January 23, 1987 |
William Shawn, the editor of the New Yorker, was on the line. Reticent- voiced and apologetic for phoning me at home in the evening, he explained the purpose of the call: to ask if I would mind if he suggested a word change or two in the article I had sent to the magazine. If that was acceptable to me, he would order proofs and pass the piece to the fact-checking department where it would be prepared for publication. Then he stopped. The pause continued. My first impulse was to drop the phone and go to the basement to get the stepladder for climbing to the rooftop, for a shout to the neighbors that a boyhood dream had just come true: being published in The New Yorker.
February 20, 1987 |
According to Bud Liebler, Chrysler's maharajah of marketing, "Buyers who are looking for comfort and elegance will recognize New Yorker as an ultimate high-technology luxury sedan. " More likely, they will not recognize the New Yorker as such. More likely, they will realize that the ultimate high-technology luxury sedan isn't made in Detroit for $14,396. It is assembled in Munich and Stuttgart for something on the order of $45,000. In a real way, Liebler's hyperbole symbolizes the New Yorker's problem: It tries to be more than it is. Instead of being content with its real self - a comfortable, mid-price family sedan with a lot of zing in its turbo-charged form - the New Yorker wants to be ever so ritzy.
April 20, 1997 |
John McPhee has a startling revelation to make. "I have never written one word at the New Yorker, except for fixes," the longtime New Yorker staff writer says. He does all his writing at his office at Princeton University where he teaches one course every spring. "I think my ambition to be a writer formed perhaps even before high school," McPhee, an elegant stylist and meticulous researcher, said in a recent interview. "I was under the misapprehension when I was 12 that it looked easy.
July 12, 1998 |
Tina Brown said good-bye to the New Yorker with hugs, kisses and champagne while publisher S.I. Newhouse Jr. promised to continue her legacy - for now, anyway. "We have a slight editorial problem," he jokingly told the staff Thursday, according to the New York Times. A day earlier, Brown announced she was resigning as the magazine's editor to start a company affiliated with Miramax Films. Giving her a kiss and an embrace, Newhouse said he would make no sudden changes to the mag the British editor has fashioned into a cutting-edge publication.
September 11, 1994 |
It's said that the decades after the Civil War in America produced, in a rising level of prosperity, some of the most powerful and picturesque personalities in our nation's history. That was an era of robber barons and incompetent politicians, to be sure, but also of utopian reformers with dreams for the betterment of mankind. And it was an era of major creative talents in the arts and literature who had to make their mark in Europe before finding patrons on this side of the Atlantic.
March 6, 1993 |
The best-of-13-set series for the world championship of court tennis went to the final set yesterday before Wayne Davies, the titleholder since 1987, prevailed again. Davies, pro at the New York Racquet and Tennis Club, withstood a strong finish by challenger Lachlan Deuchar, pro at London's Harbour Club, to win the Open Court Tennis Championship by 7 sets to 6 at the New York club.
July 17, 1998 |
Do great magazines have to be charitable operations? That's the question hovering over The New Yorker, where brilliant writer David Remnick was just named to succeed editor Tina Brown, who quit to head a new multimedia venture affiliated with Miramax films. Tina - who, like Madonna and Monica, now seems famous enough for a first name to suffice - reigned at the New Yorker as the queen of "buzz. " She assembled a peerless stable of writing talent. She made the proud but staid weekly a force in interpreting breaking news.
July 1, 1992 |
In a shakeup that stunned Manhattan's publishing world yesterday, Vanity Fair editor-in-chief Tina Brown was tapped to head The New Yorker, the venerable literary and nonfiction weekly. Naming Brown as The New Yorker's editor-in-chief was a move viewed as akin to chosing Madonna to direct the New York City Ballet. The fourth editor-in- chief in The New Yorker's 67-year history, Brown inherits a magazine with one of the country's richest literary histories. It has published James Thurber, E.B. White, James Baldwin, Truman Capote, Lillian Ross, A.J. Liebling, Dorothy Parker, John Hersey, John Cheever and John Updike, as well as the drawings of Charles Addams and George Booth.
December 31, 1997 |
"Happy writers have histories shorter even than happy families," Brendan Gill said in the opening lines of his 1975 best-seller, Here at the New Yorker. "The whole of my professional career can be summed up by saying that I started out at the place where I wanted most to be . . . and with much pleasure and very little labor have remained here ever since. " Gill died Saturday at 83. And after 60 years, he was still a staff writer for the New Yorker. For that matter, the edition of the magazine now on the stands - the Jan. 5 edition - includes a piece by Gill on the New York City skyline.
February 20, 1996 |
Roseanne, our favorite TV star who used to live in a trailer park, is finally getting the intellectual props she craves: She's credited as a contributing editor to this week's New Yorker magazine. Of course, that means many of the actual intellectuals associated with the famous mag are up in arms. Two writers, envisioning Roseanne going over their think-pieces with a big red pencil, quit last year when editor Tina Brown announced she was seeking Roseanne's help. But what was Roseanne's actual input?