March 11-18, 2013 | The Nation

In the Magazine

March 11-18, 2013

Cover: Cover Photo of Pete Peterson (within card) by Reuters/Jason Reed; cover design by Milton Glaser Incorporated

Browse Selections From Recent Years













Yes, he said the word “climate”—but he hasn’t committed to any of the big steps needed to avert catastrophe.

Yoko’s 80th birthday is a day to celebrate her art, music and activism.

Mayor Rahm Emanuel is continuing the city’s tradition of refusing to apologize for the torture of scores of black men under police commander Jon Burge.

Victor Navasky on our friend and ally Don Shaffer, Sarah Woolf on Canada’s women premieres


As the GOP’s ideological center hurtles into the farthest reaches of the universe, the MSM still strives for “balance.”


Pete Peterson’s $60 million push to sell corporate America’s ruthless austerity agenda.

Candidates who ran on slashing Medicare and Social Security lost big in November. But that doesn’t stop Pete Peterson from pushing the fantasy that voters’ biggest concern is the deficit.

The man behind Fix the Debt has spent decades trying to foment panic over a looming economic disaster, with little to show for it.

The “Fix the Debt” campaign is pure astroturf: corporate cash machinery masquerading as a grassroots uprising.

Dire warnings about the deficit don’t add up mathematically. But then, Fix the Debt is not really about the economy, it’s about gutting Medicare, Social Security and other social programs.

Where are their voices on the major issues of the day?

Swearingen has faced execution four times for a crime scientists say he could not have committed.

Two brilliant nominees, The Gatekeepers and 5 Broken Cameras, along with other recent documentaries, have deepened our understanding of the conflict.

Books & the Arts

The Smithsonian’s show on the Civil War and American Art expresses a deep unease about the relationship between between art and history.


On a Farther Shore captures the conservationist’s deep sense of geologic time and the forces of evolution.


MoMA’s monumental exhibition recalls the time when abstraction affected people like love or revolution.


Steven Soderbergh’s Side Effects; Lynne Sach’s Your Day Is My Night