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The world through a monocle: At midcentury, The New Yorker magazine occupied an unsurpassed niche of cultural authority, wielding a power without precedent in the magazine market. In this period a small but influential community of readers relied on The New Yorker as a guide to the emerging postwar world, turning to it for information about Broadway theater, Parisian pret-a-porter, Italian Communism, the bombing of Bikini Atoll, English movies, and French wines.


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A well-known critic lamented that "certain groups have come to communicate almost exclusively in references to the [magazine's] sacred writings. Mary Corey mines the magazine's mix of journalism, fiction, advertisements, cartoons, and poetry to unearth a kind of New Yorker Village - a locale of contradiction and delight, of self-importance and social justice.

She exposes a magazine with blind spots in regard to women and to racial and ethnic stereotyping, but which nevertheless strove towards liberal ideals, publishing the work of Rachel Carson, John Hersey, Hannah Arendt, and others.

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She recreates an audience that devoured ads for luxury items while avidly absorbing social criticism and political engagement. Balancing the wish to live well with the aim to do good, The New Yorker provided what seemed like a coherent value system in an incoherent world. Request this item to view in the Library's reading rooms using your library card.

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The World Through a Monocle: "The New Yorker" at Midcentury - Mary F. Corey - Google Книги

Sign In Forgot password? Don't have an account? As liberals who had a great faith in reason and tolerance, the editors published John Hersey's "Hiroshima" to dramatize the impact of the Atomic bomb on Japan and wrote in opposition to the House-Un-American Activities committee, seeing that the jailing of the artists known as the Hollywood Ten intimidated workers in the arts and journalism. Yet, Corey locates a major shift in the magazine's politics with the advent of the Korean War and the jailing of Alger Hiss.

These events prompted the editors to reshape their ideology and promote a Cold War liberalism, arguing that the Soviet Union and Communism represented dangers to domestic and world peace. At this point, the editors backed the new liberal consensus that celebrated economic growth rather than calling for a restructuring of society that would yield a pluralistic nationalism.

But Corey reveals the deep contradiction in these views.

The World Through a Monocle: "The New Yorker" at Midcentury

In this ethos of postwar liberalism, it was the duty of those who adhered to advanced Western values of progress and science to create a rational self and social order. Yet, by looking closely at the fiction that paralleled these political shifts, Corey shows how advocacy of a world mission was filled with personal anxiety in the new consumer culture.

Men's work and women's domestic world were the arenas where fictional characters became consumed with discontent and loss of public agency. In response, they turned to drink for consolation, or fantasized about American Indians, white ethnics, and blacks, whose lives seemed to have more vitality and community than their own, despite their affluence and status.

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Corey points out in her conclusion that the fiction in The New Yorker foreshadowed the discontent of the young men and women who grew up in relative privilege and entered politics in the sixties. If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'. View freely available titles: