The New Yorker’s New York…an Ink Spill Map

Maslin Big map New Yorker

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   What better way to begin to close out the year here at Ink Spill than with a map of Manhattan highlighting some of the people and places most associated with The New Yorker. I’ve stayed away from current contributors & editors for privacy reasons – that updated map will have to wait a few decades. 

Here’s the who and why of the map:  people have a habit of not living in one place on the island of Manhattan.  For instance, Peter Arno’s Park Avenue pad was not his only New York City address  – it was his last city residence before he moved north to plant a garden. And Dorothy Parker lived in numerous places, but I’ve just indicated the address where she spent the last 15 years of her life.  Some of the names below are so well known that I’ve provided no information other than when they were born and when they died.  There are many more New Yorker writers, artists and editors who lived in the city but who do not appear on the map. Perhaps another map, another time. (I believe if you click on the map, it’ll enlarge and make reading much easier)

As you’ll see below, the Key is divided into Places & People.  Have fun!

 Places:

The New Yorker  has moved four times in its history, and will be moving again shortly, down to the new World Trade Center.  The map shows (in the circular zoom-in of the 42nd Street area) the four addresses:

1.  25 West 45th St  The magazine began publishing here in 1925  and remained at this address until 1935, when it moved downtown to…

2.  25 West 43rd St.  This magazine stayed here the longest, from 1935 until 1991. It was here that Thurber wrote and drew on the walls (a fragment of wall bearing Thurber’s drawings from here was removed and has since been relocated at  the magazine’s newer offices.

3.  20 West 43rd St.  Basically a move right across the street, just south and due east a few feet.

4.  4 Times Square.  The current address, but not for long. 

 

Bleeck’s  Artist & Writer’s (formerly Club) Restaurant  215 West 40th St.

Bleeck’s (pronounced “Blake’s”) was a regular hang-out for, among others, the Herald Tribune and New Yorker crowd.  It was here that something called the Match Game (not the one on tv with Gene Rayburn) was played with increasing seriousness (or maybe just increasing losses and gains).  And yes, that’s the actual name of the place, parentheses, singular spelling of “Artist” and all.  Decor was English tavern with wood paneling, heavy furniture, dim lighting and a tarnished suit of armor near the door. Life magazine  profiled the joint in its issue of November 26, 1945.

Costello’s  East 44th St. 

Once Thurber tired of Bleeck’s, Tim Costello’s place became his favorite place to hang. Like Bleeck’s, Costello’s was favored by more of The New Yorker crowd than you could shake a monocle at.  The murals Thurber drew here became the stuff of legend (and contention). 

The Algonquin  59 West 44th St. 

It’s not where The New Yorker began (it began in Harold Ross’s brain), but it’s where so many of its ingredients gelled, most especially around and because of the famous Round Table crowd. The Algonguin will always be closely tied in spirit to The New Yorker in more ways and for more reasons  than can be gone into here.

 

 The Corner of Madison & 42nd St

This is the intersection where the five month old New Yorker, just killed off by Raoul Fleischmann at the Princeton Club, suddenly sprang back to life as Fleischmann waited with his fellow business partners for the light to change. Fleischmann overheard John Hanrahan (Fleischmann’s publications advisor) say to either Ross or Hawley Traux (Ross’s financial expert), “I can’t blame Raoul for a moment for refusing to go on, but it’s like killing something that’s alive.”   Fleischmann later wrote that Hanrahan’s remark had “gotten under his skin” and so he changed his mind about closing The New Yorker and gave the magazine a reprieve.  The rest is, well, you know…

 

People:

 

Charles Addams  25 West 54th St. (b. 1912  d.1988) Charles Addams! Need I say more?

Peter Arno  417 Park Ave. (b.1904  d.1968) Harold Ross called him “the greatest artist in the world”  — Arno’s name appears on a metal plaque outside the old New Yorker offices on 25 West 43rd St..  William Shawn included Arno in his list of four New Yorker contributors and editors who “did more to make the magazine what it is than can be measured.”  (E.B. White, Katharine White, and Thurber  were the other three).

Donald Barthelme  West 11th St. (b.1931 d.1989) Writer.  Read his Snow White to understand why he was the toast of fiction world.

Ralph Barton  419 e.57th. ( b.1891 d.1931)  Cartoonist extraordinaire.  Ross included his work and listed him first in his Advisory Editors in The New Yorker’s very first issue (he was followed by Marc Connelly, Rea Irvin, George S. Kaufman, Alice Duer Miller, Dorothy Parker, and Alexander Woollcott).  

Robert Benchley  44West 44th St. The Royalton NY Hotel (b.1899 d.1945).  A member of The Algonguin Round Table, and so much more.  Humorist, actor, New Yorker Theater Critic.  Note that he lived just across the street from The Algonquin.  

Gardner Botsford  Grammercy Place (b.1917  d.2004) long time New Yorker editor of non-fiction, his writers included Joseph Mitchell, Roger Angell, and A.J. Liebeling. Step-son of Raoul Fleischmann.

John Cheever  Hudson & Horatio (b.1912 d.1982)

Peter De Vries 32 West 11th  (b.1910  d.1993)  Novelist, humorist, Cartoon Doctor. 

Alan Dunn  12 E.88th St.  (b.1900 d.1974) One of the most prolific of the magazine’s cartoonists.  Married to Mary Petty.

Raoul Fleischmann  955 Fifth Ave.  (b.1885  d.1969)  In 1924, when Harold Ross proposed he and Fleischmann start a “new comic paper” Fleischmann put up the money.

Wolcott Gibbs  East 54th St.  (b.1902 d.1958) Writer, editor, critic, playright (“Season in The Sun”) (New Yorker theater critic – he took over the job from Robert Benchley)

Philip Hamburger  East 80th St.  (b.1914  d.2004) Writer of non-fiction for The New Yorker for over 60 years (serving under all of the magazine’s editors from Ross to Remnick).  He occasionally wrote under the name, Our Man Stanley.

Gus Lobrano  West 13th St.  (b.1903 d.1956) New Yorker fiction editor from 1938 – 1956.  Following Lobrano’s death,  E.B. White wrote of him: “His contribution to The New Yorker was deep and extensive; it is hard to get it all down in a brief report. Probably his most telling contribution was this: that because of knowing and loving him many writers felt that The New Yorker was their home.”

Russell Maloney  413 East 50th St. (b.1910  d.1948) A wildly prolific Talk of The Town writer, on staff from 1934 – 1945.

William Maxwell  East 86th St. (b.1908 d.2000) Author & fiction editor to Salinger, Cheever, Nabokov, and Updike, among many others.

Joseph Mitchell West 10th St. (b.1908 d.1996) Writer. A New Yorker staff writer who became known  for not writing after writing so well for so many years.

Grace Paley West 11th St. (b.1922 d.2007) Writer

Dorothy Parker  23 East 74th St. (The Volney) (b.1893 d.1967)  Ms. Parker was perhaps the most, if not one of the most celebrated members of the Algonquin Round Table. One of Ross’s original contributors and listed as an Advisory Editor in the very first issue of the magazine. The subject of numerous biographies.

S.J. Perelman 134 West 11th St.  (b.1904  d.1979). One of the great humorists of the 20th century. 

Mary Petty  12. East 88th St. (1899 – 1976) New Yorker cover artist and cartoonist. (See Alan Dunn).

Harold Ross  52 East 11th & 412-414 West 47th St. (b.1892  d.1951).  Ross dreamed up The New Yorker.  Thomas Kunkel wrote an excellent biography of Ross, Genius in Disguise

J.D. Salinger  300 East 57th St.  (b.1919 d.2010)

Willam Shawn  East 96th St.  (b.1907  d.1992) The New Yorker’s  legendary second editor.  He succeeded Harold Ross in 1952.  Would someone please write a biography of Mr. Shawn.  

Saul Steinberg 6th Ave. & 11th St…and at the end of his life: East 75th St.  (b.1914 d.1999).  The New York Time’s front page obit labeled him an “epic doodler” – how  I wish they could take that back. The man was a genius.

Otto Soglow 330 West 72nd St. ( b.1900  d.1975) He created The Little King.

John Updike West 13th St.  (b.1932  d.2009)

E.B. White  A number of addresses, beginning with 112 West 13th St., and later, with Katharine White at 16. East 8th St., then uptown at Turtle Bay Gardens, and in the mid 1940s, 37 West 11th St.  (b.1899 d.1985) In his earliest days in Manhattan, White roomed  at 112 West 13th Street along with Gus Lobrano. 

Katharine White  Several addresses, including 16 East 8th St. (see E.B. White above). (b.1892  d.1977) The New Yorker’s first fiction editor. She was hired in August of 1925, and shortly thereafter was involved in nearly all editorial aspects of the magazine. Listed by William Shawn as one of the four who “did more to make the magazine what it is than can be measured.”

Alexander Woollcott E.52nd St.  (b.1887 d.1943) Wrote The New Yorker’s “Shouts & Murmurs” column, also the magazine’s drama critic. He was a member of The Algonquin Round Table, and was among those listed as one of  Ross’s Advisory Editors in the first issue of The New Yorker.   He shared the 412 West 47th St address with Harold Ross and his wife, Jane Grant.  Woollcott later moved to the very far east end of East 52nd St., the place Dorothy Parker dubbed, “Wit’s End.”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

It Was Twenty Years Ago Today: Catching Up with…The New Yorker’s Frank Cotham

 

 

 

 

Frank Cotham's dog

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 I met Frank Cotham  just once, in 1997 at a photo shoot organized during the Tina Brown era at the magazine. Forty-one cartoonists showed up to pose for Arnold Newman (the group photo was  published in the very first Cartoon Issue of The New Yorker). After saying hello to each other that day, sixteen years passed before we connected again.

 

Cotham 1997

 

(photo: Frank at the shoot, top center, in the pointed party hat. On the left, hatless, Dean Vietor; on the right,in top hat, Mick Stevens. Lower left, Lee Lorenz, lower right, Mike Twohy).

Michael Maslin : You know, it’s funny, but I realized this evening while looking up your work on The New Yorker‘s database that tomorrow is the 20th anniversary of your first appearance in the magazine, the issue dated December 13, 1993.

What was that moment like for you, selling that first drawing, and then seeing it in the magazine?

Frank Cotham: Total disbelief when I sold one to The New Yorker.  I had been sending a batch to them every week for fifteen years – the first twelve years or so were a little discouraging, but I was glad I kept with it.

MM:  According to a bio in the New Yorker, up until 1986 you were  “a staff artist in the production department of a television station”–so what transpired professionally  in those seven years after you left the staff artist position and broke into The New Yorker?

FC: I kept sending work to The New Yorker of course, and getting rejected, but I did do a lot of work for other magazines, mostly Penthouse. They pretty much kept me in business. There were quite a few “features,” which meant short deadlines and working through the night. I don’t think I could do that anymore.

MM:  Since you’re down in Tennessee we don’t see much of you up here in the Northeast — you’re kind’ve a mystery man. 

FC: I like the sound of that, being a mystery man.

MM: With some cartoonists, you can see the influences or influence.  Your work is a bit of a puzzle. Can you talk about what brought you into the cartoon world, your influences.

 FCThe New Yorker and its cartoons caught my attention when I was in junior high school – Charles Saxon was one of my favorites, and Robert Weber.  A friend of mine at the TV station suggested that I send some of my cartoons to magazines, and after a couple of years, I sold one to Saturday Review – My friend and I were both very surprised.

MM: Regarding Saxon and Weber:  now that you’ve mentioned them as favorites I can see a lineage there — it’s odd I never saw it before.  I had thought you more in the Addams school with a dash of Richard Taylor.   Did either of those artists influence you?

FC: Yes, very much so. Addams certainly. I always loved the somber grays in their work. In my mind, I thought that’s what a New Yorker cartoon was supposed to look like.

MM: What’s a typical work day for you — if there is such a thing as typical? For instance, Jack Ziegler writes first, then eventually heads on over to his desk to draw.   I don’t read anything first — I just sit down with a cup of coffee and wait.  How does it begin for you?

FC: My day usually begins by sitting down, after I’ve fed the dog and cat, with a book for about half an hour.  I have my orange juice, cereal, and coffee while reading the local paper, check Facebook for essential news on my iPad, and then sit at my drawing table and stare out the window.

MM: When I think about your work there’s a certain cartoon environment  that comes to mind.  It’s different from say a George Booth environment or a Mick Stevens environment — it’s so very much your own.  Can you describe it?

FC: I’m not sure I know what you mean.  I’ve noticed that two country people sitting on the front porch of a rundown house figure prominently in my cartoons in the last few years, I’m not sure why that is. It’s not really something that I see often around here, but my dog and I do mull things over on the back porch. [Frank sent a drawing of his dog for this piece — it appears above: “I’ve attached a sketch of my dog, but she can’t really sit up like that.”]

MM:  I’m going to ask you a question similar to the one I asked Roz Chast:  has anything changed for you regarding your work…the way you work, I mean.  What’s it like for you now in 2013, going on 2014 when you sit at your drawing board? Is it any different than what it was like in say, 1994 or 1999 or 2007?

FC: I work pretty much like I have from the very beginning – still use the same drawing table, still use watercolor crayons, a dip pen, and a bottle of ink.  But I have moved my office downstairs – I don’t have trouble going up the stairs, but when I’m ready to come down I feel that I need to call the fire department.

MM: Is there anything, cartoon-wise, you’re working on other than your weekly NYer batch that you’d care to tell us about?

FC: I’m not working on anything else – fretting and coming up with a batch decent enough to send in to The New Yorker pretty much occupy all my time.

MM: You were living near Memphis when we met back in the late 90s —  you’re still there? 

FC: I still live in a Memphis suburb, and have lived here since forever.

MM: I’ve got to ask:  Have you ever been to Graceland?

FC: I’ve never been to Graceland.  It’s not like I’m anti-Elvis or anything, it’s just that I’ve never been an Elvis fan. Janice [Frank’s wife] and I just happened to be returning from a brief vacation in Florida the day Elvis died, and we stopped in a Waffle House late that night. The waitress asked where we were going and we told her Memphis, and she said, “Oh, Elvis.”  I didn’t have the heart to tell her that we weren’t headed to the candlelight vigil.

Click here to see Frank Cotham’s work on The New Yorker‘s Cartoon Bank site

 

 

 

 

 

 

 

 

 

Catching Up With…Roz Chast

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Roz Chast has been contributing her work to The New Yorker since 1978 when she burst on the scene in the magazine’s pages causing a mixture of excitement and in some quarters, just a little confusion.  The veteran New Yorker cartoonist, Charles Saxon, a giant in the  magazine’s ranks, queried Ms. Chast, and not in the most positive sense,  “Why do you draw the way you do?”  She responded, “Why do you draw the way you do?”

 

Since that time Ms. Chast has herself gone on to become a giant in the ranks of the magazine’s contributors. Most everyone knows what a Chast drawing looks like (and often they smile just upon hearing her name).

RC
Roz and I have known each other since the year our work first appeared in The New Yorker, Incoming Class of ’78.  I remember being introduced to her by the cartoonist, Richard Cline, in the Grand Ballroom of the Pierre Hotel, where The New Yorker once held its anniversary parties.  We email from time-to-time, and recently, I asked her if she’d let Ink Spill visitors in on what’s happening in her life these days.

 

Michael Maslin:  Roz, when we connected a few weeks ago you were making your first pickles.  It’s not at all what I imagined you would be doing that day.  I’m not sure what I imagined you’d be doing, but it wasn’t that.  What’s with the pickling? And how did it go?

 

Roz Chast: I have a couple of friends who are obsessed with pickle-making. Looking back, I think it was peer pressure. Anyway, my pickles were ok. Don’t know if I’ll do it again, though. Voice in my head right now: shut up about the pickles. [Roz’s first batch of pickles are in the photo above].

 

MM:I know you’ve returned to one of your passions: pysanka egg-decorating. I love seeing group photographs of them, as if they’re assembled for a concert or something.  When you’re decorating them, are they individuals, or do they belong to various egg families?  In other words, is there ever a story between them, or are they strangers to each other? Am I making sense?

 

imagesRC: They are both individuals and part of a group. With the pysanka dyes, each egg becomes very pretty in its own way, but when you put them all together, they become almost head-explodingly pretty.

 

MM: I know you’ve been working on a book, coming out next May, and that it’s perhaps different from previous books of yours. Can you tell us us about it?

 

51DlvVXiTiL._SX258_BO1,204,203,200_RC: It’s called Can’t We Talk About Something More Pleasant?, which is what my father used to say whenever a difficult topic, like death or illness, came up.  It’s a graphic memoir and includes writing (nothing typeset), cartoons, illustrations, some of my mother’s poems, photographs, and, as they say, much, much more. The book begins when I realized I had to “step up to the plate” and deal with their increasing frailty—that none of us could continue sticking out heads in the sand– and it ends with my mother’s death.

 

MM: Let’s turn to our favorite magazine for a moment.  A good percentage of the cartoonists who began when we did, in the mid-to-late 1970s, are still contributing to the magazine. They’re (we’re) continuing a tradition of long careers for cartoonists at The New Yorker. Jack Ziegler, Mick Stevens, yourself, Liza Donnelly, Tom Cheney, and, of course, our current cartoon editor, Bob Mankoff are full participants nearly some forty years into it.  What do you make of that, if anything?

 

RC: Hasn’t it always been that way, in a way? When I started, it seemed like there were lots of older people who had been contributing for several decades.

 

MM: Has anything changed for you regarding your work…the way you work, I mean.  What’s it like for you now in 2013, going on 2014 when you sit at your drawing board? Is it any different than what it was like in say, 1982 or 1990 or 2005?

 

RC: It’s the same in a lot of ways. I still contribute a weekly “batch.” I still use a Rapidograph-type pen and draw on 9 by 12 Vellum Bristol paper. I still am happy when something makes me laugh. I no longer go in to The New Yorker in person—I send my work in via pdf, so that’s different. And of course, I’m a lot older and closer to death now than I was when I started. Let’s change the subject.

 

Click here to vist Roz Chast’s website.

Click here to see Roz’s work at The New Yorker‘s Cartoon Bank site.

 

The Street Where They Lived

 

 

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When I moved to Manhattan in the fall of 1976, just out of college, I was on a mission to be published by The New YorkerLittle did I know when I  rented an apartment at 113 West 11th Street,  that I had moved to a street that was home, at one time or another,  to a stellar array of the magazine’s artists and writers.  

A day after getting the keys to my apartment, I was standing in the small vestibule of my new address, when a tall man with an Amish-like beard came bounding down the stairs.  He paused to ask me what I was doing there.  After I introduced myself as the new tenant moving into 3R, he stuck out his right hand and introduced himself:  “Donald Barthelme.”   I didn’t know who he was — my initial thought was that he had an interesting name and beard —  but it didn’t take long before I learned I had moved into an apartment right above one of the most acclaimed New Yorker writers of the day. In no time at all, I discovered that Grace Paley,  a good friend of Donald’s,  lived nearly just across the street, west of the public school. (I met Ms. Paley in Donald’s apartment at a holiday party when we ended up sitting side-by-side on hassocks near the fireplace).

In time, as  I began to read up on New Yorker history, 11th Street continued to pop up:

E.B. White & Katharine White lived on 37 West 11th in the mid 1940s. 

The man who invented The New Yorker, Harold Ross, moved into 52 East 11th  following his time overseas during World War 1.

Steinberg lived in the Adams Hotel on the corner of West 11th and 6th Ave in 1942 – his first residence in this country. (Donald introduced me to Steinberg in the garden behind 113 West 11th).

Peter De Vries (profiled on Ink Spill ) lived at 32 West 11th before moving up to Connecticut.

S.J. Perelman lived at 134 West 11th.

  And I learned that my hero, James Thurber,  the man responsible for my wanting to become a New Yorker cartoonist, once lived at 65 West 11th.  The address was less than a minute walk east from my building, past Ray’s Pizza,  across 6th Avenue, and just a few steps along 11th on the north side, right where the New School building now stands.

(West 13th also had a small contingent of New Yorker residents: Thurber, John Updike and E.B. White).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Liza Donnelly on Women on Men

Women On Men COVER FINAL

 

 

Liza Donnelly, the long time New Yorker cartoonist recently spoke with me, her husband, about her forthcoming book, Women On Men, and her recent trip to France, where she was invited to participate in  the Forum d’Avigon.

Michael Maslin:  Women On Men is your sixteenth book.  How does this one differ from your last book, When Do They Serve the Wine?

Liza Donnelly: It’s bigger and better!  Women On Men is a collection of my cartoons that I have drawn over the course of my 30 plus year career as a cartoonist.  A fair portion of what I draw is women speaking and making light of our world — snarky women who care.  I gathered the best of that type of cartoon that I do, and so Women On Men is about women being funny, and affectionately making fun of men. Like my previous book, Women On Men has my writing as well; but there’s more of it, and it’s grittier.  I like using that word.  Also, the writing in this new book is done all in my handwriting. Since this is an ebook, I wanted to give it a hand-done feel.

MM: Looking over the previous fifteen books, you’ve had what some might call — and some have called —  a checkered career.  There’re seven childrens books (all for Scholastic), a history of The New Yorker’s women cartoonists (Funny Ladies), a couple of anthologies, a compilation, a semi-autobiographical collection, and Cartoon Marriage, a collection we co-authored.  How did all this happen?

LD:  It’s all a blur. I just follow my instincts and keep pushing. The children’s books came out of an interest in doing a wordless book for little kids, and ended up being a series, with minimal words. The history about women cartoonists came about because I really wanted to understand why there are so few women in cartooning. So I researched The New Yorker‘s archives for over a year and discovered many wonderful cartoonists (The New Yorker had a women cartoonist in their first issue in 1925).  The “semi-autobiographical book” I assume you mean When Do They Serve The Wine?  The idea for that came about because I was teaching Women’s Studies at Vassar College (using cartoons in my class to illustrate points, of course), and came to the realization that the generations of women were not talking to each other.  So all the stupid things I have gone through in my life as a woman, if I could share with women just starting out as women in their 20’s–it might make their life a little easier.  And I could learn from them. So that book is about women navigating society and the pressures of life each decade they live, from birth to 60s (I’m not there yet!). You and I did Cartoon Marriage because we knew how much humorous material there is in marriage.

MM: Of all your books, Women On Men seems to come closest to a true collection of cartoons. Do you think of it that way?

LD:  I guess so, yes.  Primarily because most of the cartoons were not drawn for the collection, but gathered from my career (some are brand new, however).   And a good number of these were published in The New Yorker. The only thing that makes it not a true collection is that I draw a lot of cartoons about all kinds of subjects, not just women. Maybe someday I can collect it all in one spot.

MM: It also differs from all your previous books in that it’s an e-book. Knowing it would be published in that form — did that change the way you approached working on it?

LD: The only thing from the start that I thought might be interesting for an ebook is having handwritten copy for the text. That way it has a just-done, sketchbook feel.  The publication date is more fluid because buying an ebook is not tied to publisher-determined seasons, bookstore schedules, etc, as traditional publishers have usually worked.  Other than that, it wasn’t really any different.

 

MM:  Along with your work here at home you have a great interest in international cartoonists (including running a  website, World Ink, devoted to their work). You just got back from France. Tell us a little about what you did there.

LD: I have had an interest in international cartoons since I was in high school when I lived in Rome with my family. But I love international political art, it’s so powerful and in recent years I have met many cartoonist from around the world because of my being a part of Cartooning For Peace. Also, I am now a cultural envoy for the US State Department and have traveled to Israel, Palestine and Macedonia.  In France, I was invited to participate in the Forum d’Avigon, a think-tank about culture. I gave a short speech during a panel discussion of Culture and Peace; and along with five other cartoonists, we drew our impressions of the debates. They put our drawings on the wall immediately–it was fun and challenging.

MM:  I know you’ve several more books on the way.  What can you tell us about them?

LD: The next book I am working on is due in 2014, but will be published in 2015 by Holiday House, and it is a children’s book!  I am happy to be back in this world of writing and drawing for children, and will be doing two for them in the coming few years. The first one is called The Rainbow, and contrary to the title, is not about  same-sex marriage.  But it is about inter-species friendships.  Beyond that, I am working on another adult book, tentatively titled Kooky.

MM: A final question: you’ve been contributing to The New Yorker for over thirty years — a  career that spans four editors: William Shawn, Robert Gottlieb, Tina Brown and, currently, David Remnick.  What’s the best part of working for the magazine?

LD:  When I began at The New Yorker in 1979 (when they bought my first cartoon), I felt that it was a place where one could be creative and say something simultaneously.  This is still true, and I am proud to work there.

 

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 Click here for more information on how to obtain a copy Ms. Donnelly’s new book, Women on Men

Click here to see Ms. Donnelly’s recent post on forbes.com, where she begins a series of interviews with women in humor

To see Ms. Donnelly’s New Yorker work click here.

Click here to visit her website,  lizadonnelly.com

Thurber Is #1

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It’s silly to rate cartoonists, but around here, as anyone who follows Ink Spill knows, James Thurber is the #1 New Yorker cartoonist. Thinking about him on the eve of his birthday (he was born in Columbus, Ohio, December 8, 1894) I stood in front of the Thurber paperback section of our cartoon library, looking at title after title.  After taking several of the books down and thumbing through, I realized that there’s no better way to celebrate the man than by simply showing his work (or, in this case, some of it). Not all his titles are in the photograph, but the span of his career is represented (in paperback form) from Is Sex Necessary (co-authored with E.B. White) all the way up to the last book published while he was alive, Lanterns & Lances (it came out in April of 1961, just seven months before he died).

There are no favorites here, but I confess a fondness for the low-key graphics of the Penguin English paperbacks, with their vertical orange borders (there’s a Japanese copy of The Last Flower in the photo as well — I suppose it would be fun to start collecting Thurber editions from around the world).

What doesn’t surprise me after all these years of looking at Thurber’s work is that his drawings never disappoint. The seal in the bedroom never seems less than a miracle; the present Mrs. Harris on the bookcase continues to baffle in the best way; the naive domestic burgundy continues to amuse,  the War Between Men & Women never truly ends, and Dr. Millmoss has yet to be accounted for.

 

 

And…a little more Thurber:

See some of Thurber’s New Yorker work here.

Link here to a fun Thurber piece on the Attempted Bloggery site.

And…

William Shawn, The New Yorker‘s second editor (he presided over the magazine from 1952 through 1987) died on this day in 1992. Here’s a short piece marking the day.

If you have the double issue of the New Yorker dated December 28 1992 & January 4 1993, this would be a good day to take another look through. It contains a wonderful section, “Remembering Mr. Shawn” wherein you’ll find short pieces by, among others, Charles McGrath, Calvin Trillin, John Updike, Lee Lorenz, Kennedy Frazier, Philip Hamburger, Roger Angell, Andy Logan, Mark Singer, John McPhee, William Maxwell, Daniel Menaker, Lillian Ross, and Brendan Gill.  There are also a number of b&w photos of Shawn taken by James Stevenson.