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, December 28, 2022

Best of 2022: Illustrations

Patrick Leger, End of the Road (2022)








Here are my favorite New Yorker illustrations of 2022:

1. Patrick Leger's illustration for Ian Parker's "End of the Road," November 14, 2022 (see above);

2. Nada Hayek's illustration for Nick Paumgarten's "Five O'Clock Everywhere" (March 28, 2022);








3. Josh Cochran's illustration for Andrea K. Scott's "Fall Art Preview" (August 15, 2022);








4. Sergiy Maidukov's illustration for his "Postcard from Kyiv" (January 31, 2022);












5. Toma Vagner's illustration for Anthony Lane's "Living for the City" (February 14 & 21, 2022);







6. Wesley Allsbrook's illustration for Elizabeth Kolbert's "A Vast Experiment" (November 28, 2022);















7. Carnovsky's illustration for Rivka Galchen's "Change of Heart" (February 28, 2022);










8. Bill Bragg's illustration for Merve Emre's "Getting to Yes" (February 14 & 21, 2022);












9. Klauss Kremmerz's illustration for Jill Lepore's "Moving Right Along" (July 25, 2022);












10. Adam Carvalho's illustration for Anthony Lane's "Restless" (April 18, 2022).



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