january/february 2017

In Manhattan, the homeless shelters are full, and the luxury skyscrapers are vacant.

Such is the tale of two cities within America’s largest metro. Even as 80,000 people sleep in New York City’s shelters or on its streets, Manhattan residents have watched skinny condominium skyscrapers rise across the island. These colossal stalagmites initially transformed not only the city’s skyline but also the real-estate market for new homes. From 2011 to 2019, the average price of a newly listed condo in New York soared from $1.15 million to $3.77 million.

But the bust is upon us. Today, nearly half of the Manhattan luxury-condo units that have come onto the market in the past five years are still unsold, according to The New York Times.

Somewhere near the heart of the Ukraine scandal is Dmytro Firtash. Evidence has long suggested this fact. But over the past week, in a televised interview and in documents he supplied to Congress, Rudy Giuliani’s former business partner Lev Parnas pointed his finger at the Ukrainian oligarch. According to Parnas, Giuliani’s team had a deal with Firtash. Giulani would get the Justice Department to drop its attempt to extradite the oligarch on bribery charges. In return, according to Parnas, the oligarch promised to pass along evidence that would supposedly discredit both Joe Biden and Robert Mueller.

Parnas’s account, of course, is hardly definitive. Throughout his career, he has attempted to inflate his importance to make money. (Firtash apparently paid him $1 million for his services, though it’s still not totally clear what these services were.) And his description of Firtash’s involvement raises as many questions as it settles. Still, the apparent centrality of Firtash should inform any assessment of Giuliani’s escapades and the entire Ukraine story.

“Who will be interested in a story of domestic struggles and joys? It doesn’t have any real importance,” says Jo March (played by Saoirse Ronan) in a scene near the end of 2019’s Little Women, fearing that no one will want to read the book she’s writing about her family. “Maybe we don’t see those things as important because people don’t write about them,” her sister Amy (Florence Pugh) replies. The question of what art gets to be lionized and revered is one that Little Women’s writer and director, Greta Gerwig, fixated on when adapting the work for the big screen.

Analyzing her own screenplay in Vanity Fair, Gerwig said that while she worried this exchange between Jo and Amy would be too on the nose—it’s one of the only elements she didn’t borrow from the book or from author Louisa May Alcott’s other writing—she decided to include it. “I still think we very much have a hierarchy of stories,” Gerwig said. “I think that the top of the hierarchy is male violence—man on man, man on woman, etc. I think if you look at the books and films and stories that we consider to be ‘important,’ that is a common theme, either explicitly or implicitly.”

The world Meghan Markle entered when she married Prince Harry is unlike any other. But, as a black American woman married to a member of Britain’s upper class, I have caught just a glimpse of it, from a roughly similar perspective.

For a while I lived in London and, through the man who would become my husband, I was introduced to some of the ancient class dynamics that permeate British society. He went to Eton, the elite boys’ boarding school attended by Prince William, Prince Harry, and many prime ministers.

Once, I went with him to the christening of an old classmate’s child. At the event, I sat across from David Cameron, an Old Etonian—or OE, as Eton’s former students are called—who was then the Tory party leader. His wife and my partner were both godparents to the new baby. If I were British, the christening and subsequent lunch with a gaggle of OEs and their equally posh wives would likely have made me nervous, angry, and uncomfortable. But I was somewhat insulated by the fact that, as an outsider, I didn’t have negative associations—or really any associations—with their traditions and ways of expressing themselves.

The photograph above shows Andrew Lisdahl and his fiancée, Theresa, at their home, along with Andrew's daughter with his ex-wife (left) and one of Theresa's daughters (right).

Andrew Lisdahl was mad. His wife, Gretchen, had smoked a cigarette, a habit he detested. They fought, and Gretchen spent the night at a friend’s house. The next day, Andrew drank a bottle of tequila and hitched a ride to the stained-glass studio where Gretchen, an artist, gave lessons. When Andrew found her, he grabbed her left hand and tried to remove her wedding ring, but Gretchen fought him off. As Andrew stumbled away, he took Gretchen’s car keys and phone.

After work, Gretchen’s father drove her back home to retrieve her things. Inside, Andrew had been passed out on the couch, but he woke up and yelled at Gretchen, “Get the fuck out!” When she didn’t, he grabbed her by the hair, dragged her into the living room, threw her on the carpet, kicked her in the chest, and pinned her to the ground. As Gretchen’s father approached the house, Andrew let her go and she was able to escape.