Introduction

What is The New Yorker? I know it’s a great magazine and that it’s a tremendous source of pleasure in my life. But what exactly is it? This blog’s premise is that The New Yorker is a work of art, as worthy of comment and analysis as, say, Keats’s “Ode on a Grecian Urn.” Each week I review one or more aspects of the magazine’s latest issue. I suppose it’s possible to describe and analyze an entire issue, but I prefer to keep my reviews brief, and so I usually focus on just one or two pieces, to explore in each the signature style of its author. A piece by Nick Paumgarten is not like a piece by Jill Lepore, and neither is like a piece by Ian Frazier. One could not mistake Collins for Seabrook, or Bilger for Galchen, or Mogelson for Kolbert. Each has found a style, and it is that style that I respond to as I read, and want to understand and describe.

Tuesday, June 8, 2010

May 17, 2010 Issue


My favorite piece in this week’s issue, “The Innovators Issue,” is Alex Ross’s “The Spooky Fill.” Ross’s article is a profile of the film composer Michael Giacchino. I like the way it’s written. In classic journalistic fashion, Ross let’s us in on his various moves as he writes the piece. For example, early in the story, he says, “One day in February, I visited Giacchino’s home, in Tarzana, in the San Fernando Valley, to watch him create the uncanny sounds that cause viewers to clutch their sofa pillows.” As soon as I read that I knew I was going to enjoy “The Spooky Fill.” In the piece, Ross also takes us to a recording session at the Eastwood Scoring Stage, on the Warner Bros. lot, in Burbank. I enjoyed being in on Giacchino’s creative process. And I could sense Ross’s creative juices really flowing, too. Consider this inspired sentence: “The shivery sound would match the Hitchcockian camera-work.” I read “The Spooky Fill” first because I had a hunch it would be good. Ross is a great writer. I wish he would write more pieces outside the world of classical music.

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