Duly impressed, Ross asked McKelway if he would take the job of The New Yorker’s first managing editor for fact. The writer agreed, on the condition that he would give up the job after three years. He explained (Brendan Gill wrote in Here at The New Yorker) “that he preferred totting up sums not, like most people, in units of two, four, six, eight, and ten but in units of three, six, nine, twelve, and so on.” McKelway made much of those three years, solidifying the magazine’s fact writing and hiring as reporters such future mainstays as John Bainbridge, Philip Hamburger, and Gill himself. He also tapped another young staff reporter to be his assistant. This was William Shawn, who took his place at the end of the three-year term and went on to be the editor in chief of The New Yorker from 1952 to 1987.

Like most members of the New Yorker staff, McKelway joined the armed services during World War II. He landed a plum position as an Air Force information officer in the South Pacific and attained the rank of lieutenant colonel, working under General Curtis LeMay. There, his peculiar mental illness possibly first surfaced and certainly first became an obstruction in his life. Shawn described it well in his New Yorker obituary of McKelway:

From time to time, he entered what was technically a manic phase but what he experienced as anything from “feeling good” to boundless euphoria. When he was in such a phase, small writing projects were pyramided into gigantic projects. His thoughts, and his telephone calls, would fly from his office on West Forty-Third Street to the White House, from there to other world capitals, and from there to outer space; then, after a while, he would subside and, again intact in his office, sit back and enjoy an interval of quiet, lucid composition. In retrospect, he looked upon these episodes as adventures, and was able to describe them with humor and detail.

McKelway eventually described in print nearly everything about his malady except the precise diagnosis; a perusal of The Diagnostic and Statistical Manual of Mental Disorders suggests to this layman that it was bipolar disorder combined with mixed non-bizarre delusional disorder and a mild case of dissociative identity disorder.

And so it happened, in any case, that, sitting in his office in Guam, McKelway became convinced that Admiral Chester Nimitz, commander in chief of the Pacific Forces, had made tactical mistakes that in effect sabotaged the B-29 bombing program and amounted to high treason. He locked himself in his quonset hut, composed a long and strident radiogram to this effect, and sent it to the Pentagon. The longtime New Yorker contributor and editor Roger Angell, who encountered McKelway during the war, says, “The Pentagon amazingly enough realized what had happened, put a net over him, and put him in Walter Reed Hospital. He worked there for the rest of the war.”

As strange as the episode was, possibly even stranger was the fact that McKelway wrote a long New Yorker piece about it, published in 1958 under the heading, “That Was a Reporter at Wit’s End.” And stranger still was the way he described it with such equanimity and precision. A striking aspect was that, as with some dreams, he half-believed the fantasies and half-realized they were just that. “I got more and more worked up as I wrote,” he recalled in the article, “and toward the end the things I said seemed to me muddleheaded if not hysterical.” A clue to his compartmentalizing ability was the dissociative identity (sometimes called multiple personality) disorder. He once wrote, “I have pretty much come to the conclusion that I have a great many heads. I’ve counted and identified twelve separate and distinct heads, or identities, that I know and possess.” And so if one of the heads was weaving elaborate fantasies, another could keep it under close observation.

Ben Yagoda directs the journalism program at the University of Delaware and is the author of About Town: The New Yorker and the World It Made and When You Catch an Adjective, Kill It: The Parts of Speech, for Better and/or Worse, which will be published by Broadway Books in February.