The New Yorker

The New Yorker


The World Through a Monocle

A well-known critic lamented that "certain groups have come to communicate almost exclusively in references to the [magazine's] sacred writings." "The World through a Monocle" is a study of these "sacred writings.

The World Through a Monocle

Today "The New Yorker" is one of a number of general-interest magazines published for a sophisticated audience, but in the post-World War II era the magazine occupied a truly significant niche of cultural authority. A self-selected community of 250,000 readers, who wanted to know how to look and sound cosmopolitan, found in its pages information about night spots and polo teams. They became conversant with English movies, Italian Communism, French wine, the bombing of the Bikini Atoll, pret-a-porter, and Caribbean vacations. A well-known critic lamented that "certain groups have come to communicate almost exclusively in references to the [magazine's] sacred writings." "The World through a Monocle" is a study of these "sacred writings." Mary Corey mines the magazine's editorial voice, journalism, fiction, advertisements, cartoons, and poetry to unearth the preoccupations, values, and conflicts of its readers, editors, and contributors. She delineates the effort to fuse liberal ideals with aspirations to high social status, finds the magazine's blind spots with regard to women and racial and ethnic stereotyping, and explores its abiding concern with elite consumption coupled with a contempt for mass production and popular advertising. Balancing the consumption of goods with a social conscience which prized goodness, the magazine managed to provide readers with what seemed like a coherent and comprehensive value system in an incoherent world. Viewing the world through a monocle, those who created "The New Yorker" and those who believed in it cultivated a uniquely powerful cultural institution serving an influential segment of the population. Corey's work illuminates this extraordinary enterprise in our social history.

The New Yorker Magazine Book of Mom Cartoons

Inside this special collection, such New Yorker cartooning greats as Charles Barsotti, Robert Mankoff, and Barbara Smaller offer up 100 black-and-white single-panel cartoons in tribute to a diverse array of moms, ranging from football and ...

The New Yorker Magazine Book of Mom Cartoons

Know that for every exuberant 'I love you' from a three-year-old, you're bound to get a, as they say, developmentally appropriate 'I hate you' from a thirteen-year-old. The trick is to embrace the one and let go of the other. . . . Laughter helps." -Cartoonist Barbara Smaller, introduction to the Book of Moms Perfect for Mother's Day, 100 sarcastically pitch-perfect cartoons culled from The New Yorker archives to celebrate Mom's unique motherly mom-ness. More The New Yorker Magazine Book of Mom Cartoons Since 1925, The New Yorker has cultivated the creme de la creme of cartooning elite, a vanguard of sketching artists with astute wit and clever perceptions of life and living. Inside this special collection, such New Yorker cartooning greats as Charles Barsotti, Robert Mankoff, and Barbara Smaller offer up 100 black-and-white single-panel cartoons in tribute to a diverse array of moms, ranging from football and CEO moms to tattooed and jack-in-the-box moms. A witty introduction by New Yorker cartoonist Barbara Smaller opens this homage by calling attention to a few of her favorite cartoons within the collection, including: * Roz Chast's "Bad Mom cards, where Lucy, Gloria, and others are guilty, guilty, guilty of such crimes as not making Play-Doh from scratch or serving orange soda." * Sam Gross's cartoon depicting a "primordial ooze rising out of a test tube . . . inquiring hopefully of the scientist, 'Are you my mommy?'"

The Complete Cartoons of the New Yorker

Showcases the work of hundreds of artists who have contributed to the magazine throughout its eighty-year history, in a richly illustrated volume containing 2,500 black-and-white cartoons by Peter Arno, Charles Addams, Jack Ziegler, Roz ...

The Complete Cartoons of the New Yorker

Showcases the work of hundreds of artists who have contributed to the magazine throughout its eighty-year history, in a richly illustrated volume containing 2,500 black-and-white cartoons by Peter Arno, Charles Addams, Jack Ziegler, Roz Chast, and other notables, along with essays on the evolution of the magazine's humor and style, and a fully searchable DVD-ROM. Reprint. 40,000 first printing.

Gone

From a legendary journalist and star writer at "The New Yorker" comes an insider's look at the magazine's tumultuous yet glorious years under the direction of the enigmatic William Shaw.

Gone

From a legendary journalist and star writer at "The New Yorker" comes an insider's look at the magazine's tumultuous yet glorious years under the direction of the enigmatic William Shaw.

Maeve Brennan Homesick at the New Yorker

It is Angela Bourke's achievement withMaeve Brennan: Homesick at The New Yorker to bring much-deserved attention to Brennan's complex legacy in all her triumph and tragedy--from Dublin childhood to Manhattan glamour, and from extraordinary ...

Maeve Brennan  Homesick at the New Yorker

To be a staff writer at The New Yorker during its heyday of the 1950s and 1960s was to occupy one of the most coveted--and influential--seats in American culture. Witty, beautiful, and Irish-born Maeve Brennan was lured to such a position in 1948 and proceeded to dazzle everyone who met her, both in person and on the page. From 1954 to 1981 under the pseudonym "The Long-Winded Lady,” Brennan wrote matchless urban sketches of life in Times Square and the Village for the "Talk of the Town” column, and under her own name published fierce, intimate fiction--tales of childhood, marriage, exile, longing, and the unforgiving side of the Irish temper. Yet even with her elegance and brilliance, Brennan’s rise to genius was as extreme as her collapse: at the time of her death in 1993, Maeve Brennan had not published a word since the 1970s and had slowly slipped into madness, ending up homeless on the same streets of Manhattan that had built her career. It is Angela Bourke’s achievement with Maeve Brennan: Homesick at The New Yorker to bring much-deserved attention to Brennan’s complex legacy in all her triumph and tragedy--from Dublin childhood to Manhattan glamour, and from extraordinary literary achievement to tragic destitution. With this definitive biography of this troubled genius, it is clear that Brennan, though always an outsider in her own life and times, is rightfully recognized as one of the best writers to ever grace the pages of The New Yorker.

The New Yorker

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The New Yorker


101 Cryptic Crosswords

That's because the clues all have two parts: a definition half and a wordplay half, with anagrams, reversals, containers, and lots of other word games built in. For example, here's a clue: 'Reportedly lost in fog. (4 letters).' Got it?

101 Cryptic Crosswords

These puzzles - taken from the celebrated pages of The New Yorker magazine - offer more challenges per 'empty square' than the average crossword! Every cryptic has a twist, a little something extra, a double-dose of difficulty. That's because the clues all have two parts: a definition half and a wordplay half, with anagrams, reversals, containers, and lots of other word games built in. For example, here's a clue: 'Reportedly lost in fog. (4 letters).' Got it? It's 'mist' - a homonym for 'missed' and also a synonym for 'fog'. An introduction enlightens you on all the intricacies of solving cryptic crosswords, and of course the solutions appear at the end with tricks behind the clues explained. It may take a little practice to get the hang of these, but once you do, you'll be hooked for good!

The Last Days of The New Yorker

Probes the sale of the "New Yorker" magazine to a media conglomerate, the shock caused by the replacement of long-time editor William Shawn, and on-going power struggles between creative and business forces on the magazine's staff

The Last Days of The New Yorker

Probes the sale of the "New Yorker" magazine to a media conglomerate, the shock caused by the replacement of long-time editor William Shawn, and on-going power struggles between creative and business forces on the magazine's staff

The Big New Yorker Book of Cats

This bountiful collection, beautifully illustrated in full color, features articles, fiction, humor, poems, cartoons, cover art, drafts, and drawings from the magazine’s archives.

The Big New Yorker Book of Cats

Look what The New Yorker dragged in! It’s the purr-fect gathering of talent celebrating our feline companions. This bountiful collection, beautifully illustrated in full color, features articles, fiction, humor, poems, cartoons, cover art, drafts, and drawings from the magazine’s archives. Among the contributors are Margaret Atwood, T. Coraghessan Boyle, Roald Dahl, Wolcott Gibbs, Robert Graves, Emily Hahn, Ted Hughes, Jamaica Kincaid, Steven Millhauser, Haruki Murakami, Amy Ozols, Robert Pinsky, Jean Rhys, James Thurber, John Updike, Sylvia Townsend Warner, and E. B. White. Including a Foreword by Anthony Lane, this gorgeous keepsake will be a treasured gift for all cat lovers. Praise for The Big New Yorker Book of Cats “The Book of Cats comes a year after The Big New Yorker Book of Dogs—a publishing slight that, though it stings, I’ll forgive, as the latest anthology was worth the wait. . . . Two standout articles feature real-life obsessives of ages past who reveal today’s Caturnet devotees—with their GIFs and Tumblrs and hastily aggregated listicles—for what they truly are: amateurs. . . . Eat your heart out, Cute Overload.”—The New York Times Book Review “A beautiful hardcover.”—Jenny McCarthy, People “This irresistible anthology of articles, poems, essays, fiction, cartoons, and covers pulled from the New Yorker is a veritable treasure trove for cat lovers. Just dive right in; with stories from the likes of John Updike, Maeve Brennan, Roald Dalhl, and Haruki Murakami interwoven with hilariously wry cartoons, one can’t help but be enthralled. A must-have.”—Modern Cat “A shiny, well-fed tome . . . The anthology embodies the cat’s defining characteristic: its cluster of opposites, rolled together into a giant hairball of cultural attitudes—something, perhaps, at once uncomfortably and assuringly reflective of our own chronically conflicted selves.”—Brain Pickings “This gorgeous book has earned a permanent spot on my coffee table. It is an absolute joy to read and browse through, and I know it will bring me hours and hours of pleasure for years to come. And it makes a purr-fect gift for the special cat lovers in your life.”—The Conscious Cat “[A] sumptuous volume.”—The Dallas Morning News “One need not own cats (or do cats own their owners?) or even be a pet lover to savor this feline-focused offering.”—The Sacramento Bee “[A] fun collection of short stories, articles, humor, poems, and charming color covers from the magazine’s archives . . . [a] high-quality, attractive work.”—Library Journal “Covers, cartoons, authors of pieces both longer and shorter, reflect current views of the feline subject in all its glory. . . . The quality, humor and variety make for another successful New Yorker collection.”—Kirkus Reviews “An eminently giftable anthology.”—Publishers Weekly From the Hardcover edition.

Ho Hum

Ho Hum


Fierce Pajamas

Here’s a way the over-fifty set can easily kill a good half hour: 1. Place your car keys in your right hand. 2. With your left hand, call a friend and confirm a lunch or dinner date. 3. Hang up the phone. 4.

Fierce Pajamas

When Harold Ross founded The New Yorker in 1925, he described it as a “comic weekly.” And although it has become much more than that, it has remained true in its irreverent heart to the founder’s description, publishing the most illustrious literary humorists of the modern era—among them Robert Benchley, Dorothy Parker, Groucho Marx, George S. Kaufman, James Thurber, S. J. Perelman, Peter De Vries, Mike Nichols, Marshall Brickman, Woody Allen, Donald Barthelme, Calvin Trillin, George W. S. Trow, Veronica Geng, Garrison Keillor, Ian Frazier, Roy Blount, Jr., Bruce McCall, Steve Martin, Christopher Buckley, and Paul Rudnick. This anthology gathers together, for the first time, the funniest work of more than seventy New Yorker contributors. Parodists take on not only writers like Hemingway and Kerouac, but TV documentaries, Italian cinema, and etiquette books. (Enough have been published, Robert Benchley maintains, “that there should be no danger of toppling over forward into the wrong soup, or getting into arguments as to which elbow belongs on which arm.”) Other pieces offer perspectives on the heights of fame, the depths of social embarrassment, and the ups and downs of love and sex. Such well-loved sketches as Thurber’s “The Secret Life of Walter Mitty” take their place alongside light-hearted essays on food, tennis, and taxis, and flights of fancy that follow an apparently simple premise to the point of no return, and sometimes well beyond. Here you will find large insights (Woody Allen: “Why does man kill? He kills for food. And not only food: frequently there must be a beverage”) and hard-earned wisdom (Ian Frazier on dating your mom: “Here is a grown, experienced, loving woman—one you do not have to go to a party or a singles bar to meet, one you do not have to go to great lengths to know”). And, not least, a great deal of helpful advice, including Steve Martin’s on memory and middle age: “Bored? Here’s a way the over-fifty set can easily kill a good half hour: 1. Place your car keys in your right hand. 2. With your left hand, call a friend and confirm a lunch or dinner date. 3. Hang up the phone. 4. Now look for your car keys.” A rich selection of humorous verse includes caustic gems by Dorothy Parker, the effortless whimsy of Phyllis McGinley, and Ogden Nash’s unforgettable slapstick prosody, as well as forays by luminaries who ought to have known better, like Robert Graves, Elizabeth Bishop, and W. H. Auden. A wonderful gift for others, or a delightful treat for oneself, Fierce Pajamas is a treasury of laughter from a publication described by Auden as “the best comic magazine in existence.”

Life Stories

Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail ...

Life Stories

One of art's purest challenges is to translate a human being into words. The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity. Including these twenty-eight profiles: “Mr. Hunter’s Grave” by Joseph Mitchell “Secrets of the Magus” by Mark Singer “Isadora” by Janet Flanner “The Soloist” by Joan Acocella “Time . . . Fortune . . . Life . . . Luce” by Walcott Gibbs “Nobody Better, Better Than Nobody” by Ian Frazier “The Mountains of Pi” by Richard Preston “Covering the Cops” by Calvin Trillin “Travels in Georgia” by John McPhee “The Man Who Walks on Air” by Calvin Tomkins “A House on Gramercy Park” by Geoffrey Hellman “How Do You Like It Now, Gentlemen?” by Lillian Ross “The Education of a Prince” by Alva Johnston “White Like Me” by Henry Louis Gates, Jr. “Wunderkind” by A. J. Liebling “Fifteen Years of The Salto Mortale” by Kenneth Tynan “The Duke in His Domain” by Truman Capote “A Pryor Love” by Hilton Als “Gone for Good” by Roger Angell “Lady with a Pencil” by Nancy Franklin “Dealing with Roseanne” by John Lahr “The Coolhunt” by Malcolm Gladwell “Man Goes to See a Doctor” by Adam Gopnik “Show Dog” by Susan Orlean “Forty-One False Starts” by Janet Malcolm “The Redemption” by Nicholas Lemann “Gore Without a Script” by Nicholas Lemann “Delta Nights” by Bill Buford

The Big New Yorker Book of Dogs

This copious collection, beautifully illustrated, features articles, fiction, humor, poems, cartoons, cover art, drafts, and drawings from the magazine’s archives.

The Big New Yorker Book of Dogs

Only The New Yorker could fetch such an unbelievable roster of talent on the subject of man’s best friend. This copious collection, beautifully illustrated in full color, features articles, fiction, humor, poems, cartoons, cover art, drafts, and drawings from the magazine’s archives. The roster of contributors includes John Cheever, Susan Orlean, Roddy Doyle, Ian Frazier, Arthur Miller, John Updike, Roald Dahl, E. B. White, A. J. Liebling, Alexandra Fuller, Jerome Groopman, Jeffrey Toobin, T. Coraghessan Boyle, Ogden Nash, Donald Barthelme, Jonathan Lethem, Mark Strand, Anne Sexton, and Cathleen Schine. Complete with a Foreword by Malcolm Gladwell and a new essay by Adam Gopnik on the immortal canines of James Thurber, this gorgeous keepsake is a gift to dog lovers everywhere from the greatest magazine in the world.

Christmas at The New Yorker

From Jazz Age to New Age, E. B. White to Garrison Keillor, these works represent eighty years of wonderful keepsakes for Christmas, from The New Yorker to you.

Christmas at The New Yorker

From the pages of America’s most influential magazine come eight decades of holiday cheer—plus the occasional comical coal in the stocking—in one incomparable collection. Sublime and ridiculous, sentimental and searing, Christmas at The New Yorker is a gift of great writing and drawing by literary legends and laugh-out-loud cartoonists. Here are seasonal stories, poems, memoirs, and more, including such classics as John Cheever’s 1949 story “Christmas Is a Sad Season for the Poor,” about an elevator operator in a Park Avenue apartment building who experiences the fickle power of charity; John Updike’s “The Carol Sing,” in which a group of small-town carolers remember an exceptionally enthusiastic fellow singer (“How he would jubilate, how he would God-rest those merry gentlemen, how he would boom out when the male voices became King Wenceslas”); and Richard Ford’s acerbic and elegiac 1998 story “Crèche,” in which an unmarried Hollywood lawyer spends an unsettling holiday with her sister’s estranged husband and kids. Here, too, are S. J. Perelman’s 1936 “Waiting for Santy,” a playlet in the style of Clifford Odets labor drama (the setting: “The sweatshop of Santa Claus, North Pole”), and Vladimir Nabokov’s heartbreaking 1975 story “Christ-mas,” in which a father grieving for his lost son in a world “ghastly with sadness” sees a tiny miracle on Christmas Eve. And it wouldn’t be Christmas—or The New Yorker—without dozens of covers and cartoons by Addams, Arno, Chast, and others, or the mischievous verse of Roger Angell, Calvin Trillin, and Ogden Nash (“Do you know Mrs. Millard Fillmore Revere?/On her calendar, Christmas comes three hundred and sixty-five times a year”). From Jazz Age to New Age, E. B. White to Garrison Keillor, these works represent eighty years of wonderful keepsakes for Christmas, from The New Yorker to you. From the Hardcover edition.

Reporting

Here is Remnick on Don DeLillo, Philip Roth and The Sopranos; and here he is writing about Solzhenitsyn returning to Russia after nearly 20 years in exile, or on the failure of democracy in Mubarak’s Egypt.

Reporting

David Remnick is a man much praised for his powers of observation, description and analysis, and Reporting contains his very best pieces from his first fifteen years as editor of The New Yorker. Here is Remnick on Don DeLillo, Philip Roth and The Sopranos; and here he is writing about Solzhenitsyn returning to Russia after nearly 20 years in exile, or on the failure of democracy in Mubarak’s Egypt. Without doubt one of America's most gifted and widely read journalists, Remnick's style combines compassion, empathy, exuberance and humour, and in Reporting he brings the written word to life, describing the world with extraordinary vividness and exceptional depth.

Disquiet Please

The New Yorker is, of course, a bastion of superb essays, influential investigative journalism, and insightful arts criticism. But for eighty years, it’s also been a hoot.

Disquiet  Please

The New Yorker is, of course, a bastion of superb essays, influential investigative journalism, and insightful arts criticism. But for eighty years, it’s also been a hoot. In fact, when Harold Ross founded the legendary magazine in 1925, he called it “a comic weekly,” and while it has grown into much more, it has also remained true to its original mission. Now an uproarious sampling of its funny writings can be found in a hilarious new collection, one as satirical and witty, misanthropic and menacing, as the first, Fierce Pajamas. From the 1920s onward–but with a special focus on the latest generation–here are the humorists who set the pace and stirred the pot, pulled the leg and pinched the behind of America. S. J. Perelman unearths the furious letters of a foreign correspondent in India to the laundry he insists on using in Paris (“Who charges six francs to wash a cummerbund?!”). Woody Allen recalls the “Whore of Mensa,” who excites her customers by reading Proust (or, if you want, two girls will explain Noam Chomsky). Steve Martin’s pill bottle warns us of side effects ranging from hair that smells of burning tires to teeth receiving radio broadcasts. Andy Borowitz provides his version of theater-lobby notices (“In Act III, there is full frontal nudity, but not involving the actor you would like to see naked”). David Owen’s rules for dating his ex-wife start out magnanimous and swiftly disintegrate into sarcasm, self-loathing, and rage, and Noah Baumbach unfolds a history of his last relationship in the form of Zagat reviews. Meanwhile, off in a remote “willage” in Normandy, David Sedaris is drowning a mouse (“This was for the best, whether the mouse realized it or not”). Plus asides, fancies, rebukes, and musings from Patty Marx, Calvin Trillin, Bruce McCall, Garrison Keillor, Veronica Geng, Ian Frazier, Roy Blount, Jr., and many others. If laughter is the best medicine, Disquiet, Please is truly a wonder drug. From the Hardcover edition.