There are scenes, and then there are scenes. What CBGBs was to punk rock, the Algonquin Round Table symbolizes to modern American journalism. Night after night, The New Yorker’s original leading lights gathered there, trading boozy bon mots and poison barbs across the table as they plotted the agenda for urbane conversation in the Prohibition era. There’s not a writer I know who hasn’t at some point wished to have been alive to make that party. Dorothy Parker was the sharpest wit of the bunch, an acidic advance of the Carrie Bradshaw type, perpetually single, perpetually out, perpetually enmeshed in dubious affairs and perpetually turned-out in Poiret-age get-ups that look oh-so of-the-moment right now.