The article, for those of you playing along at home, was John Lahr's profile of Elia Kazan, "Method Man." On page 91, third column, a missing close-quote:
it was Kazan, newly promoted from stage manager to actor, who shouted the play’s famous last lines—“Strike! Strike!! Strike!!!—which became the battle cry of the thirties.And on page 93, first column, the true mark of a copy editor asleep at the switch: homophone confusion!
Kazan’s straight talk cajoled, provoked, cudgelled; it kept Williams on narrative track and reigned in his lyrical excess.And I was able to copy and paste both of those from The New Yorker's website, where they still haven't been corrected. O tempora! O mores!
Meanwhile, the December 20 & 27 issue is one of those double issues I spend half as much time reading. It feels like half the staff is already on vacation and the other half wishes they were. First of all, Ian Frazier is peerless and wonderful, but these lame "Cursing Mommy" pieces -- does anybody find them funny? And we also get a bonus not-funny "humor" piece, "Santaleaks" -- really? Also, am I the only one who noticed that the cartoons on page 54 and page 68 are the same joke? In both, someone is about to be executed. Page 54 caption: "His highness is changing his relationship status." Page 68 caption: "I'm about to enter an area of poor reception." (Technological phrases in incongruous settings, am I right?!) At least put them in different issues.
However, you will doubtless be pleased to know that this same issue has a feature article by our old friend John Colapinto. It is a work of breathtaking and unquestionable genius. I haven't read it. So time-saving to know I needn't bother! (P.S. If you haven't seen that old post, or it's been a while, you really ought to check it out again. The entertainment value never wanes.)
P.S. Speaking of works of genius, you can read my review of Gary Shteyngart's novel Super Sad True Love Story in the latest Commonweal -- but only if you subscribe.