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But how te is the story tells?</div><div class="ContentHearByle-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearContributorImage-cvjZXn jKACOU"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearContributorImage-cvjZXn jKACOU rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="66px"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="66px"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/julian-lus">Julian Lus</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2022-09-16T06:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">September 16, 2022</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHearLeadAsset-hGbumP iWPCcH lead-asset ContentHearLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallle" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb khLUzS"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz gOkWog"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO KhjZz ContentHearRponsiveAsset-bREgIb khLUzS rponsive-image rponsive-image--expandable"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Vla Davis The Woman Kg" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Vla Davis a scene om “The Woman Kg,” directed by Ga Prce-Bythewood.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Sony Pictur</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div 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grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">“The Woman Kg,” an exhilaratg saga set on the battlefields of neteenth-century Wt Ai, opens wh a scene of liberatn. Dahomey, a scrappy kgdom menaced by the slave tra, has dispatched s bravt soldiers to rcue a group of ptive subjects, who are at risk of beg sold to the rival Oyo Empire. Led by General Nanis (Vla Davis), an all-female un of <em>Agojie</em>, or Amazons, strike the enemy outpost the ad of night, risg om the tall grass wh blas drawn. They quickly cut their opponents to piec; Nanis, a wrie-studd breastplate, sls the throat of a man who ni takg slav. Victor, they return to Dahomey, where grateful crowds meet them at the cy gat. Civilians are forbidn to look upon the warrrs, who are officially the kg’s wiv. But, when a ltle boy peeks, the olly swaggerg Izogie (Lashana Lynch) rewards him wh a se. You’d better believe , she seems to be sayg—a msage equally directed at the dience.</p><p class="paywall">Much of the hype around “The Woman Kg,” which premièr Friday, has focsed on the obstacl to makg . The actor Maria Bello, who wrote the story wh Dana Stevens, pched the ia to Davis seven years ago, easily persuadg the Hollywood tan to produce, champn, and star the project. But studs balked at fundg a femist actn movie rooted Ain history, pecially wh dark-skned actors the lead rol. Then, 2018, the astronomil succs of “Black Panther” shifted the lcul, pecially once fans learned that Wakanda’s Dora Milaje warrrs were directly spired by the <em>Agojie</em>. Sony’s TriStar Pictur tapped Ga Prce-Bythewood (“Love and Basketball”) to direct the fifty-ln-dollar feature, which she’s pared wh “Braveheart.” For her and her llaborators, the battle isn’t jt for Dahomey’s eedom but the future of equy cema. “If you don’t e to see , then you’re sendg a msage that Black women n’t lead the box-office globally,” Davis <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">said</a>, last week.</p><p class="paywall">It’s about time for a major film on a kgdom like Dahomey. The morn world was shaped not only on the beach of Normandy but also those of the so-lled slave ast, where sophistited stat—not “warrg trib”—relentlsly vied for supremacy. Nowadays, their stori rarely see the outsi of a universy lecture hall. But “The Woman Kg” transforms them to spectacular entertament, njurg a Dahomey of btlg tra, vibrant fashn, and sprawlg earthwork palac, where young women striped tunics drill wh fltlock mkets. Rarely do an Amerin film vote such meticulo attentn to the lived realy of a non-Wtern culture, though, like the <em>Agojie</em>, we rarely see life beyond urt. Instead, the world to the palace. Ghezo (John Boyega), the young monarch—all ease and virily a spectm of open-chted rob—unrsr the film’s rrective agenda when a slave trar tri to speak to him Portugue. “You will speak our language,” he terpts. (The language is Fon, played here by Boyega’s Brish-Nigerian English.)</p><p class="paywall">But there is somethg rotten the state of Dahomey. Dpe beg surround by veteran soldiers, fawng wiv, scy nuchs, and a bet of advisers that clus the five-time-Grammy-wng Bene legend <a href=">Angélique Kidjo</a>, Ghezo has been forced to pay a huiatg tribute of guns and ptiv to the Oyo. The empire’s lear, Oba A (Jimmy Odoya), and his turbanned baddi have seized the kgdom’s port, Ouidah, and aligned themselv wh malevolent Wtern slave traffickers. Ghezo, too, sells enemy prisoners, but only bee he mt, of urse, wh heavy-hearted Jeffersonian reluctance. Nanis lobbi agast the tra, pecially once she begs havg omo nightmar about a buried sexual trma. The stage is set for a moral showdown: Will Ghezo ve to wardly pragmatism or embrace the abolnist awakeng of his <em>Agojie</em>?</p><p class="paywall">Into this gatherg storm steps the feisty orphan Nawi (Tho Mb), who is given to the <em>Agojie</em> by her foster father when she ref to marry. She meets her match on the trag grounds of the women’s palace, where novic crawl through thornbh and hack at dummi. “To be a warrr, you mt kill your tears,” Nanis warns the recs. Yet the film’s strongt scen emerge om moments of vulnerabily, pecially once the general and her star stunt form an tense bond. “You look like a regular old woman to me,” Nawi tells Nanis as they steam an unrground bath. “Battle is a skill, not magic,” Nanis shoots back. “We will see if you have any.” Davis, who giv a grave and impassned performance—charismatilly straed, as though she’s adliftg the kgdom—lets down her guard scen wh Amenza (Sheila Atim), her olst iend, who divatn to terpret the general’s dreams. In a genre where “badass woman” has often meant stale imatn of foulmouthed masculy, the <em>Agojie</em>’s tenr sisterhood arms feels like a tone.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">When the Oyo seize Nawi, Nanis abandons utn and leads the kgdom to war. From shock-and-awe gunpowr stratagems to a fierce duel between Nanis and Oba A, the movie’s imprsively choreographed (and nvcgly human) mele don’t disappot. Ls n be said of the muddled s belli, as Dahomey’s stggle for pennce unpersuasively evolv to a proto-pan-Ain stggle for aboln. Much of the problem stems om the film’s disgenuo efforts to differentiate the warrg parti while signallg fily to the historil rerd. Allns are ma to Dahomey’s participatn the slave tra, but we only ever <em>see</em> the Oyo’s, which we know is much worse largely bee of Jimmy Odoya’s beard wickedns. Conveniently, the slave port of Ouidah—which <a href=">Dahomey</a> ntrolled om 1727 to 1892—is unr Oyo le every scene where appears. There, A nducts sister negotiatns wh Europeans and even puts <em>Agojie</em> on the ctn block. “Burn their whole tra to the ground,” Nanis proclaims durg a battle at the port. Theirs?</p><p class="paywall">The film cross the le om reasonable fictn to cynil distortn of history when Nanis addrs the kgdom on the eve of an important unterattack. Promently featured teasers for the movie, her speech lks Oyo’s opprsn of Dahomey to the sufferg of the enslaved the Middle Passage:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>When ras, our anctors weep for the pa we have felt the dark hulls of ships bound for distant shor. When the wd blows, our anctors ph to march to battle agast those who would enslave . . . . We fight not jt for today but for the future. We are the spear of victory. We are the bla of eedom. We are Dahomey!</p></div></blockquote><p class="paywall">In 1928, Zora Neale Hurston traveled to Aitown, Alabama, to terview one of the last livg survivors of those dark-hulled ships. Oluale Kossola, an elrly church sexton known to his tight-kn muny as Cudjoe Lewis, me om prent-day Ben, where he’d been enslaved as a young man after a dawn ambh. The story of his pture, which sat an archive until <a href="> was fally published</a> 2018 as “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Barraon</a>,” is harrowg. Dahomean soldiers wh French guns stormed Kossola’s village and behead s kg, who had refed to pay them tribute. The most thls, Kossola remembered, were the <em>Agojie</em>. “No man k be so strong lak woman soldiers om Dahomey,” he told Hurston, gog on to scribe their mutilatn of the wound. The trma was so h even years on that he uldn’t fish the terview. “Kossola was no longer on the porch wh me,” Hurston wrote. “He was squattg about that fire Dahomey. His face was twchg abysmal pa. It was a horror mask.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">“The Woman Kg” has been billed as a “powerful te story.” But one wonrs what Kossola and Hurston—one of Ameri’s first Black woman filmmakers—would make of s narrative. For one thg, Ghezo was not a reluctant participant the slave tra. He fought hard to prerve om the Brish, formerly his favore ctomers, who blockad the ast and unsuccsfully lobbied for aboln at his urt. His feat of Oyo led to an explosn the number of slav sold at Ouidah—a merce that he zealoly fend, once givg a Brish envoy a six-year-old girl as a gift for Queen Victoria. Nor do I know of any evince that the <em>Agojie</em> ever risted the tra. Some ed their voic to clamor for war the royal uncil, exprsg on one ocsn a preference for vadg weaker neighbors: “If we fail to tch elephants, let be ntent wh fli.” The film’s nce is, charably, an elaborate exercise wishful thkg: Wouldn’t be nice if Dahomey’s brave women warrrs had also been fighters for jtice?</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Defenrs of whe supremacy have often exploed the unfortable tths. Apologists for the slave tra once ed Dahomey’s bloodthirsty reputatn to claim that they were rcug their victims om human sacrifice. (Hurston, too, was sceptible to the racist myths, though Kossola’s ttimony has been rroborated by historians such as Sylviane A. Duf.) Imperialists ed siar rhetoric to jtify lonial nqut as a form of aboln. In realy, though, Ain forms of slavery didn’t pare wh the racialized dtrial variants that Wtern empir unleashed upon the world. Dahomean ptiv uld bee junr fay members or even <em>Agojie</em>. Here the Uned Stat, by ntrast, the enslaved were relegated to subhuman stat for generatns. Why, then, should “The Woman Kg” be held to a moral standard ignored by the thoands of perd dramas about vlent Wtern stat?</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">It shouldn’t, of urse. Dahomey’s plex history n no more be rced to slave-raidg than England’s. As the historian Isaac Samuel has <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">noted</a>, the kgdom had many motivatns, and one of s lers was astonished when a European visor assumed that “we go to war for the purpose of supplyg your ships wh slav.” If the scriptwrers had wanted, “The Woman Kg” uld have been an amoral epic about swordplay and statecraft, no more nsumed by slavery than “<a href=">The Great</a>”—a Hulu seri about Emprs Cathere of Rsia—is by serfdom. Or, if they wanted <em>Agojie</em> heroism, they uld have turned to Dahomey’s urageo stggle agast s French lonizers 1892. (Then, of urse, wouldn’t have a happy endg.) But “The Woman Kg” <em>choos</em> to make ristance to slavery s moral pass, then misreprents a kgdom that trafficked tens of thoands as a vanguard the stggle agast .</p><p class="paywall">Some might argue that such liberti don’t matter, pecially if they’re service of empowerg women, tg dienc, and enjoyg the st’s prows martial arts. But ’s no e elevatg margalized narrativ if you’re gog to mangle them. (Conservativ are already seizg on the film’s nsistenci to legimize reckongs wh the legacy of slavery as hypocril.) The film’s misrriage of history also dimish s exprsive potential. “Whe” perd dramas are allowed antihero, ambiguy, and realpolik. Somehow, though, when Black history is volved, the narrative shrks to a didactic eedom fable.</p><p class="paywall">Ironilly, Dahomey’s rehabilatn is unrcut by the monizatn of Oyo, a fascatg society s own right. Even actn movi ually let the villa say somethg sightful (there’s a reason everyone loved Killmonger “Black Panther”), but Oba A and his mns are nsigned to the old cliché of bloodthirsty Ain slavers. The crgeworthy stereotypg ntu when Nawi begs a romance wh a chty biracial himbo named Malik (Jordan Bolger), who viss the kgdom to fulfill his Dahomean mother’s dyg wish. Their illic flirtatn is a sop to nventn that distracts om far more tertg relatns among the <em>Agojie</em>. Malik, who likely om Brazil, is also the movie’s rickety bridge across the diaspora, rcued om whe brawashg by Dahomean majty. “My mother was a slave,” he tells Nawi. “That is all I ever knew of Ain people. I never knew we were kgs.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">When I vised Ben 2015—like Malik, as an trepid <a href=">mulatto</a> herage tourist—I, too, was imprsed. But I was also disturbed by the nflatn of celebratg Dahomey wh mourng victims of the Middle Passage. On the Route s Esclav Ouidah, sculptur ttifyg to the sufferg of the enslaved s jt down the road om monumental evotns of their traffickers’ glory. (A scendant of the Brazilian slave trar Franciso Félix Souza, who helped Ghezo take power, is a proment figure the lol tourism dtry.) Many of the untry’s memorative s were built the early neteen-neti, when Ben, then emergg om a dictatorship, sought to stimulate the enomy by attractg visors om across the diaspora. More recently, the Bene ernment unveiled a hundred-foot-tall statue of a warrr woman on the Esplana s Amazon Cotonou—possibly nstcted by the North Korean firm <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Mansudae</a>. It’s hard not to see unfortable echo of this propaganda “The Woman Kg.”</p><p class="paywall">But you don’t have to take my word for . In 2018, when TriStar announced “The Woman Kg,” Lupa Nyong’o had been st as Nawi. Frh off the succs of “Black Panther,” the Kenyan-Mexin star was apparently so exced about her new role that she vised Ben to make a short <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">documentary</a> on the <em>Agojie</em>. Possibly tend to build hype for “The Woman Kg,” also unravels the film’s heroic premise, as Nyong’o’s Bene guis disilln her about the Dahomean legacy. Nyong’o begs her journey enthg about how “dope” is to be the land of the Amazons. But after a soberg enunter wh Ghezo’s skull-mounted throne, she accepts that “any notn of the <em>Agojie</em> beg a bean of enlightened femism, like the Dora Milaje Wakanda, is long gone.” The emotnal climax is an terview wh the elrly granddghter of a woman enslaved by the Amazons, who laments that she will never know her fay prent-day Nigeria. “What the <em>Agojie</em> did was not good at all,” the old woman sists. “Not good at all!” As the woman sgs a Yoba melody, Nyong’o begs to cry, wonrg aloud how she n rencile celebratg the <em>Agojie</em> wh the bereavement of their victims’ scendants.</p><p class="paywall">Nyong’o never mentns “The Woman Kg.” But the documentary was filmed a few months after she was st and not long before her parture was reported. The last scene fds her medatg on the lims of poetic license at Ouidah’s Gate of No Return, a wateront memorial to those whom the Dahomeans and their precsors nsigned to social ath the Ameris. “The role of fantasy is to create the hero we nnot have the real world,” she says. “That’s why you have thgs like ‘Black Panther.’ ” Still, she go on, “I thk ’s also really important to be aware of the tth.” Nyong’o has given no public explanatn for droppg out of “The Woman Kg.” But I spect that she left precisely bee of the rervatns. If so, is much to her cred that she refed to kill her tears. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="m4rw4l"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot 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grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="LkStackWrapper-NFLYw kgtXXB lkstack" data-ttid="LkStack"><div class="SectnTleRoot-dBGvdq kjAxEG LkStackHear-lKjbE hejl lk-stack--headg" data-ttid="SectnTle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet dxqEAa dqtvfu jttyjJ">New Yorker Favor</h2></div><div class="LkStackContent-jyKicS gPhyME"><ul class="LkStackList-gGcjdZ dnMwpz"><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>The killer who <a href="/magaze/1995/06/05/rejectg-ga" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">got to Harvard</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>A thief who <a href="/magaze/2004/05/17/the-silver-thief" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">stole only silver</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>The light of the <a href="/tech/annals-of-technology/the-first-light-of-the-try-atomic-tt" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">world’s first nuclear bomb</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>How Steve Mart <a href="/magaze/2007/10/29/-the-bird-ge" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">learned what’s funny</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Growg up as the <a href="/magaze/1998/11/16/the-ln-and-me" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">son of the Cowardly Ln</a>.</p></div></li><li class="LkStackBullet-kQRqul 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class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/julian-lus"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/julian-lus">Julian Lus</a> is a staff wrer at The New Yorker.</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em 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summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Iphigenia Fort Hills</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Anatomy of a murr trial.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ja Mallm</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Transn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of History</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Transn</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Transn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Lyndon Johnson and the events Dallas.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Robert A. Caro</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Blood Ti" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of Crime</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Blood Ti</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Blood Ti" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Two brilliant llege lovers were nvicted of a btal slayg. All the years later, why has the se bee a e?</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Nathan Heller</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Chameleon" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of Crime</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Chameleon</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Chameleon" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The many liv of Frédéric Bourd.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" 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