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.

Friday, December 30, 2022

Best of 2022: Photos

Mila Teshaieva, Bridge Over Irpin River (2022)








Here are my favorite New Yorker photos of 2022:

1. Mila Teshaieva's photo for Keith Gessen's "How the War in Ukraine Might End," September 29, 2022 (see above);

2. Dina Litovsky's photo for Helen Rosner's "We Watch the News and We're Crying" (March 8, 2022);












3. James Nachtwey's photo for his "A Harrowed Land" (May 9, 2022);









4. Mark Neville's photo for his "Days of War" (March 7, 2022);









5. Peter Fisher's photo for "Goings On About Town" (August 8, 2022);












6. Jérôme Sessini's photo for Masha Gessen's "The Devastation of Kharkiv" (March 22, 2022);









7. Philip Montgomery's photo for his "Blade Runners" (November 28, 2022);









8. Paul S. Amundsen's photo for Rebecca Mead's "Norwegian Wood" (April 25 & May 2, 2022);









9. Daniel Berehulak's photo for Luke Mogelson's "Everyone Is a Target" (August 1, 2022);









10. Eric Helgas's photo for Shauna Lyon's "Tables For Two: El Quijote" (June 6, 2022).




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