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

The New Yorker in The New York Review of Books


New Yorker readers know that the magazine’s content is very strong. But if proof is needed, check out the January 13, 2011, issue of The New York Review of Books, which contains four New Yorker-related articles:

• Sue Halpern’s “How Do We Know What We Know?” – a review of Oliver Sacks’s book The Mind’s Eye, which is primarily a collection of pieces published over the past few years in The New Yorker;

• Christian Caryl’s “Why WikiLeaks Changes Everything” (“Raffi Khatchadourian on the New Yorker website speculates that the aim of WikiLeaks founder Julian Assange ‘is not to reveal a single act of abuse …, but rather to open up the inner workings of a closed and complex system, to call the world in to judge its morality’”);

• Gordon S. Wood’s “No Thanks for the Memories” – a review of New Yorker staff writer Jill Lepore’s The Whites of Their Eyes: The Tea Party’s Revolution and the Battle Over American History;

• Dan Chiasson’s “‘Rude Ludicrous Lucrative’ Rap,” which refers to Kelefa Sanneh’s “now-classic New Yorker piece on Jay-Z [“Word,” December 6, 2010].”

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