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.
From the Trade Paperback edition.
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|Title of eBook: Life Stories|
|Release Date: 12-18-2007|
|Allowed Countries (hover)|
|Publisher: Random House Publishing Group|
This eBook download is available in the following formats:
|Parent title||Life Stories|
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James Kevin McGuinness, a staffer in the earliest days of the magazine, suggested the rubric "Profile" to Ross. By the time the magazine got around to copyrighting the term, it had entered the language of American journalism. Most of the initial Profiles in the magazine were fairly cursory and bland (and not worth anthologizing). The first was a sketch of the Metropolitan Opera's impresario Guilio Gatti-Casazza: it ran just over one page and showed scant evidence of even the most rudimentary reporting. It wasn't terrible funny. either. By 192 7, however, the reporting was getting stronger and the writing more irreverent. John K. Winkler's Profile of William Randolph Hearst, a five-part piece, was both uproarious and well researched, and Janet Flanner had begun perfecting a shorter form with a Profile of Edith Wharton.
The most influential of the e...