Rereading John Updike’s wonderful review-essay "Journeyers"
(The New Yorker, March 10, 1980;
included in his great 1983 collection Hugging
the Shore) the other day, I was struck by his observation that there is “a
certain bliss of precision in a sentence like ‘Their tents are frog-shaped,
constructed of hides and woven mats of goat and camel hair on a stick frame,
the large mouth facing east.’ ” I agree. “Bliss of precision” exactly captures
the literary quality I most crave. The
New Yorker brims with it. Here are ten recent examples:
1. “The octopus cocktail is an agreeably blunt counterpoint,
a lilac-colored soup with the consistency of drinkable yogurt, in which purple
and blue corn and charred avocado bob alongside tentacled slices on the right
side of chewy” (Amelia Lester, "Tables For Two: Cosme," February 9, 2015).
2. But, if you’ve paid any attention to the hype, the entire
endeavor might be a very delicious excuse for dessert: a corn-husk meringue
with its own hashtag, possessed of an intensely milky taste from the mousse of
mascarpone, cream, and corn purée that spills out like lava from its core
(Amelia Lester, "Tabels For Two: Cosme," February 9, 2015).
3. “One evening in Chinatown, a young woman in a Nirvana
T-shirt took a break from mixing Hawaiian punches—a juggling act involving
eight kinds of liquor, pineapple juice, and grenadine—to pull out a giant laser
disk, grab a mic, and perform ‘Santeria,’ by Sublime” (Emma Allen, "Bar Tab: Winnie's," February 9, 2015).
4. “Instead, the music of Gallery 621 is largely one of
color: the red of Paul’s tunic, in the Ribera, emerges from a dark background
like a tone from silence” (Alex Ross, "Eyes and Ears," February 9, 2015).
5. “Inside the shed, I tried on a watch, and its stainless-steel
chain bracelet, guided by magnets, fell into place with the click of someone
stacking nickels” (Ian Parker, "The Shape of Things to Come," February 23 &
March 2, 2015).
6. “The table previously covered with a flat cloth was now
uncovered: it was a glass-topped Apple Watch display cabinet, accessible to
staff from below, via a descending, motorized flap, like the ramp at the rear
of a cargo plane” (Ian Parker, "The Shape of Things to Come," February 23 &
March 2, 2015).
7. “The most astounding is ‘Robe with Mythic Bird’
(1700-40), from an unknown tribe of the Eastern Plains: a tanned buffalo hide
pigmented with a spiky abstraction, probably of a thunderbird, in red and
black, which rivals the most exciting modern art” (Peter Schjeldahl, "Moving Pictures,"
March 16, 2015).
8. “Beadwork, metal cones, and cotton and silk cloth figure
in a headdress from the Eastern Plains, circa 1780, along with local stuffs
including bison horns, deer and horse hair, and porcupine quills” (Peter
Schjeldahl, "Moving Pictures," March 16, 2015).
9. “There was a Boston mule made from textured velvet in
crimson or gold, inspired by a Persian-lamb coat that Haslbeck had discovered
in a flea market. An Arizona sandal had a rose-gold leather foot bed and an
upper made from pinkish-peach tweed threaded with iridescent silver. It looked
as if it had been cut from the sleeve of a Chanel jacket. Another Arizona
sandal, in black leather, had been lined in sapphire-blue shearling” (Rebecca
Mead, "Sole Cycle," March 23, 2015).
10. “Driving outside Oklahoma City one evening last
November, I ended up stopped in traffic next to an electronic billboard that
displayed, in rotation, an advertisement for one per cent cash back at the
Thunderbird Casino, an advertisement for a Cash N Gold pawnshop, a three-day
weather forecast, and an announcement of a 3.0 earthquake, in Noble County”
(Rivka Galchen, "Weather Underground," April 13, 2015)
Credit: The above artwork is by Andrea Kalfas; it appears in
the February 9, 2015 New Yorker as an
illustration for Emma Allen’s “Bar Tab: Winnie’s.”
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