{"product_id":"new-yorker-magazine-september-20-1993-jean-jacques-sempe-arabesque-ballet-muriel-spark-robin-williams-no-label-no-upc-nm","title":"New Yorker magazine September 20 1993 Jean Jacques Sempe Arabesque ballet Muriel Spark Robin Williams NO LABEL NO UPC NM","description":"\u003cdiv class=\"x-item-description-child\"\u003e\n\u003cdiv\u003e\n\u003ch1 class=\"PDq2pG_selectionAnchorContainer\"\u003e\n\u003cspan role=\"text\"\u003e\u003cstrong\u003eThe New Yorker Magazine\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\n\u003c\/h1\u003e\n\u003cp\u003eSeptember 20, 1993, the complete issue in magnificent shape, as new, with no shipping label or label remnants because it never had a label, AND no UPC bar code, the combination of which is extremely hard to find.\u003c\/p\u003e\n\u003cp\u003eA wonderful 1990s issue of The New Yorker, with a terrific \u003cstrong\u003eJ. J. Sempé\u003c\/strong\u003e cover titled “Arabesque”: a nighttime view down the narrow canyon between Manhattan buildings, where a brightly illuminated ballerina practices alone in a window high above the street. The New Yorker itself confirms both Sempé’s title and the September 20, 1993 date. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHere are a few highlights from this issue, with the entirety of the contents detailed further down:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArthur Lubow\u003c\/strong\u003e contributes “George Wolfe in Progress,” an extensive look at director and playwright \u003cstrong\u003eGeorge C. Wolfe\u003c\/strong\u003e as he takes charge of the New York Shakespeare Festival and the Public Theatre in the aftermath of Joseph Papp, examining Wolfe’s theatrical imagination, his work on \u003cem\u003eJelly’s Last Jam\u003c\/em\u003e and \u003cem\u003eAngels in America\u003c\/em\u003e, and the formidable task of remaking an institution built around Papp’s personality. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerence Monmaney\u003c\/strong\u003e tells the extraordinary medical story of Australian physician \u003cstrong\u003eBarry J. Marshall\u003c\/strong\u003e, whose conviction that bacteria rather than stress caused peptic ulcers led him to test the theory on himself, helping overturn decades of medical orthodoxy and establish the importance of \u003cem\u003eHelicobacter pylori\u003c\/em\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLillian Ross\u003c\/strong\u003e writes an extensive Profile of \u003cstrong\u003eMarsha Garces Williams\u003c\/strong\u003e and \u003cstrong\u003eRobin Williams\u003c\/strong\u003e, centered on their life together and the making of \u003cem\u003eMrs. Doubtfire\u003c\/em\u003e, which Marsha is co-producing for Twentieth Century-Fox. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThere is also \u003cstrong\u003eJulian Barnes\u003c\/strong\u003e on the financial catastrophe engulfing Lloyd’s of London and its individual investors; fiction by \u003cstrong\u003eTom Drury\u003c\/strong\u003e; \u003cstrong\u003eJay McInerney\u003c\/strong\u003e imagining the fate of printed books in the approaching computer age; \u003cstrong\u003eVitaly Komar\u003c\/strong\u003e and \u003cstrong\u003eAlexander Melamid\u003c\/strong\u003e sending Stalin to a New Jersey motel; \u003cstrong\u003eAnthony Lane\u003c\/strong\u003e, \u003cstrong\u003eJohn Lahr\u003c\/strong\u003e, \u003cstrong\u003ePaul Griffiths\u003c\/strong\u003e, \u003cstrong\u003eFernanda Eberstadt\u003c\/strong\u003e, and \u003cstrong\u003eLouis Menand\u003c\/strong\u003e in the arts and review departments; poetry by \u003cstrong\u003eMuriel Spark\u003c\/strong\u003e and \u003cstrong\u003eEric Ormsby\u003c\/strong\u003e; and much more.\u003c\/p\u003e\n\u003ch1\u003e\u003cspan role=\"text\"\u003e\u003cstrong\u003eThe Complete and Utter Contents of This Issue\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h1\u003e\n\u003cp\u003e\u003cem\u003ewith grateful acknowledgment to Michael Palin and Terry Jones.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCOVER\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. J. Sempé\u003c\/strong\u003e — “Arabesque.” A nighttime Manhattan cityscape seen through the deep, narrow space between buildings, with a tiny ballerina practicing in a brilliantly lighted window amid the surrounding darkness. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCOMMENT\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSara Mosel\u003c\/strong\u003e — “Back to School (Not).” A detailed Comment on New York City’s public-school asbestos crisis and the scandal surrounding testing of the city’s schools. Investigators \u003cstrong\u003eEdward Stancik\u003c\/strong\u003e and \u003cstrong\u003eThomas Thacher II\u003c\/strong\u003e found earlier asbestos inspections riddled with incompetence, mismanagement, and fraud, with as many as a third of the original tests apparently fabricated. Fourteen years into asbestos abatement, the Board of Education could not reliably tell parents which schools had actually been inspected or which were safe, throwing the scheduled opening of the school year into chaos. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHE TALK OF THE TOWN\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrendan Gill\u003c\/strong\u003e — “Big Spender.” Architect \u003cstrong\u003ePeter Marino\u003c\/strong\u003e gives a tour of the lavish new Barneys department store at Madison Avenue and 61st Street before its opening party, discussing its French limestone, mosaic floors, enormous windows, and his unusual opportunity to design both exterior and interior. Marino recalls that his first private commission was remodeling a townhouse for \u003cstrong\u003eAndy Warhol\u003c\/strong\u003e, who paid him in pictures. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Green\u003c\/strong\u003e — “Cowpox.” The bizarre story of South Carolina private investigator \u003cstrong\u003eWilliam Graham\u003c\/strong\u003e and his investigation of the suspicious death of a $200,000-insured Holstein, which uncovered a scheme involving grossly over-insured cattle, insurance fraud, and ultimately two suicides. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThomas Beller\u003c\/strong\u003e — “Dog Days.” Beller contemplates the breakup of his band, Honus Wagner, and life without the drums, ranging through the peculiar indignities of being a drummer, rock stardom and its discontents, Nirvana, Pearl Jam, Stone Temple Pilots, Motörhead’s Phil “Philthy Animal” Taylor, and \u003cstrong\u003eCharlie Watts\u003c\/strong\u003e, whom Beller considers the rare drummer capable of playing in a rock band while retaining his dignity. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeffrey Toobin\u003c\/strong\u003e — “Cock-a-Doodle-Doo.” A portrait of \u003cstrong\u003eHarry C. Batchelder, Jr.\u003c\/strong\u003e, defense lawyer for Sheikh \u003cstrong\u003eOmar Abdel Rahman\u003c\/strong\u003e, touching on Batchelder’s career representing indigent defendants, an earlier murder case in which he mounted a cultural defense, and his unusual hobby of cockfighting. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdam Platt\u003c\/strong\u003e — “Bellhop.” \u003cstrong\u003eTony Cichielo\u003c\/strong\u003e, longtime bellhop at the Algonquin Hotel, remembers some of the celebrated people who passed through its doors, including \u003cstrong\u003eWilliam Faulkner\u003c\/strong\u003e, \u003cstrong\u003eLaurence Olivier\u003c\/strong\u003e, \u003cstrong\u003eThelonious Monk\u003c\/strong\u003e, \u003cstrong\u003eBrendan Behan\u003c\/strong\u003e, \u003cstrong\u003eThornton Wilder\u003c\/strong\u003e, and \u003cstrong\u003eJohn Osborne\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eONWARD AND UPWARD WITH THE ARTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArthur Lubow\u003c\/strong\u003e — “George Wolfe in Progress.” An extensive examination of \u003cstrong\u003eGeorge C. Wolfe\u003c\/strong\u003e, the new producer of the New York Shakespeare Festival, and his efforts to inherit and transform the theatrical institution built by \u003cstrong\u003eJoseph Papp\u003c\/strong\u003e. Lubow explores Wolfe’s working methods and visual imagination, his career from \u003cem\u003eThe Colored Museum\u003c\/em\u003e through \u003cem\u003eJelly’s Last Jam\u003c\/em\u003e and \u003cem\u003eAngels in America\u003c\/em\u003e, and his relationships with such collaborators as \u003cstrong\u003eRobin Wagner\u003c\/strong\u003e, \u003cstrong\u003eJules Fisher\u003c\/strong\u003e, \u003cstrong\u003eLuther Henderson\u003c\/strong\u003e, \u003cstrong\u003eTony Kushner\u003c\/strong\u003e, and \u003cstrong\u003eGregory Hines\u003c\/strong\u003e. The piece also considers Wolfe’s plans for reorganizing the Public Theatre and establishing a distinct identity for each of its stages. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eANNALS OF MEDICINE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerence Monmaney\u003c\/strong\u003e — “Marshall’s Hunch.” The remarkable story of Australian physician \u003cstrong\u003eBarry J. Marshall\u003c\/strong\u003e and the discovery that peptic ulcers are caused by bacteria rather than primarily by stress and other psychological factors. Working from the observations of \u003cstrong\u003eJ. Robin Warren\u003c\/strong\u003e, Marshall isolated \u003cem\u003eHelicobacter pylori\u003c\/em\u003e and famously experimented upon himself; the discovery transformed the treatment of ulcers and helped establish chronic \u003cem\u003eHelicobacter\u003c\/em\u003e infection as a major cause of stomach cancer. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLETTER FROM LONDON\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian Barnes\u003c\/strong\u003e — “The Deficit Millionaires.” Barnes examines the disastrous financial problems confronting individual investors—or “Names”—at Lloyd’s of London. The prestige and apparently modest risk that had attracted upper-middle-class Britons to Lloyd’s concealed the terrifying consequences of “unlimited liability,” leaving many investors facing financial ruin. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eARTIST AT LARGE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJosh Gosfield\u003c\/strong\u003e — “San Gennaro.” An illustrated Artist at Large devoted to New York’s exuberant San Gennaro street festival. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePOETRY\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMuriel Spark\u003c\/strong\u003e — “That Lonely Shoe Lying on the Road,” a poem contemplating the solitary discarded shoe of the title. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Ormsby\u003c\/strong\u003e — “For a Modest God.” \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePROFILES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLillian Ross\u003c\/strong\u003e — “Mr. and Mrs. Williams.” An extensive Profile of \u003cstrong\u003eMarsha Garces Williams\u003c\/strong\u003e, wife and creative\/business partner of \u003cstrong\u003eRobin Williams\u003c\/strong\u003e, as she co-produces \u003cem\u003eMrs. Doubtfire\u003c\/em\u003e for Twentieth Century-Fox. Ross follows Marsha, Robin, their family and entourage while looking at the production of the film and Marsha’s emergence as a producer in her own right. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFICTION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Drury\u003c\/strong\u003e — “Strong.” Louise, a photographer in the fictional Midwestern community of Stone City, negotiates an increasingly peculiar domestic separation from her husband Dan Norman, the county sheriff. While Dan’s therapist recommends that he sleep outside the house to cure his insomnia, Louise rents a trailer, initially intending it for him but ultimately keeping it herself. Around them unfold portrait-studio work, an R.V. publicity shoot, bowling, drinking, marriage counseling, domestic tensions, and Louise’s discovery that she is pregnant. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHE THEATRE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Lahr\u003c\/strong\u003e — “Pinter’s Night Sweats.” Lahr reviews \u003cstrong\u003eHarold Pinter’s\u003c\/strong\u003e \u003cem\u003eMoonlight\u003c\/em\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHE CURRENT CINEMA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnthony Lane\u003c\/strong\u003e — “Back to the Easel.” Lane considers Jacques Rivette’s \u003cem\u003eDivertimento\u003c\/em\u003e and \u003cem\u003eLa Belle Noiseuse\u003c\/em\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMUSICAL EVENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Griffiths\u003c\/strong\u003e — “The Santa Fe Trail.” Griffiths reports on the Santa Fe Opera season, encompassing works including \u003cstrong\u003eKurt Weill’s\u003c\/strong\u003e \u003cem\u003eThe Protagonist\u003c\/em\u003e and \u003cem\u003eThe Tsar Has His Photograph Taken\u003c\/em\u003e, \u003cstrong\u003eHandel’s\u003c\/strong\u003e \u003cem\u003eXerxes\u003c\/em\u003e, \u003cstrong\u003eMozart’s\u003c\/strong\u003e \u003cem\u003eThe Magic Flute\u003c\/em\u003e, \u003cstrong\u003ePuccini’s\u003c\/strong\u003e \u003cem\u003eLa Bohème\u003c\/em\u003e, and \u003cstrong\u003eRichard Strauss’s\u003c\/strong\u003e \u003cem\u003eCapriccio\u003c\/em\u003e, along with the singers, conductors, directors, and designers involved in the productions. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBOOKS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFernanda Eberstadt\u003c\/strong\u003e — “Northern Light.” A consideration of \u003cstrong\u003ePeter Høeg’s\u003c\/strong\u003e \u003cem\u003eSmilla’s Sense of Snow\u003c\/em\u003e, translated from the Danish by \u003cstrong\u003eTiina Nunnally\u003c\/strong\u003e, with its Danish and Greenlandic settings and cultural background. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Menand\u003c\/strong\u003e — “Willie’s Version.” Menand considers \u003cstrong\u003eWillie Morris’s\u003c\/strong\u003e \u003cem\u003eNew York Days\u003c\/em\u003e, the author and editor’s memoir of New York, magazines, and his years at \u003cem\u003eHarper’s\u003c\/em\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBriefly Noted\u003c\/strong\u003e — \u003cem\u003eBody \u0026amp; Soul\u003c\/em\u003e by \u003cstrong\u003eFrank Conroy\u003c\/strong\u003e; \u003cem\u003eAmerican Slavery: 1619–1877\u003c\/em\u003e by \u003cstrong\u003ePeter Kolchin\u003c\/strong\u003e; and \u003cem\u003eBroadsides from the Other Orders: A Book of Bugs\u003c\/em\u003e by \u003cstrong\u003eSue Hubbell\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePORTFOLIO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVitaly Komar and Alexander Melamid\u003c\/strong\u003e — “Stalin in Jersey.” A wonderfully mordant Portfolio of paintings by the Russian émigré artists, including \u003cstrong\u003eJosef Stalin\u003c\/strong\u003e shooting himself in a New Jersey motel room. The accompanying text discusses Komar and Melamid’s mockery of Soviet Socialist Realism, their work in New York and New Jersey, and their paintings made in ironic homage to workers at the Bergen Point Brass Foundry in Bayonne. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSHOUTS \u0026amp; MURMURS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay McInerney\u003c\/strong\u003e — “The Way of All Text.” A very 1993 satire on books, computers, the Internet, and predictions of print’s impending demise. McInerney imagines making a backyard bonfire of the now-obsolete books on his shelves because everything is going digital—until an issue of \u003cem\u003eWired\u003c\/em\u003e and futurist \u003cstrong\u003ePaul Saffo’s\u003c\/strong\u003e prediction of the written word’s continued flourishing cause him hurriedly to rescue Bertie and Jeeves and return the books to their shelves. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCARTOONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVictoria Roberts\u003c\/strong\u003e — “I thought Daryl Hannah was promised to King Neptune.” Two mermaids gossip about \u003cstrong\u003eDaryl Hannah\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStuart Leeds\u003c\/strong\u003e — “The Ikea Family.” An entire family is shaped like Swedish modern furniture, complete with mock-Ikea names for mother and father, children, and dog. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Lorenz\u003c\/strong\u003e — “There’s no, no in your eyes, but yes, yes in your pheromones.” A man attempts a biologically informed pickup at a party. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Twohy\u003c\/strong\u003e — “We adopted a highway, but it’s just not the same thing.” A man speaks to a woman holding a baby. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Martin\u003c\/strong\u003e — “Remember when life was all ‘Heigh-ho! Come to the fair’?” Two businessmen reminisce. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEdward Koren\u003c\/strong\u003e — “She’s not very good at defending herself, but she does very well at identifying her feelings.” A mother discusses her crying young daughter with another woman. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDana Fradon\u003c\/strong\u003e — A couple passes an electronics store named “3 GUYS Threatening to Move to New Jersey.” \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Crawford\u003c\/strong\u003e — “I put in a full day with the big cats, Kasmer. I need a sympathetic human cannonball I can come home to.” A weary female lion tamer talks to her human-cannonball husband. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. B. Handelsman\u003c\/strong\u003e — “I’d like to buy everyone a drink. All I ask in return is that you listen patiently to my shallow and simplistic views on a broad range of social and political issues.” A man proposes a candid bargain to the other men at a bar. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Blitt\u003c\/strong\u003e — “C-SPAN’S NEW FALL SEASON,” with such prospective programs as \u003cem\u003eThe Girls of NAFTA\u003c\/em\u003e, \u003cem\u003eBeavis and Rebut-Head\u003c\/em\u003e, and \u003cem\u003eFilibusters\u003c\/em\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Mankoff\u003c\/strong\u003e — “Diane, this is Karen, an old war buddy of mine.” A husband introduces another woman to his wife. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoz Chast\u003c\/strong\u003e — “INFLATABLE GUYS FOR THE LADIES.” A full-page color assortment of balloon men useful for such jobs as moving the refrigerator, staying home with the children, dealing with a jammed window, and answering the telephone. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGahan Wilson\u003c\/strong\u003e — “It’s their idea of cute.” A dog living in a doghouse decorated with a coat of arms explains his owners to another dog. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Cline\u003c\/strong\u003e — “Here we are again, back in our little town, flush with exotic tales from the potato fields.” A man reports on recent travels to two women. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArnie Levin\u003c\/strong\u003e — “Something you have to accept, Porky. You may always be ‘Looney Tunes.’” A psychiatrist counsels \u003cstrong\u003ePorky Pig\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Barsotti\u003c\/strong\u003e — “I can’t talk now.” An anthropomorphic desk answers the telephone while an executive is sitting behind it. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBruce Eric Kaplan\u003c\/strong\u003e — “A day is a long time.” One small child speaks to another on a playground. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Shanahan\u003c\/strong\u003e — “EUROBARNEY — ‘Zank heavonz for leetle girls . . .’” Barney the dinosaur acquires a decidedly adult, Maurice Chevalier-style French persona. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeo Cullum\u003c\/strong\u003e — “I do have a fallback position, but it involves firearms.” One businessman explains his negotiating position to another. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Fisher\u003c\/strong\u003e — “You mean when I use a phrase like ‘Pharaoh dreamed seven cows came up out of the Nile,’ or ‘God remembered Noah,’ or David’s wife Michal ‘despised him in her heart’—that’s speculative journalism?” An ancient Hebrew scribe discusses editorial standards with a colleague. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Stevens\u003c\/strong\u003e — A bar full of businessmen is decorated with a large reclining portrait of a seductive woman—who is completely dressed in a business suit and carrying a briefcase. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Hamilton\u003c\/strong\u003e — “Neat ancestors—biological?” Two women at a party contemplate portraits of one woman’s parents. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Steiner\u003c\/strong\u003e — “And are you the plaintiff or the defendant?” A saleswoman questions a female customer trying on clothes. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFASCINATING VINTAGE ADVERTISEMENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe issue opens with a \u003cstrong\u003evintage print ad\u003c\/strong\u003e for the Windsor Court Hotel in New Orleans, presenting the hotel as “A Celebration of Good Taste and Good Living.”\u003c\/p\u003e\n\u003cp\u003eThe back cover is a striking \u003cstrong\u003eChanel No. 5 \/ Lord \u0026amp; Taylor\u003c\/strong\u003e advertisement: a woman in a white strapless dress holds a bottle of Chanel No. 5 perfume, accompanied by \u003cstrong\u003eCoco Chanel’s\u003c\/strong\u003e declaration that perfume is part of a woman and that elegance is impossible without it.\u003c\/p\u003e\n\u003cp\u003eA dramatic \u003cstrong\u003eEmanuel Ungaro Parallèle at Saks Fifth Avenue\u003c\/strong\u003e fashion advertisement presents a model in a sharply tailored dark ensemble inside an enormous geometric folding-screen construction.\u003c\/p\u003e\n\u003cp\u003eAnd a full-page \u003cstrong\u003eCayman Islands\u003c\/strong\u003e tourism advertisement promises that from the first moment visitors arrive, they will be “relaxed vacationers not tourists,” dominated by the wonderfully contradictory island sign: \u003cstrong\u003ePRIVATE PROPERTY — VISITORS WELCOME\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: Arial; font-size: large;\"\u003eThe pages are crisp and clean, without a hint of foxing or other staining, no writing, no odors, no creases, nothing missing, tight to the staples. Strictly graded Near Mint; it was put away when brand new (along with many others we have) by an obsessive New Yorker collector from whom we acquired it, untouched since new until now. We have many other beautiful New Yorkers online now so please take a look, and please send your want list. All our New Yorkers ship in archival sleeves with backing boards. Every magazine we offer is individually scanned—front cover, back cover, and selected interior pages—on a professional large-format, high-resolution scanner. The images in every listing show the exact copy you will receive, never a stock photograph or representative example.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eOriginal Editorial Content: The research, summaries, descriptions, selection, organization, and presentation in this listing are original work created by NYBackIssues.com. Reproduction or adaptation of this text for resale listings, commercial databases, websites, or competing publications is prohibited without written permission. Copyright © 2026 NYBackIssues.com. All rights reserved.\u003c\/span\u003e\u003c\/div\u003e\n\u003cspan style=\"font-family: Arial; font-size: large;\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"NYBackissues","offers":[{"title":"Default Title","offer_id":45379951460534,"sku":null,"price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0599\/2002\/3734\/files\/332161.jpg?v=1787555557","url":"https:\/\/www.nybackissues.com\/products\/new-yorker-magazine-september-20-1993-jean-jacques-sempe-arabesque-ballet-muriel-spark-robin-williams-no-label-no-upc-nm","provider":"NYBackissues","version":"1.0","type":"link"}