanted to write about one of her illustrious forebearers, the late George Booth, who contributed cartoons to The New Yorker for decades and decades, half his life or more. Booth is known for his dogs. He was for sure the world champion dog cartoonist.

We also asked the cartoonist Roz Chast for her take on the magazine's centennial. And Roz wanted to write about one of her illustrious forebearers, the late George Booth, who contributed cartoons to The New Yorker for decades and decades, half his life or more. Booth is known for his dogs. He was for sure the world champion dog cartoonist.

But that doesn't really do justice to him as an observer of us humans. Like Roz Chast herself, George Booth drew a world full of stressed-out, schlumpy people dealing with the weirdness of everyday existence. Here's Roz Chast.

But that doesn't really do justice to him as an observer of us humans. Like Roz Chast herself, George Booth drew a world full of stressed-out, schlumpy people dealing with the weirdness of everyday existence. Here's Roz Chast.

But that doesn't really do justice to him as an observer of us humans. Like Roz Chast herself, George Booth drew a world full of stressed-out, schlumpy people dealing with the weirdness of everyday existence. Here's Roz Chast.

You can find Roz Chast on George Booth, as well as Gia Tolentino on Martha Stewart by the great Joan Didion, and much more at newyorker.com slash takes, newyorker.com slash takes. And you can subscribe to The New Yorker at our website as well, newyorker.com. We'll be sharing many more takes on The New Yorker Centennial in the weeks to come. I'm David Remnick. Thanks for joining us.

You can find Roz Chast on George Booth, as well as Gia Tolentino on Martha Stewart by the great Joan Didion, and much more at newyorker.com slash takes, newyorker.com slash takes. And you can subscribe to The New Yorker at our website as well, newyorker.com. We'll be sharing many more takes on The New Yorker Centennial in the weeks to come. I'm David Remnick. Thanks for joining us.

You can find Roz Chast on George Booth, as well as Gia Tolentino on Martha Stewart by the great Joan Didion, and much more at newyorker.com slash takes, newyorker.com slash takes. And you can subscribe to The New Yorker at our website as well, newyorker.com. We'll be sharing many more takes on The New Yorker Centennial in the weeks to come. I'm David Remnick. Thanks for joining us.

Happy anniversary and see you next week.