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.

Showing posts with label C. D. B. Bryan. Show all posts
Showing posts with label C. D. B. Bryan. Show all posts

Friday, October 16, 2015

My First "New Yorker"


I bought my first New Yorker – the March 1, 1976 issue – at Atlantic News in Halifax. I remember the circumstances. I was twenty-three years old. I’d quit university and was working as a gas jockey at the Spring Garden Road Esso. After work one evening, I decided to drop into Atlantic News and check out the magazine section. Perhaps I was looking for a new Esquire. At that time, I was an Esquire fan. But on this occasion it was The New Yorker that caught my eye. Its cover showed a strange scene, a ladder-carrying mob storming a towering statueless plinth. I leafed through it. What dense, strange type! No photos, no illustrations. Perusing its contents, I stumbled on this sentence: “On his last night of leave, Wednesday, September 3, 1969, Michael Eugene Mullen worked until ten o’clock on his family’s farm – a hundred-and-twenty-acre tract five miles northwest of La Porte City, in Black Hawk County, Iowa.” It was the kind of Hemingwayesque sentence I relished (still do) – concrete, hard-edged, factual. It was the opening line of the first installment of C. D. B. Bryan’s Vietnam War chronicle “Friendly Fire.” I bought the issue (75¢), took it home, and read “Friendly Fire – I” straight through in one sitting. It struck me as brilliant. I bought the next two issues, devouring “Friendly Fire – II” and “Friendly Fire – III” (the final installment). In the process, I discovered another arresting aspect of the magazine – Pauline Kael’s movie reviews. I found her avid, urgent, irreverent style thrilling. From that time on, I was hooked on The New Yorker – what’s turned out to be a thirty-nine-year addiction with no end in sight. If anything, it’s getting more intense.