The New Yorker Archives: A Treasure Trove of History and Culture
The archives of The New Yorker, housed at the New York Public Library, are a treasure trove of historical and cultural significance, offering a deep dive into the magazine’s rich legacy. Comprising over 2,500 boxes of manuscripts, letters, page proofs, cartoons, art, photographs, and memos, these archives are a testament to the magazine’s enduring influence. Among the eclectic mix of artifacts, one intriguing section is the "Distasteful Ads" folder, which includes a rejected ad for men’s socks with a mildly racy illustration, deemed inappropriate by the then-editor William Shawn. This quirky example is now showcased in the library’s exhibition, "A Century of The New Yorker," which runs until February 2026. Curated by Julie Golia and Julie Carlsen, the exhibit offers a fascinating blend of the monumental and the mundane, appealing to both ardent fans and casual visitors. The exhibition’s design mirrors The New Yorker‘s signature style, making the walls feel like pages from the magazine itself.
From Founding to Fame: The Early Years of The New Yorker
Founded in 1925 by Harold Ross, The New Yorker was conceived to be a fresh, irreverent, and experimental reflection of metropolitan life. Ross’s vision of sophistication and a disdain for "bunk" set the tone for the magazine. The exhibition includes Rea Irvin’s original artwork for the first cover, featuring the iconic dandy Eustace Tilley, whose hand-drawn typeface hints at the magazine’s early imperfections. Despite its eventual acclaim, the early years were precarious, with E.B. White’s reluctance to continue contributing prompting Ross to assert the magazine’s importance as a cultural movement. The 1930s saw the emergence of marquee names, and by the 1940s, The New Yorker had established itself as a cultural powerhouse, particularly through its wartime reportage.
Cultural Impact: The New Yorker’s Significant Contributions
During World War II, The New Yorker solidified its place as a cultural force, with John Hersey’s groundbreaking 30,000-word story on Hiroshima in 1946 being a pivotal moment. The exhibition showcases the only surviving copy of this issue, alongside related artifacts, emphasizing the magazine’s role in shaping journalism and addressing profound human experiences. Other highlights include a poster inspired by Rachel Carson’s "Silent Spring," Hannah Arendt’s manuscript for "Eichmann in Jerusalem," and reader responses to James Baldwin’s "Letter From a Region of My Mind." These artifacts underscore the magazine’s influence on humanitarian and literary discourse.
Behind the Scenes: The People Who Shaped The New Yorker
While The New Yorker is renowned for its high-profile contributors, the exhibition also celebrates the unsung heroes who kept the magazine running. These include copy editors like Eleanor Gould, whose meticulous grammar checks left a lasting impression on writers, and the overwhelmed "office girls" of 1944, who managed the flood of manuscripts. Their stories humanize the magazine, revealing the dedication and challenges faced by its behind-the-scenes staff, who were crucial to its success.
Editor-Writer Dynamics: A Mix of Humor and Tension
The relationship between editors and writers at The New Yorker has always been complex, often marked by witty repartee. Wolcott Gibbs’ memos critique contributors’ writing habits, while writers like Margaret Case Harriman and Vladimir Nabokov defended their work with humor and candor. These exchanges, including requests for higher pay from John O’Hara, add a layer of personality to the magazine’s history, illustrating the dynamic interplay that shaped its content.
From Tradition to Innovation: The Modern Era of The New Yorker
In the late 20th century, The New Yorker underwent significant changes under editors like Tina Brown, who introduced a pop-savvy, inclusive approach, diversifying voices and themes. The exhibition highlights her impact, including iconic covers like the 1996 "Black in America" issue and the 1997 story "Brokeback Mountain." Today, The New Yorker has expanded into digital media, podcasts, and video content, while continuing to address contemporary issues like equity and social justice. The exhibition concludes with Kadir Nelson’s powerful 2020 cover "Say Their Names," symbolizing the magazine’s enduring relevance and evolution. This journey from its founders’ vision to its modern form invites reflection on the question: "What is The New Yorker?"
