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.

Wednesday, September 27, 2017

John McPhee's "Draft No. 4": Characters


Among the many pleasures of John McPhee’s new book, Draft No. 4 – his reminiscences of his dealings with William Shawn, his tips on how to dissolve writer’s block, the cool structural diagrams of “The Encircled River,” “Travels in Georgia,” and “A Fleet of One,” among other great pieces – the most piquant for me is the reappearance of many of McPhee’s most vivid characters: Fred Brown (“The Pine Barrens”), David Brower (“Encounters with the Archdruid”), Floyd Dominy (“Encounters with the Archdruid”), Thomas Hoving (“A Roomful of Hovings”), Andy Chase (“Looking for a Ship”), George Hartzog (“Ranger”), Euell Gibbons (“A Forager”), Don Ainsworth (“A Fleet of One”), Henri Vaillancourt (“The Survival of the Bark Canoe”), Luc Massy (“La Place de la Concorde Suisse”), on and on. All these great characters! Memories of their stories come flooding back – stories that are part of me, almost as if I’ve lived them! I lived them vicariously through McPhee’s brilliant writing. Draft No. 4 is an exquisite way of re-experiencing them.

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