A Legacy of Words and witness: Reflections on The New Yorker and its Enduring Influence
Recently, I had the privilege of attending a gathering honoring the remarkable legacy of The New Yorker. It was deeply moving to witness the impact the magazine has had on so many lives, including my own. The warmth and genuine affection in the room were palpable, and it was clear the honoree was profoundly touched by our collective presence.
The event brought together a constellation of talent. I saw familiar faces like Bruce Diones, Chip McGrath, Calvin (Bud) Trillin, and my editor, Cressida Leyshon. Many other friends were there, tho their names, in the flurry of the occasion, momentarily eluded me. Leaving, we moved against a current of new arrivals, all drawn to celebrate this institution.
The New Yorker isn’t just a magazine; it’s a cornerstone of American cultural history. It began, as founding editor Harold Ross described it, as a “comic weekly.” Yet, it quickly evolved into something far more considerable, a space for long-form journalism, insightful criticism, and unparalleled storytelling that continues to resonate today.
A Lifelong Relationship with the Magazine
My own connection to The New Yorker stretches back to childhood. Our family subscribed when I was growing up,and I vividly remember poring over the cartoons at the tender age of nine or ten. My father was a devoted reader, though he occasionally lamented the length of the articles.
He’d frequently enough remark on encountering the first installment of a five-part series, a testament to the magazine’s commitment to in-depth exploration.Interestingly, by the time I joined the staff in 1960 – after three years at Newsweek and contributing “Casuals” (short humor pieces) to The New Yorker – those expansive pieces were, at times, becoming more concise.they’d frequently enough clock in around ten to twelve thousand words, rather than the fifteen to twenty thousand of earlier years.
my first Profile piece, published in 1962, focused on Swiss artist Jean Tinguely. He was a interesting figure, known for his large, kinetic sculptures constructed from found objects. I’d been captivated by his 1960 “Homage to New York,” a self-destructive machine built from bicycle wheels, motors, radios, and even a piano. it culminated in the dramatic bursting of a large balloon at the Museum of Modern Art.
At the time, my knowledge of art was limited. Though, Tinguely’s playful irreverence sparked a passion that would shape much of my subsequent writing, leading me to focus primarily on contemporary art and artists.
Remembering Georgia O’Keeffe and Juan Hamilton
More recently, the passing of Juan Hamilton, a devoted companion to Georgia O’Keeffe, prompted reflection. He began working for O’Keeffe in 1973, just a week before my own trip to new Mexico to interview the iconic artist.
I recall a particularly memorable afternoon when O’keeffe requested Hamilton drive us in her Volkswagen minibus from her Ghost Ranch home to the Monastery of Christ in the Desert. She wanted to see the purple asters in bloom.The image of O’Keeffe, serene in a long white dress, bouncing along the rugged dirt roads remains vivid.
During our visit, she engaged in amiable conversation with the Benedictine monks. On the return journey, she mused about the potential for converting others to Catholicism. “It has great appeal,” she observed, “Not for me, of course-but I can see the appeal.”
The New Yorker has always provided a platform for such nuanced observations, for capturing the essence of individuals and the spirit of a time. It’s a legacy I’m proud to have been a part of, and one that continues to inspire.
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