Across nearly a century, The New Yorker’s contributors have created a veritable Noah’s archive of work about their creaturely counterparts.
When Susan Orlean was about five years old, she wrote and illustrated a book called “Herbert the Near-Sighted Pigeon.” In her case, the early funny stuff led to the later funnier stuff.
Like any editor worth his inkpot, Ross knew he’d better put things right, and Thurber went on filling these pages with bowsers for many years to come. “I am not a cat man, but a dog man,” he once wrote. “All felines can tell this at a glance––a sharp, vindictive glance.” Dorothy Parker, Thurber’s contemporary at the magazine, was also partial to dogs , and she wrote about them with some regularity. But Parker, unlike Thurber, was open to the world’s entire menagerie, worms to warthogs. “You can always tell that the crash is coming when I start getting tender about Our Dumb Friends,” she wrote in “Just a Little One.” “Three highballs, and I think I’m St. Francis of Assisi.”involves its writers’ and artists’ fascination with animals: E. B.
To memorialize this multigenerational obsession, we bring you a modest, if highly eccentric, selection from our past near-century. Human beings tend to think that they are the only species with the capacity to tell stories. And yet many of our writers are tuned in to other frequencies. The failure to hear these frequencies, our writers seem to say, means simply that we aren’t really listening.
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