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 Patrick Grant. Show all posts
Showing posts with label Patrick Grant. Show all posts

Tuesday, November 10, 2020

Down with "Dialogical"

Van Gogh, from letter to Émile Bernard, March 18, 1888














“Dialogical” – what an ugly word! It sounds like something left over from the wastelands of Soviet industrialism. It’s like a cross between “dialectical” and “diabolical.” It's like the sluggish churning sound of an old washing machine - dialogical dialogical dialogical. Patrick Grant, in his The Letters of Vincent van Gogh: A Critical Study (2014), uses it to describe Van Gogh’s writing. He suggests that “a dialogical interplay among religion, morality, and art provides an implicit, quasi-narrative structure to the correspondence.” He refers to “the dialogical evolution of Van Gogh’s thinking.” He views the shifts in Van Gogh’s idealism as a “dialogical process.” He refers to “the dialogical complexities of Van Gogh’s writing.” He talks about “the dialogical transformations that the letters record.” That’s a lot of “dialogical” to digest. What does it mean? I think it stems from the word “dialogue,” as in a dialogue between religion and morality or a dialogue between morality and art. Grant’s theory is that Van Gogh’s writing embodies such dialogues. Okay, I get it. Analytically, "dialogical" might be justified. Aesthetically - as a description of Van Gogh's glorious, direct, spontaneous, talking letters - it's a dud.