Next week's edition (8/22) of The New Yorker features pieces about the Biden family, Rwanda, sculptor Anish Kapoor, Nora Ephron, climate change as a partisan issue, and more -- and you may recognize the person on its cover. The illustration by Nicole Rifkin, titled "Sun-Dappled," was modeled off of Sadie Dupuis (Speedy Ortiz, Sad13) and also has Dan Ozzi's book SELLOUT: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore (1994-2007), its Thursday-featuring cover included.
The other books in the illustration are also based on real volumes: a poetry journal from Sadie's Carpark imprint Wax Nine, with shout outs to Shea Stadium and Death by Audio on the back cover (as you can see in the expanded view below), and Imogen Binnie's 2013 debut novel Nevada. See all that below.
In other poetry and Sadie Dupuis-related news, she recently announced her second book of poems, Cry Perfume, Due out October 4 via Black Ocean. Here's more about the collection from the description:
The title of Cry Perfume is an imperative to bottle sorrow in a beautiful vessel and shed the chemicals that cloud your sight. Written over a four-year period on tour and after losing loved ones and peers to overdose, Dupuis funneled complicated grief into harm reduction advocacy, working to fundraise for and distribute overdose prevention resources in venues internationally. The slick performativity of pop, punk humor, electronic glitch and sampling, and the surprising leaps of improvisation influence these poems, but beyond music, these poems are informed by Dupuis’s larger concerns about justice and organizing. Cry Perfume is a hopeful but realistic inventory of the virtues and evils that emerge when arts and tech collide. Those dualities are cloaked in the same sparkling fragrance, and there are twinned pleasures and regrets in parting the smokescreen.
