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, February 15, 2023

February 13 & 20, 2023 Issue

One character trait I cannot abide is snobbery. I detect it in James Wood’s description of his mother in this week’s issue. He says she “possessed a full complement of petit-bourgeois anxieties, tics, and unreadable rules (such as putting the milk into the teacup before the tea)." “Petit-bourgeois” is just a fancy way of saying “lower middle class.” So that’s what Wood thinks of his mother: she’s lower middle class. He’s said it before. In his “On Not Going Home” (London Review of Books, February 20, 2014), he writes, “It was important to my Scottish petty-bourgeois mother that I didn’t sound like a Geordie.” Is there a difference between “petty-bourgeois” and “petit-bourgeois”? Wood changed it to “petit” when he collected the piece in his Serious Noticing (2019). That sounds a bit better, a shade less condescending. But whether it’s “petty-bourgeois” or “petit-bourgeois,” it’s a snobbish thing to say. I admire Wood’s writing immensely. I just wish he wasn’t so damn class-conscious.  

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