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 Goldfield, 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.

Monday, February 21, 2011

February 14 & 21, 2011 Issue


There’s no obvious Pick Of The Issue in this week’s New Yorker (“The Anniversary Issue”). But there are plenty of transfixing details. For example: the dining room at Annisa, where, “At regular intervals, a semi-transparent section of a rear wall slides open and out comes Lo’s ornate, succulent creations, sparked by her blended heritage” (Mike Peed, “Tables For Two”); the woman attending the George Eliot conference “who had upswept blond hair and wore teetering heels and a gash of red lipstick” (Rebecca Mead, “Middlemarch and Me”); Frank Gehry’s New World Center, where “high-definition projectors inside the hall can show slides and films on five separate ‘sails,’ gently curved surfaces floating above the stage” (Alex Ross, “Schubert on the Beach”).

How does this year’s Anniversary Issue stack up against last year’s? There’s no contest. Last year’s wins easily; it contains Susan Orlean’s great “Riding High.”

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