By George Steiner
Among 1967 and 1997, George Steiner wrote greater than a hundred thirty items on a very good diversity of issues for The New Yorker, making new books, tough principles, and strange topics appear compelling not just to intellectuals yet to “the universal reader.” He possesses a famously fabulous brain: paganism, the Dutch Renaissance, children’s video games, war-time Britain, Hitler’s bunker, and chivalry allure his curiosity up to Levi-Strauss, Cellini, Bernhard, Chardin, Mandelstam, Kafka, Cardinal Newman, Verdi, Gogol, Borges, Brecht, Wittgenstein, Chomsky, and artwork historian/spy Anthony Blunt. Steiner makes an excellent consultant from the Risorgimento in Italy to the literature of the Gulag, from the historical past of chess to the iconic value of George Orwell. many times every thing Steiner seems to be at in his New Yorker essays is made to bristle with a few real prospect of growing to be freshly exciting or astounding.
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Additional resources for George Steiner at the New Yorker
6 An in-depth reflection would lie beyond the scope of this book, but a few points should be addressed here. indd 15 9/16/11 3:03:36 PM Urban Chroniclers in Modern Latin America | 16 changes that accompanied modernity provoked in them a deep malaise. 7 In the particular case of the modernistas, this unease reflected that modernity was an ambitious project more than an attainable reality, and that it often heightened existing inequalities not only within Latin America but also between Latin America and metropolitan centers such as Paris and New York.
New technologies responded to the city’s expansion. 10 As a result of the country’s solid economic growth, more people began to participate in diverse aspects of the urban economy. New restaurants and cafés were opening, as were theaters, cabarets, and cinemas. Leisure sports, such as soccer, boxing, and golf, were also becoming increasingly fashionable among a population interested in keeping up with European and North American trends. Another sign of change in Buenos Aires came with the multiplication of newspapers and magazines published on a broad scale.
He or she must be willing to comment on the unexpected with originality and speed. This vulnerability extends to the contested space of the chronicle in cultural production. As Brazilian critic Antonio Cândido has noted, the chronicle “fica perto de nos”; it remains close to us, its readers (A crônica, 13). Near the streets and daily life, the chronicle remains open to philosophical and political discourses, serving as a liaison between erudite ideas and a diverse public when it isn’t simply aiming to amuse.