The other day, the New York Times observed that there has been "a shift in The New Yorker’s cover art toward the topical and provocative." One can see that change, literally, where, "at The New Yorker’s Midtown offices, a wall of covers arranged in chronological order shows a distinct change in tone," with a turning point being somewhere "around Sept. 11, 2001," when it ran a stark, all-black cover.
This is largely in tune with a shift in the tone of the magazine itself, which has grown only more responsive to current events in recent years (in contrast to its stance under every editor that preceded Tina Brown [...]
"'He said Shaq gave a bitch a mil—I don't do that 'cause my name's Shaquille. I love 'em but don't leave 'em. I got a vasectomy, now I can't breed 'em. Kobe, how my ass taste?' The crowd at the club joined a smiling O'Neal in repeating the zinger several times in unison while he bent over and flaunted his Barkleyesque rump." [Related]
People are always saying things on the Internet all the time. But they are such teases. We like details. So we have to ask.
No disrespect to the Nobel committee but one time I had to call Alice Munro about a fact checking issue and she answered on the first try.
— Lila Byock (@LByock) October 10, 2013
Lila! So what happened here? From 2006 to 2010, I was a fact checker at The New Yorker. Famously, no section of the magazine is spared the scrutiny of the checker. Poetry, Shouts & Murmurs, cartoons: We do it all. Nobody likes to check the fiction, though. It can [...]
William Shawn began work at The New Yorker in 1933, was appointed managing editor in 1939 and, quite shortly after the death of founding editor Harold Ross, became the magazine's editor in 1951.
In 1985, 34 years later, Shawn was still the editor, but Peter Fleischmann, the son of founding partner Raoul Fleischmann, owned only 25% of shares in The New Yorker. Paine Webber owned the next largest share, and the Newhouse family's Advance Publications already owned around 17% of the publication. Advance wanted, and got, the rest, for a price something like 20 times current revenues, according to the Times.
The employees, however, were not happy [...]
David Denby wrote a mad-crazy review of Silver Linings Playbook in the New Yorker. Thankfully for his dignity, it was behind the paywall, and came after a lengthy review of that weird dead snoozer, Life of Pi (it's an effusive but cautious rave, but he does call Life of Pi "one of the great adventure films"). Here's a taste: "David O. Russell's 'Silver Linings Playbook' is pretty much a miscalculation from beginning to end," and he goes on to call it nothing more than an exercise for actors, that it "feels worked up." This is a point of view at least, if a wrong one, and artificiality is a [...]
Stop crucifying Jonah Lehrer! It's more important that good ideas get disseminated than that magazines keep exclusivity! @jonahlehrer
— Parag Khanna (@paragkhanna) June 21, 2012
No one who's going on about how everyone is "celebrating" Jonah Lehrer's trouble with repackaging works or "crucifying" him or expressing "schadenfreude" has ever cited anyone who's actually doing any of those things.
The May 7th issue of The New Yorker features a Mother's Day-themed cover by Chris Ware. The art editor who oversaw its creation is Françoise Mouly, who, since joining The New Yorker in 1993, has guided more than 950 of the magazine's covers, including some of the most iconic of recent years (including the September 11, 2001 black-on-black cover with Art Spiegelman, and Barry Blitt's "terrorist first bump" cover in 2008). In the new book Blown Covers, Mouly shares cover concepts that never made it on the magazine, with sketches from a roster of New Yorker artists with whom she works regularly.
In addition to her duties at [...]