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.

Friday, March 27, 2026

Inspired Sentence 9

Beauty lives, surely, in a harmonious excitement of particulars.

I believe this is true. It’s from John Updike’s “Logic Is Beautiful” (included in his 2005 essay collection Still Looking), a review of an exhibition of sculptures by Elie Nadelman. The essay’s title is Nadelman’s credo, not Updike’s. Nadelman believed that “All that is logical is beautiful, all that is illogical is inevitably ugly.” Updike disagreed. He says, “There is a hermetic quality to Nadelman’s statues, as if they have been sealed against infestations of illogical detail. In his later work, the layers of sealant get thicker and thicker, and toward the end his figures, fingerless and all but faceless, seem wrapped in veils as thick as blankets.” 

Updike argued for specificity. His own exquisite writing exemplified it. 

No comments:

Post a Comment