Description
The New Yorker Full Magazine – October 9, 1971 (Charles Saxon Cover, Good Condition)
The condition of the item is in good condition. The item pictured in this listing is exactly the same item you will receive. Please check all photos for condition purposes.
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This original October 9, 1971 issue of The New Yorker features a cover illustration by Charles Saxon, one of the magazine’s most recognizable artists known for his witty depictions of mid-century urban life, upper-class irony, and social commentary. Saxon’s covers defined the tone of The New Yorker throughout the 1960s and 1970s.
Inside, the issue includes a strong lineup of literary fiction, essays, and reporting—featuring contributions from Donald Barthelme, Philip Levine, Whitney Balliett, Seymour M. Hersh, Pauline Kael, and George Steiner.
Table of Contents
THE TALK OF THE TOWN – p. 37
“Departures” – Donald Barthelme – p. 42
“Grief” – Natacha Stewart – p. 45
“Wilderness Child” (Poem) – Arthur Gregor – p. 48
Profiles (Max Gordon and Barney Josephson) – Whitney Balliett – p. 50
“Dark Rings” (Poem) – Philip Levine – p. 54
The Theatre – Brendan Gill – p. 95
Football – J. W. L. – p. 97
A Reporter at Large (Vietnam Combat Rules) – Seymour M. Hersh – p. 101
U.S. Journal: Manhattan – Calvin Trillin – p. 120
“Evening Wind” (Poem) – James Schuyler – p. 127
The Race Track – Audax Minor – p. 129
Musical Events – Winthrop Sargeant – p. 131
Department of Amplification (Heisenberg) – Jeremy Bernstein – p. 135
The Marts of Trade (The Anti-Corporation) – John Brooks – p. 138
The Current Cinema – Pauline Kael – p. 145
Books – George Steiner – p. 158
Briefly Noted – p. 169
Cover: Charles Saxon
Drawings by: Charles Addams, Alan Dunn, Robert Weber, William Steig, Dana Fradon, Warren Miller, George Price, Robert Minter, Donald Reilly, Everett Opie, Kenneth Mahood, Richard Oldden, Ed Fisher, Joseph Mirachi, J. B. Handelsman, William Hamilton, Lee Lorenz, Stan Hunt
A fine collectible for The New Yorker enthusiasts and admirers of Charles Saxon’s elegant humor, this issue embodies the publication’s balance of literary sophistication, artful satire, and cultural depth during the early 1970s.