The New Yorker, launched in February 1925, initially displayed a disjointed approach to literary critique. Harold Ross's initial promise of insightful reviews of 'new books of consequence' did not manifest as expected. With limited critical immediacy, early contributions often reflected personal tastes rather than robust standards. Notably, Touchstone, the pseudonym for Harry Este Dounce, aimed to connect with readers but often struggled to define their expectations, leading to uneven reviews of works like 'The Great Gatsby' and 'Manhattan Transfer.'
Harold Ross's prospectus for The New Yorker promised coverage of "new books of consequence," but early reviews were more haphazard than insightful.
Touchstone, the pseudonym of Harry Este Dounce, struggled to establish a critical standard, often reflecting on the ambiguous tastes of the publication's readership.
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