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, July 31, 2019

James Wood's "Diary"


James Wood (Photo by David Levenson)














One word redeems James Wood’s otherwise infernally class-conscious “Diary” (London Review of Books, July 4, 2019): contaminated. Wood writes, 

Over the years, I’ve resisted writing about Eton, for the usual reasons but mainly because I dislike a retrospect that might sound like some nasty combination of complaint, boast and self-pity. All three modes are unwarranted, as far as I’m concerned. I have largely happy memories of the school and eventually flourished there much as my socially avaricious mum hoped I would. But complaint doesn’t have to be merely self-interested. In 1984 I couldn’t have predicted that politics in the early 21st century would be so contaminated by my schoolfellows. 

That “contaminated” shows what Wood actually thinks of his fellow snobs. But I wish his condemnation was stronger. A school that teaches its students that they're marked by an “effortless superiority” needs a good tuning. 

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