Portfolio magazine is bad news

For reasons not clear to me, I’ve been receiving issues of Portfolio magazine as though I’m a subscriber. They’ve been uniformly awful and read like a third-tier college newspaper’s take on The New Yorker. This is a public service announcement: do not buy Portfolio magazine under any circumstances or for any reason. Megan McArdle agrees:

I keep waiting for Portfolio not to be a terrible, terrible magazine, and I keep being disappointed. It’s supposed to be aimed at the high-end financier, but it reads more like it was written for women who want to date high-end financiers, and need a little cocktail party chat to keep things going until they can invite him back for some cognac.

The New Yorker, The Atlantic, Harper’s, and The Economist are all out there. There is no reason for Portfolio to be as well.

The Wonderful Past

I’ve mentioned Grant Writing Confidential several times recently and will do so once more again, this time because I wrote a post that my father and co-writer there, Isaac Seliger, suggested would be well-suited here as well. He saw the many literary references in The Wonderful Past—to The Name of the Rose, My Name is Red, Plato, and traditional Romance. To be sure, the post focuses on grant writing, but it also illustrates a tendency in literature and culture: idealizing the past or recalling a golden time that may or may not have ever been. Novels like The Name of the Rose wink at this, especially because Adso of Melk lived in 1321 and “wrote” from the perspective of sometime around 1380 – 1400, and the eras he recalled appear ridiculous to modern readers and are distorted by the limits of knowledge then. Nonetheless, this theme is developed seriously in many novels, it’s one that The Lord of the Rings deals with explicitly: the passing of the Elves and their works of great beauty at the end of the Third Age are a time of necessary sorrow. There are many references to fading, passing, and parting, as much of what was fair is subject to one of those fates, but the strength of The Lord of the Rings comes from its mingled sense of hopefulness, necessity, and remembrance, which keep it from becoming morose or sentimental. Its tone is tempered and balanced, with hope present even as the past fades.

Perhaps the most obvious example of an entire book devoted to idealizing the past, especially in comparison to a lessened future, is John Banville in The Sea. I began my commentary on it by noting: “It is not clear what we should take from The Sea.” Almost a year later I’m still not sure what we should take, but its sense of wistfulness over the past is the primary feeling I’ve taken away. As such, I have no good explanation about it, though for a novel that I didn’t love it is often in my thoughts, and I perceive similar themes to lesser or, rarely, greater degrees in so many novels. Yet any explanation I give for it will, I feel, be uncertain or overly speculative at best, but such thoughts about the past remain, and remain noticeable.

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