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.

Sunday, February 20, 2011

William Logan's Elitist Brow System





This week in The New York Times Sunday Book Review, William Logan says that The New Yorker is “a middlebrow journal for people who would like to be highbrows” (“Deal With the Devil,” February 18, 2011). I’ve never agreed with the lowbrow-middlebrow-highbrow form of analysis. It smacks of snobbery. John Seabrook, in his book Nobrow (2000), says, “The words highbrow and lowbrow are American inventions, devised for a specifically American purpose: to render culture into class.” I’m not interested in making cultural or class distinctions. I don’t read The New Yorker because I want to improve my social status. I read it because I enjoy it. Reading The New Yorker is bliss. William Logan can take his elitist brow system, fold it for ways, and put it where the moon doesn’t shine.

Credit: The above artwork is by Laurie Rosenwald; it appears in The New Yorker (January 24, 2011) as an “On The Horizon” illustration in “Goings On About Town.”

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