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.

Saturday, June 12, 2021

June 7, 2021 Issue

Reading “Briefly Noted,” in this week’s issue, I discovered that Jacqueline Rose’s new essay collection, On Violence and On Violence Against Women, contains her brilliant “Bantu in the Bathroom,” an analysis of the trial of Oscar Pistorius. For me, that’s reason enough to acquire this book. 

I first read “Bantu in the Bathroom” five years ago when it appeared in the November 19, 2015, London Review of Books. It considers the Pistorius trial from every conceivable angle, including sex, race, and disability. Rose analyzes the accused, Oscar Pistorius, the victim, Reeva Steenkamp, and the judge, Thokozile Matilda Masipa. In one of her most powerful passages, she faults Judge Masipa for failing to appreciate the significance of a WhatsApp message that Steenkamp sent Pistorius eighteen days before she died, expressing fear of him. Rose writes,

Yet for me this is perhaps the darkest moment in the judgment, when the law, when a woman judge, fails to give due weight to another woman, one who didn’t survive. I don’t believe that all women are at risk from all men but I do believe that a woman doesn’t say she is scared of a man without cause and that when she does we must listen. It is the fear in the future tense – ‘I am scared of you sometimes ... and of how you will react to me’ – that, for me, most loudly calls for our attention.

“Bantu in the Bathroom” is one of the best trial analyses I’ve ever read. I’m pleased to see it preserved between hard covers. 

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