Martin Schneider writes:
A new issue of The New Yorker comes out today. It is the Money Issue. A preview of its contents, adapted from the magazine’s press release:
In “Inside the Crisis,” Ryan Lizza examines the inner workings of Obama’s economic team, interviewing all the major players—Lawrence Summers, Timothy Geithner, Christina Romer, Peter Orszag, Jared Bernstein, David Axelrod, Rahm Emanuel, Joe Biden—plus many other Administration officials, to provide a look at how Summers, the director of the National Economic Council, former Treasury Secretary, and “one of the most brilliant economists of his generation,” has steered the Administration’s economic policy.
In “Searching for Trouble,” Ken Auletta goes inside Google to tell the story of the company’s growth and future.
In “Call Me,” Tad Friend profiles Nikki Finke, the entertainment-business reporter who has been running the Web site Deadline Hollywood Daily out of her Los Angeles apartment since 2006.
In Comment, Michael Specter asks why so many people fear the H1N1 vaccine more than the disease itself.
In the Financial Page, James Surowiecki looks at the recession’s impact on consumer behavior.
David Owen explores solutions to the problem of regulating executive compensation.
In Shouts & Murmurs, Yoni Brenner offers program notes on orchestral classics.
Nick Paumgarten looks at attempts to predict the financial markets using numerical patterns, and profiles one man whose strategy has predicted many of the major peaks and crashes of the past thirty years.
There is a portfolio of cartoons about the stock market.
Jill Lepore goes back to the roots of management consulting and asks how the idea of efficiency took over our lives.
Hilton Als reviews Tracy Letts’s latest play Superior Donuts.
Peter Schjeldahl visits the Luc Tuymans traveling retrospective, currently in Columbus, Ohio.
Anthony Lane watches Ricky Gervais’s The Invention of Lying.
There is a short story by Tessa Hadley.
Author Archives: Martin
Song for a Punctuation Mark Dear to Our Heart
Martin Schneider writes:
Via her mailing list, Mignon Fogerty, Macmillan’s “Grammar Girl,” passes along this “Ode to the Em Dash,” written by punctuation enthusiast Sandra Ridpath:
“Ode to Em—”As you dash about, I admire how
Straight, crisp and lean you look;
And whether before, after, or between
Your words, phrases, and clauses—
You create bold—almost brash—pauses.
Your sharp, double-sided sword either
Interrupts, explains, or provides a crisp refrain—Your more subdued and delicate cousin Comma,
More delicately shapes her conversational stance.
With a classic hook, an almost unstated elegance,
She crooks her tiny tea cup drinking finger and smiles,
While you slash and grin like a pirate defending his men.
On all matters of meaning, movement, and patterns.
I’m not lean, bold, or brash, but I accept the vicarious compliment nonetheless. Nice job!
Essential Link: Interview with New Yorker Copyeditor Mary Norris
Martin Schneider writes:
Andy Ross at Red Room comes up with maybe the most informative article about the nuts and bolts of working at The New Yorker I can recall linking to. It’s an interview with Mary Norris, New Yorker copyeditor. If you like The New Yorker, copyediting, or amusing women (I like all of those things), you’ll find lots to enjoy here.
Norris is appearing at the copyediting master class at the New Yorker Festival, which I really hope I get to attend.
Now I’m worried that she’ll read this post and find errors in it. Oh, boy….
What’s in This Week’s New Yorker: 10.05.09
Martin Schneider writes:
(We neglected to execute this feature the last couple of weeks, but now we’re back on the stick.)
A new issue of The New Yorker comes out tomorrow. A preview of its contents, adapted from the magazine’s press release:
In “Gangland,” Jon Lee Anderson goes inside Morro do Dendê, one of the more dangerous favelas in Rio de Janeiro, to explore the rarely seen world within the shantytown slums and to meet with Fernandinho, the favela’s head gangster, who runs the drug trade and dispenses justice through an armed posse.
In “Rational Irrationality,” John Cassidy provides a new reading of the economic crisis and discusses its implications for the regulatory overhaul that President Obama has suggested.
“When I think of the people I know who are active in Iran’s pro-democracy movement,” a correspondent writes from Tehran, in “Veiled Threat,” “I think first of the women.” Looking back on the Constitutional Revolution of 1906, the Islamic Revolution of 1979, and this summer’s demonstrations over the contested Presidential election, the writer says, “I’m struck by the absence of women in the first, the paucity of women in the second, and the triumphant presence of women in the third.”
In Comment, Elizabeth Kolbert looks ahead to December’s U.N. Climate Change Conference in Copenhagen and describes the steps the U.S. must take to become a true leader in climate-change legislation.
In Shouts & Murmurs, Zev Borow compares his spouse to home electronics.
Robert Polidori photographs the General Assembly Hall of the United Nations.
Anthony Lane profiles the filmmaker Michael Haneke.
Nancy Franklin watches The Jay Leno Show.
James Wood considers the latest work in the author Robert Powers’s science-fiction oeuvre.
Alex Ross describes the shortcomings of the current Tosca at the Met.
Anthony Lane takes in Peter Sellars’s Othello, starring John Ortiz and Philip Seymour Hoffman.
David Denby reviews the Coen brothers’ A Serious Man and Michael Moore’s Capitalism: A Love Story.
There is a short story by George Saunders.
Friendster Green with Envy: New Yorker Joins Twitter
Martin Schneider writes:
As of yesterday, you can follow The New Yorker at the Twitter feed @newyorker. It seems that they are no longer using @NewYorkerDotCom (as we reported long ago).
The “Mad Men” Files: Lenox Lounge
Martin Schneider writes:
The setting for the arresting first scene of the entire series, in which the as yet unidentified Don Draper quizzes a black restaurant peon about his brand of cigarettes, is the Lenox Lounge, according to Matthew Weiner in the DVD commentary to the series opener. Still in operation today, the Harlem landmark is located at 288 Lenox Avenue, just off Malcolm X Boulevard at 125th St., although that stretch of Sixth Avenue obviously didn’t bear that name in 1960—just another sign of how things change, a central theme of the show.
It seems a bit implausible that Don Draper would spend that evening alone in Harlem, perhaps 75 blocks north of his office and at least 110 blocks north of Midge’s apartment, his eventual destination. Then again, as we later learn, Don is a devotee of Ingmar Bergman’s movies and Frank O’Hara’s poetry, so he does have the capacity to surprise in this regard; the Lenox Lounge is a legendary jazz club, so he might be there to catch Lady Day deliver a memorable rendition of “I Cover the Waterfront.” (By the by, it is just me or have they blunted this side of Don in Season 3?)
I’ve been to the Lenox Lounge before, and I’m a little confused as to how seriously we’re meant to take Weiner’s information—it’s one thing for Draper himself to want to go there, quite another for it to be crammed with white office workers as a matter of course. Does anyone know the general demographic characteristics of the place during that period? It didn’t look like that (demographically speaking) in 2000 or so, when I was there.
I was hoping for a little insight on this question from The New Yorker, but no such luck: the references to the Lenox Lounge are all recent, the finest among them being an interesting photograph of the club’s interior, in a Portfolio by Robert Polidori, text by Kurt Andersen.
Enter the New Yorker Festival Fanatic Contest!
Martin Schneider writes:
Oh boy, this should be good. The New Yorker Festival has invited its hardcore junkies to outdo one another. Best evidence of past Festival obsession yields a profusion of tickets—but that person would need it least of all!
We want you to share your Festival bona fides. Have you been to all nine Festivals? Did you stand in line for two hours to get the chance to meet Alice Munro? What’s your favorite Festival memory?
The Festival staff will review all the comments posted by September 30th and announce the most die-hard Festival fan on [the New Yorker Festival blog]. The winner will receive a specially curated batch of tickets for two to this year’s Festival.
More details here.
I don’t have any good stories of obsession, I had attended a half-dozen events or so over the years, but recently I’ve been comped. (But wait: My Festival tattoo makes me a shoo-in….)
Festival Update: Stanley Tucci Event Added
Martin Schneider writes:
The New Yorker Festival has augmented its bounty by adding a new Saturday event. The endearingly plummy character actor (and native of Westchester County, which I did not know until I checked it on Wikipedia just now) has been an indelible presence in countless movies and should make for an excellent subject.
Saturday, October 17, 1 p.m. Acura at Stage37, at 508 West 37th Street. The price is $27.
The “Mad Men” Files: Our Top Man
Martin Schneider writes:
I didn’t find anything juicy from The New Yorker this week, but a minor scoop relating to the fruits of Mad Men‘s research team (whoever they are).
When Betty Draper is at the hospital, she clamors for her own obstetrician, Dr. Aldrich. The suitably stern nurse (it is 1963 after all) assures her that while her own doctor may be living it up in New York City, Betsy will receive the treatment of Dr. Mendelowitz, “our top man!”
According to my friend Seth Davis, a native of the Westchester village of Croton-on-Hudson, New York, there really was a noted obstetrician named Mendelowitz in the area during that time—and he is still alive and well and living a couple towns away from Ossining, in Tarrytown! (Seth relates that the good doctor was reportedly delighted by the shout-out.)
Not only that, but Dr. Mendelowitz has two sons, both of whom are practicing obstetricians in the area—one of them delivered one of Seth’s sons, while the other delivered Seth’s other son!
Considering I’m friends with the entire Davis family, I’ve a lot to thank the Drs. Mendelowitz for.
The “Mad Men” Files: Spoiler Alert
Martin Schneider writes:
In the most recent episode, “Ho Ho,” the wealthy scion of a shipping magnate (himself a friend of Bertram Cooper) hires Sterling Cooper to ensconce jai alai and el rey de la pelota—identified as “Patchy”—in the lucrative embrace of the American mass.
Somewhat improbably, Don is opposed to the account, as it will take advantage of a well-connected dupe. Upon hearing Don’s well-meant advice to drop the project, the scion intones, “If Jai alai fails, it’s your fault.” (James Wolcott cracks, “A heavy burden to lay on Don, or any man.”)
Considering that eleven years later, Herbert Warren Wind would be taking up the quixotic project to introduce Basque pelote sports to New Yorker readers, it’s safe to assume that jai alai never takes off.
Sorry for spoiling future episodes!
Relatedly, if you look at page 24 of the October 12, 1963, issue, there’s an advertisement for Florida that mentions jai alai. While far from a masterpiece, it does look considerably more modern than the stuff we see Sterling Cooper putting out. Time to step it up, boys (and Peggy).
