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. Including these twenty-eight profiles: “Mr. Hunter’s Grave” by Joseph Mitchell “Secrets of the Magus” by Mark Singer “Isadora” by Janet Flanner “The Soloist” by Joan Acocella “Time . . . Fortune . . . Life . . . Luce” by Walcott Gibbs “Nobody Better, Better Than Nobody” by Ian Frazier “The Mountains of Pi” by Richard Preston “Covering the Cops” by Calvin Trillin “Travels in Georgia” by John McPhee “The Man Who Walks on Air” by Calvin Tomkins “A House on Gramercy Park” by Geoffrey Hellman “How Do You Like It Now, Gentlemen?” by Lillian Ross “The Education of a Prince” by Alva Johnston “White Like Me” by Henry Louis Gates, Jr. “Wunderkind” by A. J. Liebling “Fifteen Years of The Salto Mortale” by Kenneth Tynan “The Duke in His Domain” by Truman Capote “A Pryor Love” by Hilton Als “Gone for Good” by Roger Angell “Lady with a Pencil” by Nancy Franklin “Dealing with Roseanne” by John Lahr “The Coolhunt” by Malcolm Gladwell “Man Goes to See a Doctor” by Adam Gopnik “Show Dog” by Susan Orlean “Forty-One False Starts” by Janet Malcolm “The Redemption” by Nicholas Lemann “Gore Without a Script” by Nicholas Lemann “Delta Nights” by Bill Buford
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David Remnick has been the editor of the New Yorker since 1998 and a staff writer since 1992. His books include the Pulitzer Prize–winning Lenin’s Tomb: The Last Days of the Soviet Empire, King of the World: Muhammed Ali and the Rise of an American Hero, The Bridge: The Life and Rise of Barack Obama, and two collections of his magazine pieces.
Amy Irving is known for her numerous film roles as well as acclaimed roles on Broadway and off-Broadway. She received an Academy Award nomination as Best Supporting Actress for her performance in the film Yentl, Golden Globe nominations for her performances in the films Anastasia: The Mystery of Anna and Crossing Delancey, and an Obie Award for her stage performance in The Road to Mecca. More recently she appeared in the films Traffic, Tuck Everlasting, and Thirteen Conversations about One Thing.
Edgar Rice Burroughs (1875–1950), born in Chicago, was educated at Michigan Military Academy and served briefly in the US Cavalry. He began writing while working as a pencil-sharpener salesman, publishing his first piece in 1912 to great success. He authored numerous science fiction and fantasy series but is most famous for his Tarzan books; the suburb of Los Angeles where he lived eventually became known as Tarzana.
Alton White’s journey from his boyhood home in a Cincinnati housing project to the grandeur of Broadway’s Minskoff Theatre is remarkable, but one that many will find touchingly recognizable and relatable. Struggling with feelings of inferiority, he doggedly tried out for role after role and happily accepted whatever was offered to him however modest, approaching each with passion and dedication. His gifts were ultimately recognized and rewarded with major roles. White is the only black actor who has played in a lead role in five hit shows on Broadway: John in Miss Saigon; Ken in Smokey Joe’s Café (he originated the role in London’s West End); Coalhouse Walker Jr. in Ragtime: The Musical; Mister in The Color Purple; and King Mufasa in The Lion King.