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, August 10, 2024

August 5, 2024 Issue

Hooray! “Bar Tab” is back! Is it just a one-time appearance or is it back for good? Time will tell. I vote for the latter. I love “Bar Tab.” I was shattered when it was discontinued in 2018 (see my farewell salute here). This week’s “Bar Tab: Another Country” is by Jiayang Fan. She’s written some of the column’s classics. Recall her wonderful “Bar Tab: Fat Buddha,” May 23, 2016 [“At Fat Buddha, an East Village Asian-fusion ultra-dive, the eponymous Buddha (corpulent, imperious, swathed in mini disco balls, and encased in a glass box stuffed with cash) looks like a reincarnated bouncer who opted for an off-book route to enlightenment: namely, booze, hip-hop, and a jovial no-holds-barred policy on happy-hour pork buns”]. In “Bar Tab: Another Country,” she mentions two drinks I’d like to try: a C’mon Dad Gimme the Car (“a tequila-forward, lip-tickling strawberry-and-jalapeño cocktail named for a Violent Femmes song”); and a I May Destroy You (“a smoky mezcal-and-Aperol number inspired by the HBO show”). Mm, great names, great drinks! More “Bar Tab,” please.   

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