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 James Lasdun. Show all posts
Showing posts with label James Lasdun. Show all posts

Friday, February 6, 2026

10 Great "New Yorker" Travel Pieces: #7 James Lasdun's "Glow"

Photo by Joakim Eskildsen, from James Lasdun's "Glow"










In this series, I choose ten of my favorite New Yorker travel pieces, one per month, and try to express why I like them. Today’s pick is James Lasdun's wonderful “Glow” (April 29, 2019).

In this memorable piece, Lasdun travels to northern Scandinavia to see the aurora borealis. Of course, the aurora borealis being a natural phenomenon, there’s no guarantee it will appear when he’s there. The question of whether or not he’ll see it propels the narrative. 

First, he stays at an igloo hotel, the Aurora Village, in the town of Ivalo, Finland. His room is called an Aurora Cabin. Lasdun describes it:

A glass-panelled dome loomed over the north-facing end of a single room, with luxe bedding and a complimentary drinks tray arranged below, like the furnishings of a tastefully debauched starship. Slipping under a reindeer-fur coverlet, I found myself facing the first conundrum of northern-lights tourism, which is that the more comfortable your viewing situation the more likely you are to be insensate when the lights appear. I was eager to see them, naturally, but not obsessed. I had a whole week, and, from what I’d read, at the time of my visit there were good odds for a display on most nights. With this comforting thought, I fell asleep.

Lasdun doesn’t see the lights that night. The next day, killing time until evening, he goes on an ice-fishing safari. He writes,

The fishing rods seemed absurdly short and bendy, like something that you might use to win a prize at an amusement park. We squatted at our holes, dipping and raising as instructed. The flat landscape around us was more built up than I’d expected this far north, but pleasant enough under the fresh snow, with the wide sky showing different pinks and yellows every time you looked at it. Now and then, dogsleds carrying tourists hurtled by; each time, we laboriously took off our mittens and glove liners and rummaged for our phones, in order to take photographs.

That night, he’s back in his glass igloo, staring up at the night sky. He falls asleep. Something wakes him at three. He writes,

Groggy and myopic, I caught a promising green blur overhead and grabbed my glasses. The color of an aurora depends on which atmospheric gases are being pelted by solar particles. Oxygen emits a greenish hue and, occasionally, red; nitrogen emits violet and blue. In this case, the green turned out to be emitted by a light on the thermostat—its glow was reflected in the glass dome. Nevertheless, the sky had cleared, and the stars glittered promisingly above the snow-gloved spruce trees. I stared up for a while. Gazing at the sky at 3 a.m., however, in the hope of being granted a vision of dancing emerald lights is an activity that quickly starts to feel absurd, even delusional, and I soon passed out again. In the morning, I learned that I hadn’t missed anything.

The next day, he decides to go farther north and stay at a hotel on the vast frozen lake of Anari. He signs up for Aurora Camp, “which promised warm drinks ‘while waiting for the sky to show its magic.’ ” At eight o’clock, he joins a dozen other campers. A snowmobile tows them across the lake in a train of open sleds. He writes,

Once we were on the other side, a guide lit a fire, draping reindeer hides over logs for us to sit on, and hung a kettle to boil. The simplicity of the arrangement appealed to my sense of how these things ought to be conducted, and even though there was thick cloud cover, I felt optimistic. We had two and a half hours to kill, and the weather, as we reminded one another at regular intervals, was unpredictable in these parts. 

The sky doesn’t clear. The temperature drops. Lasdun begins to doubt whether he’ll ever see the lights. He writes,

No surprises occurred overhead, but an earthly one did: a woman suddenly slipped her arm through mine and began murmuring in my ear in Italian. I looked at her, and she gave a shriek: she’d mistaken me, in my snowsuit, for her husband. Peals of unnerving laughter broke from her as we sledded back across the lake. The incident gave concreteness to the dim sense of cosmic disfavor beginning to take hold in me. The nature of these wonder-chasing trips is that your success rate sooner or later gets entangled with your feelings about what you deserve. I had four more nights, so there was no cause for serious alarm, but I’d started entertaining irrational thoughts all the same. Was I unworthy in some way? Could I be harboring attitudes unconducive to the granting of heavenly visions?

A couple of occurrences the next day deepen his unease. On a three-hour ride from Inari to the airport in the Norwegian village of Laksely, his taxi hits a reindeer. Here’s his account of the incident:

As we drove northwest, the landscape and the sky merged into a white haze, with only the dark-etched undersides of branches to distinguish one realm from the other. It was beautiful in an unearthly way, as if the world had become a silver-nitrate photograph of itself. Road signs grew fewer and farther between, with Sámi place-names appearing under the Finnish. The road was covered with packed snow and the driver was going fast. On a long, straight, desolate stretch, we came over a rise and saw five reindeer galloping straight toward us. The driver cursed in English: “Shit.” I braced myself, felt a slam, and saw one of the animals thrown into the air. It had antlers, and, as the previous night’s guide had informed us, a deer that still had them in late winter was female, and probably pregnant. We backed up and found it lying, dead, in the snow. The taxi was dented but drivable, and after reporting the accident we continued on our way, both of us badly shaken.

When he arrives at the airport, it’s closed. The taxi is gone. Lasdun finds himself alone in the arctic cold. He says, “I was a fool about to freeze to death in pursuit of a high-end tourist fad.” Eventually an airport worker appears and opens the doors. 

Still chasing the aurora, Lasdun flies to Tromsø, Norway. He signs up for a night with a company that takes you out to a wilderness camp and leaves you alone until morning. He gets on a sled and his guide, using a snowmobile, hauls him across the frozen surface of Lake Kilpisjärvi to a dark hut, raised up on sled runners, on the ice. The hut has a transparent section of roof above the bed for viewing the night sky. 

Lasdun and his guide go for a walk along the shore and make a campfire. They witness a faint green bar of light in the sky. The bar grows brighter, but then clouds move in and obscure it. Lasdun writes, “I could now say truthfully that I’d seen the northern lights, and I was happy, though my happiness had more to do with relief—mission accomplished—than with joy. It had been a very minor spillage of the green grail.”

The guide leaves. Lasdun returns to the hut and gets into bed. He wonders how he’ll respond if he should see a major display of the lights. He writes, “When an industry is focussed so determinedly on the commodity of wonderment, it spurs thoughts of resistance—at least, it does in me.” But as it turns out, he doesn’t have to respond. The aurora doesn’t appear.

For his final evening in Tromsø, Lasdun books a seat on an Aurora Chase. At the appointed hour, he joins the crowds heading down to the waterfront, where the chase vehicles pick up passengers. He hears a coach driver mutter, “Not the best weather outlook tonight.” He writes, “The prospect of spending the next six hours driving around with little hope of seeing the lights was deeply unenticing. I was about to bail on the adventure when a burly Norseman barked out my name from his roster. I meekly boarded his sleek black van.”

An hour into Finland, they pull off the main road and park. Lasdun disembarks, with fifteen companions, into the freezing dark. Camera tripods are set up, a fire is built. Lasdun is skeptical that anything is going to happen. Then a crack appears in the clouds directly above them. Lasdun writes,

It widened, showing a sprinkling of stars and then the entire Big Dipper. There was a stirring among the photographers: their cameras had started detecting things. After a moment, an oblique greenish bar like the one I’d seen the night before became visible. It grew brighter and denser, then contracted into an oval of emerald light. People chattered excitedly. I was about to warn them not to get too carried away when a streak of brilliant green shot out of the oval, at high speed, and zoomed over our tipped-back heads, corkscrewing across the sky. I almost toppled over while following its trajectory. The green light formed several tentacles, which twisted and writhed together and looped in circles. Astonishment was proclaimed in a half-dozen languages. The circles dropped needles of piercing brightness that travelled, in tandem, around the sky, as if tracing the undulations of a celestial shower curtain.

Lasdun is blown away by the experience. He says, “You develop the overwhelming impression that some cryptic but staggeringly powerful intelligence is staging a performance expressly for you, even as you remind yourself that this can’t be the case.” 

Back on the bus, the photographers in the group compare images. Lasdun had attempted to take some snapshots with his phone, but they turned out to be terrible. He’s relieved to discover that one photographer had taken nice pictures of each of them, “including one of me with the stunned look of a nonbeliever witnessing a miracle.” I relish that line. It beautifully captures Lasdun’s conflicted perspective on northern-lights tourism – mostly skeptical but, in the end, enthralled. 

Sunday, January 5, 2020

Best of 2019: Reporting


Ilya Milstein's illustration for Alexandra Schwartz's "Bounty Hunters"























Here are my favorite New Yorker reporting pieces of 2019 (with a choice quote from each in brackets):

1. Alexandra Schwartz’s “Bounty Hunters,” November 25, 2019 (“You learn something about people, working Co-op checkout. You see how they handle their kids, their parents, and their partners. You see friends greeting one another and exes steering clear. You ask about beautifully named foods that you have never engaged with before—ugli fruit, Buddha’s hand, fiddlehead ferns—and then you chat with the people buying them about how they plan to prepare them. It is fascinating to observe what people eat, and almost prurient to be allowed to handle their future food, to hold their long green-meat radishes and cradle their velvety heirloom tomatoes, as fat and blackly purple as a calf’s heart”).

2. Ian Frazier’s “Pumper’s Corner,” February 18 & 25, 2019 (As Rachael walked me through each well, I appreciated the Rube Goldberg-ness of it all. No two were the same. ‘The guys out here like to say that a well is like a woman, because each one needs to be handled differently,’ Rachael said. She had been to these wells often, and sort of whispered each one, the way she would a horse. She put her hands on pipes, felt for hot spots, peered into gauges, cocked an ear for wrong sounds. She had me listen at a pipe where rising gas from a mile down hissed and echoed—all O.K. there”).

3. Nick Paumgarten’s “The Descent of Man,” April 29, 2019 (“I glanced up and saw for the first time, shadow-blue and telephoto close, the final section of the Streif, where the racers, after soaring off a jump, come hauling across a steep, bumpy, fallaway traverse—legs burning, skis thrashing—and into the final plunge, the Zielschuss, reaching speeds of almost ninety miles an hour”).

4. Burkhard Bilger’s “Extreme Range,” February 11, 2019 (“The voices were growing louder, circling the silo one by one with the choir close behind. Wells lifted his head to the cloud of voices rising and swirling toward the ceiling, then stretched out his arms as they joined in a great, ragged chord. When they fell silent, I could hear the tapping of rain on the roof outside. Then a last voice sang out—Shaw’s quiet mezzo, wafting up like a fleck of ash above a flame”).

5. Nicola Twilley, “Trailblazers,” August 26, 2019 (“The lit cannister of fuel I was holding, known as a drip torch, had a long, looped neck that emitted a jaunty quiff of flame”).

6. James Lasdun’s “Glow,” April 29, 2019 (“A crack appeared in the clouds directly above us. It widened, showing a sprinkling of stars and then the entire Big Dipper. There was a stirring among the photographers: their cameras had started detecting things. After a moment, an oblique greenish bar like the one I’d seen the night before became visible. It grew brighter and denser, then contracted into an oval of emerald light. People chattered excitedly. I was about to warn them not to get too carried away when a streak of brilliant green shot out of the oval, at high speed, and zoomed over our tipped-back heads, corkscrewing across the sky. I almost toppled over while following its trajectory. The green light formed several tentacles, which twisted and writhed together and looped in circles. Astonishment was proclaimed in a half-dozen languages. The circles dropped needles of piercing brightness that travelled, in tandem, around the sky, as if tracing the undulations of a celestial shower curtain”).

7. Rivka Galchen, “The Eighth Continent,” May 6, 2019 (When a Masten rocket takes off, it has a delicate appearance. One of the newer ones, the Xodiac, looks like two golden balloons mounted on a metal skeleton. A kite tail of fire shoots out as the Xodiac launches straight up; at its apex, it has the ability to tilt and float down at an angle, as casually as a leaf”).

8. Elizabeth Kolbert’s “Under Water,” April 1, 2019 (“On the model, the spillway gates were represented by small strips of brass attached to copper wires. Because they hadn’t worked properly in previous trials, an engineer was watching over them from a folding chair. He looked like a latter-day Gulliver, bent over a drowning Lilliput. He, too, I noticed, had wet socks”).

9. Douglas Preston’s “The Day the Earth Died,” April 8, 2019 (“He unwrapped a sixteen-inch fossil feather, and held it in his palms like a piece of Lalique glass”).

10. John Seabrook’s “Machine Hands,” April 15, 2019 (“It was only at the very end of the eight-second window that the Pitzer wheel dropped down and—in a blur of motion that recalled Doctor Octopus, the Spider-Man villain, attacking one of his victims—the claws grabbed and picked the ripe berries in a fraction of a second, pop-pop-pop, and deposited them, apparently unbruised, on a shelf at the top of the machine’s chassis. Then the robots moved on to the next plant in that row”).

Wednesday, May 8, 2019

April 29, 2019 Issue


Here’s a New Yorker (“The Travel Issue”) that deserves not a review but a party. It’s layered and loaded with good things, beginning with Lauren Collins’s “Kitchen Companion,” a report on Georgia’s food renaissance. Collins dines at Andria Kurasbediani’s Barbarestan in Tbilisi:

The plates kept coming. There was dambal khacho, a bouncy Georgian fondue; a duck patty with topographical grooves, served with plum sauce; many breads and wines. Plenitude is important in Georgia, where feasting and toasting are cherished, heavily choreographed rites. The meal felt like a food version of one of those movie montages where spinning newspapers keep stacking up on top of one another.

She visits Kasheria, a tripe-soup dispensary. She has coffee with writer Diana Anthimiadou. She visits the Raphael Eristavi House Museum in Kistauri. And she makes quince dolmas with food blogger Tamara Mirianashvili (“The dish was medicinal but luscious, a hot toddy you could eat with a fork”).

Collins’s details are superb: “Andria was wearing a three-piece suit, accented by a scarlet pin that glowed like a pomegranate seed”; “Andria handled the wooden cutting board as though it were a precious violin.” I enjoyed “Kitchen Companion” immensely.

Next is James Lasdun’s “Glow,” a delightful account of his quest to see the aurora borealis. Lasdun writes about staying at an “igloo hotel” near the town of Ivalo, Finland:

A glass-panelled dome loomed over the north-facing end of a single room, with luxe bedding and a complimentary drinks tray arranged below, like the furnishings of a tastefully debauched starship. Slipping under a reindeer-fur coverlet, I found myself facing the first conundrum of northern-lights tourism, which is that the more comfortable your viewing situation the more likely you are to be insensate when the lights appear. I was eager to see them, naturally, but not obsessed. I had a whole week, and, from what I’d read, at the time of my visit there were good odds for a display on most nights. With this comforting thought, I fell asleep.

He joins an ice-fishing safari:

The fishing rods seemed absurdly short and bendy, like something that you might use to win a prize at an amusement park. We squatted at our holes, dipping and raising as instructed. The flat landscape around us was more built up than I’d expected this far north, but pleasant enough under the fresh snow, with the wide sky showing different pinks and yellows every time you looked at it. Now and then, dogsleds carrying tourists hurtled by; each time, we laboriously took off our mittens and glove liners and rummaged for our phones, in order to take photographs.

He attends an Aurora Camp:

The sky showed no sign of clearing, and the Kp-index reading had plummeted. Meanwhile, the temperature had fallen to minus ten degrees Fahrenheit, which turned every gust of wind into a scouring assault. People were pulling up balaclavas and stamping their feet. No surprises occurred overhead, but an earthly one did: a woman suddenly slipped her arm through mine and began murmuring in my ear in Italian. I looked at her, and she gave a shriek: she’d mistaken me, in my snowsuit, for her husband. Peals of unnerving laughter broke from her as we sledded back across the lake. 

On his way to Tromsø, Norway, his taxi strikes a reindeer:

The road was covered with packed snow and the driver was going fast. On a long, straight, desolate stretch, we came over a rise and saw five reindeer galloping straight toward us. The driver cursed in English: “Shit.” I braced myself, felt a slam, and saw one of the animals thrown into the air. It had antlers, and, as the previous night’s guide had informed us, a deer that still had them in late winter was female, and probably pregnant. We backed up and found it lying, dead, in the snow. The taxi was dented but drivable, and after reporting the accident we continued on our way, both of us badly shaken.

Lasdun stays at a “wilderness camp” near the village of Kilpisjärvi, in western Finland:

We rounded a promontory with scrubby birches doubled over by snow, and came to a dark hut, raised up on sled runners, on the ice. An outhouse stood off to the side. It was cozy inside the hut, with a banged-together quality that I liked, though spending the night there still seemed disconcerting. 

Photo by Joakim Eskildsen (from James Lasdun's "Glow")



















And he participates in an Aurora Chase:

A second bus, twice the size of ours, pulled into the parking area. I had become highly suspicious of all the apps and meteorological charts that were being consulted, but this time my skepticism was misplaced. A crack appeared in the clouds directly above us. It widened, showing a sprinkling of stars and then the entire Big Dipper. There was a stirring among the photographers: their cameras had started detecting things. After a moment, an oblique greenish bar like the one I’d seen the night before became visible. It grew brighter and denser, then contracted into an oval of emerald light. People chattered excitedly. I was about to warn them not to get too carried away when a streak of brilliant green shot out of the oval, at high speed, and zoomed over our tipped-back heads, corkscrewing across the sky. I almost toppled over while following its trajectory. The green light formed several tentacles, which twisted and writhed together and looped in circles. Astonishment was proclaimed in a half-dozen languages. The circles dropped needles of piercing brightness that travelled, in tandem, around the sky, as if tracing the undulations of a celestial shower curtain.

To write a successful travel piece, one must have an observant eye and a gift for description. Lasdun has both. His “Glow” is perfect.

But wait! We’re not done. There’s another brilliant piece in this week’s issue – Nick Paumgarten’s “The Descent of Man,” an account of his attendance at the 2019 Hahnenkamm, in Kitzbühel, Austria. Paumgarten puts us squarely there, at the base of the Hahnenkamm gondola (“I glanced up and saw for the first time, shadow-blue and telephoto close, the final section of the Streif, where the racers, after soaring off a jump, come hauling across a steep, bumpy, fallaway traverse—legs burning, skis thrashing—and into the final plunge, the Zielschuss, reaching speeds of almost ninety miles an hour”); eating with the U.S. ski team at their training table (“In years past, the team had hired a chef from New Zealand, but here the athletes ate like Bavarian policemen: the hotel served bratwurst, fatty pork, and boiled potatoes and carrots”); in the back of the team’s supply truck (“At six-forty-five the next morning, I crawled over a pile of skis to a spot atop a crate in back of the team’s supply truck—a windowless white van crammed with gear”); in the starter shed at the top of the course:

We removed one beam and stepped inside. During the race, there would be a small crowd inside consisting of a few racers, their coaches, race officials, and whatever aura of extreme anxiety and nervousness envelops them there. The shed, and the holding pen outside—where the skiers stare into space, stretch, stand knee-deep in the snow to stiffen their boots, close their eyes and rehearse the run in their mind’s eyes—constitute the Hahnenkamm’s emotional epicenter, the germ of the mayhem down in the valley. A portion of that clenched mood plummets down the run with each racer, like unexploded ordnance, and detonates amid the pandemonium below, in a kind of steady bombardment of relief and adoration that reverberates for days.

He even skis the punishing course:

The Steilhang exuded the full gloom of a north face at befogged dawn. McBride had told me that this was a “no-fall zone.” I started skidding helplessly across and down. In front of me, Addie Godfrey fell. I went into a full defensive squat—what surfers call the poo stance—as Godfrey’s slide was mercifully halted by the poles of one of the gates. Clattering past, I soon found myself at the fence, still on my feet.

He observes the skiers make their training runs (“I passed undetected through the racers’ waiting area and over to a perch just to the left of the starting gate. One false step and I’d be on my back, hurtling toward the Mausefalle”). On race day, he climbs up the course to watch the skiers (“Halfway up the Zielschuss, I passed through the Matthias Mayer fan club (orange parkas) and the Christian Walder fan club (black parkas), before finding myself in the company of the Ski Club St. Martin, enthusiasts from Switzerland, who were passing around a flask”).

And, of course, Paumgarten being Paumgarten, he explores Kitzbühel’s post-race festivities:

Stately town houses and hotels in mint green, terra-cotta, mustard, ochre, and pink. A fourteenth-century Gothic church. Bogner, Moncler, Lacoste, Louis Vuitton. As a day-drinking backdrop, it was almost comically grand. “Sweet Caroline,” not even the Neil Diamond version, seemed to pop up on every block, a Whack-a-Mole of song. Bands of young men in red-and-white Dr. Seuss hats erupted in drinking chants. Swiss men in white smocks marched in formation, swinging giant cowbells called Trychlers—each bell weighing more than forty pounds—with deadpan expressions, holding them at arm’s length in front of their privates.

I’ve long admired Paumgarten’s work. “The Descent of Man” is one of his finest. Its thereness is extraordinary.

I want to conclude with a brief comment on another piece in this week’s issue – Nicholas Lemann’s “The Art of Fact.” It’s a review of Jeremy Treglown’s Mr. Straight Arrow, a biography of New Yorker writer John Hersey. I relish the piece’s title. The art of fact is exactly what most interests me. But, in my view, Lemann doesn’t do justice to his subject. Yes, he refers to Hersey’s great “Hiroshima” as a “marvel of journalistic engineering.” But he also says,

The relationship between fiction and nonfiction is like the one between art and architecture: fiction is pure, nonfiction is applied. Just as buildings shouldn’t leak or fall down, nonfiction ought to work within the limits of its claim to be about the world as it really is. But narrative journalism is far from artless. 

“Far from artless” seems feeble as a description of great fact pieces like John McPhee’s “The Encircled River,” Ian Frazier’s “Great Plains,” Alec Wilkinson’s “The Blessing of the Fleet,” Janet Malcolm’s “Iphigenia in Forest Hills,” and Nicholas Schmidles’ “Getting Bin Laden,” to name five that come quickly to mind. These superb pieces are as much the achievement of selection and shaping as the finest fiction. Michael Pearson, in his John McPhee (1997), says, “Like any creative writer, McPhee imposes order on his materials to arrive at truth. Materials must be fashioned and shaped.” This is the art of fact.

Sunday, April 24, 2016

April 11, 2016 Issue


There’s a scene in Gay Talese’s extraordinary "The Voyeur's Motel," in this week’s issue, that went straight into my collection of unforgettable New Yorker images. The piece is about a man named Gerald Foos, who, in the sixties, bought a motel in Aurora, Colorado, “in order to become its resident voyeur.” He converted the motel’s attic into a viewing platform. In 1980, Foos contacted Talese, suggesting Talese write his story. Talese decided to meet him. He traveled to Aurora, stayed at Foos’s motel (the Manor House Motel), crawled across the carpeted attic catwalk with Foos, looked down through the specially designed ceiling vents, and watched a naked couple having sex. Here’s the scene:

Despite an insistent voice in my head telling me to look away, I continued to observe, bending my head farther down for a closer view. As I did so, I failed to notice that my necktie had slipped down through the slats of the louvred screen and was dangling into the motel room within a few yards of the woman’s head. I realized my carelessness only when Foos grabbed me by the neck and, with his free hand, pulled my tie up through the slats. The couple below saw none of this: the woman’s back was to us, and the man had his eyes closed.

It’s a creepy moment, but also whacky – Hitchcock via Woody Allen. I smiled when I read it. Talese’s viewing of the attic catwalk is crucial to his piece. He says, “If I had not seen the attic viewing platform with my own eyes, I would have found it hard to believe Foos’s account.” I would’ve found it hard to believe, too. Talese’s use of “I” is masterful. It authenticates his narrative.

There are two other excellent articles in this week’s issue – James Lasdun’s "Alone in the Alps and Rachel Aviv’s "The Cost of Caring" – but they’re overshadowed by “The Voyeur’s Motel,” which I think is destined to be some sort of oddball classic.