The New Yorker Wins Six National Magazine Awards
Thursday evening, The New Yorker won six National Magazine Awards, more than any other publication, for her work in 2020. Known as Ellies – for the elephant-shaped statuettes that are presented to winners – the annual awards are among the top prizes in magazine industry.
The New Yorker won the General Excellence Award and in five other categories, adding to his previous forty-seven victories, which include multiple citations for General Excellence. The magazine has been a finalist one hundred and ninety-two times, more than any other publication.
Below you can read and view The New Yorker winning articles, photographs and videos of the past year.
“The year of the plague”
In early 2020, Wright, a New Yorker personal writer since 1992, has published a strangely premonitory novel about a pandemic triggered by a mysterious coronavirus. As Wright’s frightening script became a terrible reality, The New Yorker asked him to spend the rest of the year building a panoramic narrative of the COVID-19 catastrophe, juxtaposing the flamboyant mismanagement of President Trump with the quiet heroism of ordinary Americans. Wright’s Ellie for “The Plague Year” is her third; he previously won the National Magazine Awards in 1994 for âRemembering Satan,â a two-part series about recovered memories, and in 2012, for âThe Apostate,â about filmmaker Paul Haggis and the Church of Scientology.
Essays and Reviews
“The Trayvon Generation”
Alexander, the famous poet and specialist in African-American literature, is the mother of two young black men, Simon and Solo. “The Trayvon Generation” ended in the heat of last summer’s racial justice uprisings, and there is an undeniable intensity in Alexander’s demands on herself as a mother, and in her demands on herself as a mother. an ill-conceived society that forces her and her sons – and, by extension, all black parents, all black children – to live in fear of murder.
“The story of the survival of a transit worker”
For more than two decades, Gonnerman has told the stories of invisible New Yorkers. In the spring of 2020, she turned to Terence Layne, who, after a tumultuous youth, found his calling as a city bus driver. When the pandemic struck, Layne and his colleagues were on the front lines; more than a hundred died. Gonnerman, a New Yorker editor since 2015, delivers a striking portrait of a man who responded to the end with grace, and a living document of a terrible year.
“A photographer on the front line of the Philadelphia protests”
In May 2020, following the murder of George Floyd, Scott began photographing the protests that followed in Philadelphia, where he lives. Every day, for weeks, he documented marches, speeches and clashes between police and protesters. Even though Scott had no experience of photography in conflict zones, he stepped into the fray, documenting police violence and burning cars. But he did more than just document the action; he made lasting images of an important historical moment.
“” Quiet No More “shows how mourning can turn into activism”
In 2015, nine members of the Emanuel African Methodist Episcopal Church in Charleston, South Carolina were murdered by a white supremacist. The attack marked the American psyche, and the sights and sounds of its aftermath have become emblems of recent history. Beyond these collective memories lie much more personal memories, often hidden from public view. In Hamelin’s “Quiet No More” film, Reverend Sharon Risher, whose mother and two cousins ââwere killed in the attack, describes her loss and her journey to becoming an advocate for gun violence prevention .