Adam Rosi-Kessel does this thing, where he suggests to me that I read or listen to or program something, and I do so six months later. Somehow he got me to read the New Yorker with only a small bit of prompting, and now I’m addicted.
Part of it is that the writing is just So. Good. It’s not a small feat; their articles can be quite long, but something keeps you going through them. Part of the trick just occurred to me whilst reading Elizabeth Kolbert’s review of children’s books. It’s spiked with occasional sentences like this one:
Buying a picture book is a bit like buying Parisian lingerie, or pet food: you can’t (or at least shouldn’t) use the product all on your own.
or this one:
The question of propriety — whether children’s books should be as disgusting and violent as children — is a genuinely vexing one.
that keep you moving along, sure that you’re in the presence of someone who smirks a lot. A leitmotiv of the article is that children’s books are there to put kids to sleep, rather than any deeper motive to enrich them creatively or get them to enjoy reading. The author describes something her own son wrote at school, which seems to have internalized the formula of children’s-book writing without realizing it:
“Gosh Juans dead all ready its only been an hour,” a character named Kan declares. Another crew member is soon lost to a huge fish. “Uh oh thats not good.” Finally, when there’s not enough food for dinner, one of the remaining friends gets eaten. “Now lets go to bed,” says someone, maybe the laconic Kan, or maybe one of the other fine young cannibals.
The effect of so much funny in a single article is to make the reader laugh uncontrollably by the end. You feel kind of ridiculous, because you’re not even sure what’s so funny. And then you hit this concluding note:
The arrangement in “Goodnight Moon” is completely uneven. Time moves forward, and the little bunny doesn’t stand a chance. Parent and child are, in this way, brought together, on tragic terms. You don’t want to go to sleep. I don’t want to die. But we both have to.
I lost it. Kolbert simply could not have been serious. It’s one of the masterstrokes of New Yorker humor writing that you just don’t know whether she is, and the sudden gravity of the switch — after a discussion a few paragraphs earlier of poo-based storytelling — is just too much to handle.
And yet in the same issue you have an examination of why Arlen Specter let habeas corpus die. That’s what initially drew me to this issue of the magazine. Every issue has something whose cover uncontrollably lures me in. I never regret the purchase.
The loveliest part of the New Yorker’s serious articles is that they are, as Adam puts it, the opposite of a blog. On the spectrum of perspective, blogs are on the shallow end; they rarely see more than a few days at once. Then come newspapers, which maybe stand back enough to see the week at a glance. The New Yorker’s policy articles deftly summarize a year or more of a story (say, Iraq) without ever skimping on the issues at its heart; its coverage is brilliant and succinct.
Finally, you have stories that stand outside of the news, and give you an angle that you never would have thought interesting. The absolute pinnacle of this must be John McPhee’s article that eventually became his book Oranges, which is exactly what it sounds like: a book containing everything you could ever want to know about oranges — a monograph which is possibly the most interesting book of less than 200 pages that you will ever read.
McPhee writes in the preface to Oranges of his experience pitching it to William Shawn (father, I just learned in that article, of the actor Wallace “Inconceivable!” Shawn):
I, meanwhile, had resigned from Time magazine to become a freelance, writing wholly for The New Yorker, and I was in search of topics, making lists. I thought of the machine in Penn Station, and the four oranges in the ad. While mentioning a number of story possibilities to Mr. Shawn, I uttered the single word “oranges?”
He answered right back. He always answered quickly. It seemed impossible to propose any subject to him that he had not thought about before you had. He kept his writers at the far ends of something like bicycle spokes — all separate, all somehow spinning together and apart, with him at the center — and when he turned down an idea he was usually protecting the interests of some writer whose name would never be mentioned. “No. I’m very sorry. No,” he would say typically, his voice so light it fell like mist. “That subject is reserved in a general way for another writer.” To my question about oranges, though, he said, “Yes. Oh, my, yes.”
That seems just the New Yorker’s style. U.S. News would not publish an article about oranges. In its more trimmed-down current life, probably the New Yorker wouldn’t, either. But it would do something just slightly offbeat, like a study of Barbie’s new competitor, Bratz, which has 40% of the market in which Barbie claims the other 60%; the article turns into a study of the low-level creepiness in the entire industry. (Unfortunately that article is not online.)
I think I’ll need to be subscribing to it ASAP. Hats off to the New Yorker and to Adam for suggesting it.