The New Yorker, 2005-04-18, part 1

"The Nut Lady Returns" / Tad Friend

• In an early visit to the Tonight Show, in 1981, she carried a thirty-five-pound coco-de-mer from the Seychelles that resembled a woman's buttocks. The existence of such a sexually provocative nut, she informed an enchanted Johnny Carson, utterly refuted Darwin.
• Her shoulder jumped. "In increasing my identity. I'm complicating the plot. I'm going just the other way. The Nut Museum marches on!"
  

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"Dangerous Game" / Nick Paumgarten

__ It's a fraught kind of bliss.
__ Certainly, close calls can be comic, and McLean can laugh, in the way of soldiers and crooks, over many of his near-misses.
Kit Carson
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"A Cold Light" / Ian Parker

• "Changing film is an empty moment and you fill it with the music."
• "You have a tangent that's just touching the most perfect moment of the phenomenon," he said. "That's the concept of the decisive moment. But, for me, the most important idea isn't to have the tangent that's zero. ... Long-term stories are composed of a lot of different waves. The most important thing for me is ... to work inside the phenomenon."
• Salgado has never taken a photograph that could not be accompanied, in a television documentary, by the sound of a solo cello.
• In contrast to Salgado, the rest of us took photographs that seemed to be a kind of defense against the unease that can creep into our response to the sublime - a shield against the guilt attached to not knowing how to fix one's gaze on something spectacular that one will never see again.
  

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