Word: yorkers
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...with the immortal tribute "Oh, wow!"), made many readers wonder if the magazine had suffered a touch of sclerosis. The frontispiece, "Talk of the Town," turned suddenly from boutique prattle to sometimes perceptive, some times ponderous essays about Nixon, Watergate, Cambodia, Agnew or poli tics in general. The New Yorker's sol emn discovery of causes was often over bearing and relentless. Indeed, Critic Philip Nobile, in his journalistic study Intellectual Skywriting, found the mag azine a prime exemplar of radical chic...
...late '60s, in the midst of sup posedly affluent times, The New Yorker fell upon bitter days: tumbling circula tion, reduced advertising. Reluctantly, Eustace Tilley wiped off his smirk and rolled up his sleeves. For the first time in its history, the magazine printed a table of contents. Soon afterward, a bold pro motional campaign was launched, an nouncing that The New Yorker, yes, The New Yorker - which in palmier days had had a waiting list of advertisers - was actually soliciting business. Fortunately, the enterprise had accumulated enough wealth - and enough loyal writers, art ists and subscribers - to weather...
...Yorker itself? Well, as George Orwell aptly observed: "At 50 one has the face one deserves." The cur rent golden-anniversary issue once again exhibits the profile of Eustace Tilley. But it is no longer the true face of the magazine. Another visage somehow hovers behind the columns, a face no longer young but not old, a wise, ironic face that has learned to tell a joke as well as take one; a face that can turn grim, be cause contemporary distress can no longer be answered with a riposte; a face that has resolved its youthful conflict...
...Crimson raises serious doubt as to the validity of this and all other art reviews published by the paper. Upon reading the review I was immediately struck by the similaritles between these comments and a review by Pauline Kael in the Dec. 9, 1974 issue of the New Yorker. Specifically, Stephen, like Kael, begins his review with a few comments on the theories of schizophrenia expressed by R.D. Laing. Dispersed throughout the article are several particularly unusual phrases used by Kael in her review. One of Stephen's lines reads as follows: "[Gena Rowlands] moves from spasms of manic nervousness...
...movie. I read her piece about a week before beginning my own, and hold in mind the expression "handsome, grainy-cinema-verite" and the characterization of Mabel as a "chastened, hurt-animal" penitent and "anxious speed freak." By any ethical standards I should have given credit to the New Yorker review...