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.

Saturday, July 9, 2011

July 4, 2011 Issue


There is in Raffi Khatchadourian”s glowing Talk piece “Project Neon,” in this week’s New Yorker, a pleasure taken in city-roaming that is akin to what we find in the writings of Joseph Mitchell and Ian Frazier. It’s about an architect named Kirsten Hively, who goes out at night photographing New York’s neon signs. Khatchadourian begins his piece with an inspired description of Hively noticing, while walking on First Avenue, a Cork & Bottle liquor store sign:

The letters were in pink neon – warm, humming, handmade – and they struck her as objects of neglected beauty.

I find that sentence irresistible. Here’s another one:

The bar’s signs flickered in parts, and many tubes were out, but “CAFE” was still visible, fitted to the rounded corner of the building.

The whole ravishing piece is like that. And newyorker.com provides an added source of pleasure – a slideshow of some of Hively’s photos. They’re terrific! But it’s Khatchadourian’s writing that I’m in awe of. His “Project Neon” is one of the best Talk stories of the year.

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