Adam Gopnik is a writer at The New Yorker. He focuses on culture and society, exploring themes in arts and entertainment, including cultural movements, pop culture, and celebrity news. His work has been featured in notable publications such as Town & Country Magazine, The Boston Globe, and The New York Times.
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United States (National)
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Adam Gopnik's coverage spans a wide range of topics, including art, literature, comedy, music, and history. His articles often feature opinion editorials and government announcements. If you are looking to reach out to him with a pitch or expertise, consider offering insights related to these themes.
Given his national focus on the United States and the prevalence of lifestyle-related content in his articles, consider tailoring pitches that incorporate American cultural references or developments. Additionally, providing commentary on political or legal aspects within the context of art and culture may align well with his coverage interests.
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New scholarship reconsiders the apostle who turned a Jewish sect into a world religion—and whose legacy remains contested two millennia later.
The latest in the Trumpite series of proposed oversized buildings—the previous one being a ballroom where the East Wing of the White House once
A humane study of how artists have captured our canine companions becomes a meditation on sympathy, trust, and the virtues we have bred them to display.
America's fight for independence is often considered a battle fought and won at home. A new book argues that it was propelled by a transnational élite an ocean away.
There are moments when a phrase, or a current of thought, that had seemed condemned to archival history is suddenly all anyone talks about.
The ninety-two-year-old theatre producer and prison activist stopped by 54 Below to make a career pivot—standup comedy, dishing on Charles Laughton and Peggy Lee.
What a nineteenth-century uproar reveals about our zeal for public shaming—and the truths that get trampled along the way.
The mighty glyph has animated this magazine—and joined its dual forces—for 180 years. The words of a language are its characters; its grammar shapes their community.
The prompt, let's say, is “American sophistication.” What does it make the L.L.M. in our heads, trawling the riverbed of our old reading and viewing, produce?
It became immediately evident that this was terrorism on an unexampled scale. The twentieth century had ended, and the twenty-first had begun.
