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 Jérôme Sessini. Show all posts
Showing posts with label Jérôme Sessini. Show all posts

Friday, December 30, 2022

Best of 2022: Photos

Mila Teshaieva, Bridge Over Irpin River (2022)








Here are my favorite New Yorker photos of 2022:

1. Mila Teshaieva's photo for Keith Gessen's "How the War in Ukraine Might End," September 29, 2022 (see above);

2. Dina Litovsky's photo for Helen Rosner's "We Watch the News and We're Crying" (March 8, 2022);












3. James Nachtwey's photo for his "A Harrowed Land" (May 9, 2022);









4. Mark Neville's photo for his "Days of War" (March 7, 2022);









5. Peter Fisher's photo for "Goings On About Town" (August 8, 2022);












6. Jérôme Sessini's photo for Masha Gessen's "The Devastation of Kharkiv" (March 22, 2022);









7. Philip Montgomery's photo for his "Blade Runners" (November 28, 2022);









8. Paul S. Amundsen's photo for Rebecca Mead's "Norwegian Wood" (April 25 & May 2, 2022);









9. Daniel Berehulak's photo for Luke Mogelson's "Everyone Is a Target" (August 1, 2022);









10. Eric Helgas's photo for Shauna Lyon's "Tables For Two: El Quijote" (June 6, 2022).




Friday, March 25, 2022

March 21, 2022 Issue

What’s it like to live in Ukraine right now? Joshua Yaffa’s “The Siege,” in this week’s issue, tells us in detail after immersive detail. Here, for example, is his description of conditions at Kyiv’s Ohmatdyt children’s hospital:

The hospital was facing a crisis with its regular patients. Hundreds of children suffering from severe conditions required urgent treatment and operations. Supplies of expensive and rare cancer medicines were running low; flights were grounded and logistics scrambled, making it impossible to get stem cells for bone-marrow transplants. Given the ongoing risk of missile strikes and air raids, most of the children had been moved to a series of basements in the hospital complex. Inside one, dozens of mattresses were arrayed on a concrete floor. The space was dank and drafty. The ceiling leaked. Mothers rocked their crying children or lay silently with them. Pots of food were kept warm on small stoves. One infant needed a shunt implanted to remove fluid from her brain. A six-month-old girl and her mother had checked in to Ohmatdyt for an operation to regulate the baby’s lymphatic system. “We were all ready, and the war started,” the woman told me.

And here’s his depiction of Kyiv’s International Square, “near where the bulk of Russian forces had massed”: 

There had been a firefight the night before. The carcass of a torched military transport truck lay slumped on the asphalt. A shot-up Army bus with deflated tires stood across the square. Shrapnel and bullet casings crunched underfoot. A group of locals had gathered to take a look.

Everywhere Yaffa goes, he talks with people, noting down their comments. For example:

Later that day, I stopped by Dubler, a stylish café co-owned by a local architect named Slava Balbek. It had been closed for days, but I found a dozen young people seated around a long wooden table finishing a late breakfast. Balbek was conducting a planning meeting with volunteers. He had turned the café into a nonprofit kitchen and delivery hub, sending meals to Territorial Defense units, hospitals, and anyone else left behind. “I went straightaway to my local military-recruitment depot, but they told me they were already full”—in the first ten days of the war, a hundred thousand people reportedly enlisted in the volunteer forces—“so I thought, O.K., how else can I be helpful,” Balbek, who is thirty-eight, and an amateur triathlete, told me. “I’m a good trouble-shooter, and if you leave out the particular horrors of war, this is basically organizational work. You need strong nerves and cold reason.”

My take-away from Yaffa’s absorbing piece is that Ukrainians are an amazing people – united and determined to survive Putin’s brutal invasion. The final paragraph says it all:

War has split Shchastia yet again. Dunets, the civil-military-administration head, was recalled back to the Ukrainian Army, and is fighting with the 128th Brigade. Tyurin, his deputy, stayed on in the city administration, albeit under a new flag. Haidai told me that agents from the F.S.B., the Russian security service, had called to offer him a chance to switch sides. “I told them to fuck off,” he said.

Photo by Jérôme Sessini, from Joshua Yaffa's "The Siege"