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 Galchen, 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.

Thursday, December 19, 2024

Postscript: Victor Brombert 1923 - 2024

Victor Brombert (photo from dailyprincetonian.com)









I see in the Times that Victor Brombert died. He wrote a great little book called Musings on Mortality (2013), in which he traces the theme of death through the works of eight novelists – Tolstoy, Thomas Mann, Kafka, Woolf, Camus, Giorgio Bassani, J. M. Coetzee, and Primo Levi. Of Tolstoy’s The Death of Ivan Ilych, he wrote,

Tolstoy’s singular achievement is that he conveys Ivan Ilych’s terror in the face of death not in philosophical or abstract terms but as a subjective and visceral experience.

On Camus’s The Plague:

The horrors of the epidemic – the inguinal fevers, the inflamed buboes, the dreadful agonies, the piles of corpses, the smell of death – should press home a lesson in reality.

On Bassani’s The Garden of the Finzi-Continis:

Death viewed through the filter of time is the main theme of Bassani’s novel. The prologue unfolds under the triple sign of tombs, mourning, and memory.

Death is one of literature's great themes. Brombert tracked it brilliantly. 

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