Sarah Larson is a staff writer at The New Yorker. She covers a diverse range of topics including government and politics, culture and society, and arts and entertainment, with a particular focus on regional interest and world news. Her work has also been featured in The M-A Chronicle and Moline Dispatch Publishing Company.
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Sarah Larson's coverage primarily centers around lifestyle topics such as podcasts, history, period drama, and the Israel-Palestine conflict. She often includes expert commentary and profile features in her articles.
When pitching to Sarah Larson, consider offering profiles or interviews with experts on podcasting trends, historical events or figures, insights into period dramas' impact on popular culture or social issues like abortion law and geopolitical conflicts such as the Israel-Palestine debate. Additionally, pitches related to cultural shifts reflected through online platforms like TikTok might also resonate well with her coverage focus.
Since she has a national geographic focus within the United States but covers international topics like the Israel-Palestine conflict, ensure that your pitch aligns with either of these focuses for relevance to her audience.
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By: Bill Mckibben, Jessica Winter, Sarah Larson, Joshua Rothman, Ali Fitzgerald, Elizabeth Kolbert, Alex Barasch, Helen Rosner, Negar Azimi, Hilton Als, E. Tammy Kim, Dhruv Khullar, Richard Brody
Robert Eggers’s take expands significantly on the 1922 classic—and makes a pivotal change, with sickening implications.
By: Charles Bethea, Kyle Chayka, Sarah Larson, Lawrence Lindell, Helen Rosner, Amanda Petrusich, Justin Chang, Grace Henes, Eliza Griswold, Jessica Winter, Alex Ross
New Yorker writers and contributors on the books they’re ringing in 2025 with.
Los Alamos is growing at a pace not seen since J. Robert Oppenheimer and the Manhattan Project.
By: Mitch Therieau, Suerynn Lee, Kyle Chayka, Andrew Marantz, Sarah Larson, Ian Crouch, Inkoo Kang, Jane Mayer, Michael Luo, Amanda Petrusich, John Cassidy
The album is fifty years old, but it remains a blueprint for how to sever rock and roll from nostalgia.
By: Suerynn Lee, Kyle Chayka, Andrew Marantz, Sarah Larson, Ian Crouch, Inkoo Kang, Jane Mayer, Michael Luo, Amanda Petrusich, John Cassidy
Concerts, comedy, and Christian Marclay’s “The Clock.”
By: Jennifer Wilson, David D. Kirkpatrick, Joshua Rothman, Lauren Michele Jackson, Alex Ross, Sarah Larson, Kate Chin Park, Merve Emre, Naomi Fry, Alex Barasch, Helen Rosner, Helen Shaw
From the daily newsletter: couch-potato shows. Plus: what good is morality?
By: Merve Emre, Lauren Michele Jackson, Joshua Rothman, Andy Kravis, Jennifer Wilson, Alex Barasch, Helen Shaw, Helen Rosner, Erin Neil, Alex Ross, Sarah Larson, David D. Kirkpatrick
From the daily newsletter: can we escape Spotify syndrome? Plus: New Mexico’s nuclear-weapons boom; Susan B. Glasser reflects on the year in politics; and revisiting Big Star’s “Radio City.”
By: Kate Chin Park, Louisa Thomas, Robin Wright, Joshua Rothman, Sarah Larson, Michael Schulman, Navied Mahdavian, Lee Chang-Dong, Casey Cep, Helen Shaw, Merve Emre, Ian Crouch
In America, states now celebrate not just flowers but their own desserts, minerals, neckwear—even firearms. Is there any meaning to the madness?
By: Merve Emre, Joshua Rothman, Robin Wright, Kate Chin Park, Louisa Thomas, Helen Shaw, Doreen St., Michael Schulman, Doreen St. Félix, Ian Crouch, Sarah Larson, Lee Chang-Dong, Navied Mahdavian
We commonly associate the writer with the land of his birth—America—and with the land of his expatriation, France. But a fascinating new exhibit focusses on Baldwin’s years in Turkey, the country that, in his words, saved his life.
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