Book of Interest: Behaving Madly; Roz Chast’s New Project

Posted on 21st October 2016 in News

behaving-madly As Mad magazine is part of many a New Yorker cartoonist’s DNA, it seems fitting to mention this title coming out in the Spring of 2017.

Here’s a description from the publisher (IDW):

When “Mad” was turned into a magazine in 1954, every publisher and his uncle came up with his own version, often using the same talent. “Behaving Madly” presents 200 pages of never reprinted material by Bill Elder, Jack Davis, John Severin, Al Jaffee, Joe Maneely, Jack Kirby, Ross Andru, Joe Kubert, Russ Heath, Bob Powell, Howard Nostrand, Basil Wolverton, Steve Ditko, Lee Elias, and many others. This coffee table art book is produced by comic strip historian Ger Apeldoorn and Eisner winner Craig Yoe. Looking for a little more excitement in your life? Get mad and get Snafu, Lunatickle, Cockeyed, Crazy, Thimk, Frenzy, Frantic, Loco, Panic, and Zany, too!



Roz photo 2016

From the Wall Street Journal, “A Cartoonist Goes to Town”  — this short piece about Ms. Chast’s newest project.

Audio Interview of Interest: Edward Sorel & Jules Feiffer

Posted on 20th October 2016 in News

sorel_feifferHere’s a 50 minute radio interview with two giants: Edward Sorel and Jules Feiffer.   (Soundcloud offers a better listen.  Lots of distortion on the other link)

Katchor Interviewed; Sikoryak’s Carousel with Eckstein & Kuper

Posted on 19th October 2016 in News

From The Comics Journal, October 19, 2016, “Getting Material: A Short Interview katchorwith Ben Katchor”

Link here to Mr. Katchor’s website.

















Bob Eckstein and Peter Kuper  are included in  Robert Sikoryak’s October 26th Carousel .  Info here and on the poster.

Gil Roth’s Virtual Memories Interview with Liza Donnelly

Posted on 18th October 2016 in News









Gil Roth, who has been on a roll interviewing cartoonists, speaks with Liza Donnelly on this week’s installment of his Virtual Memories podcast.  Listen to it here.


Joe Dator Interviewed

Posted on 17th October 2016 in News

cartoonselfshotFrom Deconstructing Comics, October 16, 2016, “Joe Dator, New Yorker Cartoonist” — in this hour long interview. Mr. Dator talks about Mad magazine, Don Martin, Harvey Kurtzman, and The New Yorker, among other things.

Link here to Joe Dator’s website.

Bob Eckstein’s New York Daily News Cartoons

Posted on 16th October 2016 in News

















Bob Eckstein has been filling in at the New York Daily News for Bill Bramhall who is on vacation.  You can see a gallery of his work here.

Mr. Eckstein’s latest book is Footnotes From the World’s Greatest Bookstores: True Tales and Lost Moments From Book Buyers, Booksellers,  and Book Lovers (Clarkson Potter).

Eckstein's books

The Ink Spill Jack Ziegler Interview, Pt. 2

Posted on 13th October 2016 in News




In Part 1 of my interview with Jack Ziegler he mentioned having a few certain favorite drawings among [his] “children.” I asked him to name several for us to discuss over the phone. I also picked out a handful of my Ziegler favorites to discuss. As Jack said he’d like to be surprised, I had a number of other drawings in mind to bring up. What follows is a lightly edited transcript of that conversation, recorded less than a week ago.


MM: Let’s talk hamburgers.


JZ: Ok, why not.


MM: What is it about hamburgers?


JZ: There’s something funny about hamburgers. Hamburgers, toasters. parking meters…


MM: …Mr. Coffees…


JZ: I was thinking at one point of just doing a book about hamburgers, but I thought it might get a little tired.


MM: Well, I don’t know…right now I’m looking at the drawing on the back cover of Hamburger Madness.


JZ: That was done especially for the book.


MM: Lee Lorenz’s Essential Jack Ziegler has a hamburger drawing on the cover.


JZ: Yeah…that’s true.


MM: You’re like Mr. Hamburger, or something.


JZ: I guess. People always used to connect me with toasters, but after all these years the hamburgers are starting to shine through.


MM: That’s funny, because before I started looking through the collections of your drawings, that’s what I thought of: toasters. I thought: I’m gonna have you talk about toasters.


JZ: I still do some toasters. I like those old 1930s toasters.


MM: I looked at one of your latest drawings in the New Yorker… the airplane. The airplane itself – is that sort’ve based on…




















JZ: it’s not based on any experience of mine. If you’re drawing a regular airplane there’s nothing amusing about it. So you try to just make it a little bit nicer.

MM: It’s a grand airplane.

JZ: It looks like a big cargo plane that’s designed to carry tanks and villages.

MM: I love the way you draw trucks, such as the one in this drawing. Is this truck an amalgam?

JZ: It’s not based on any real truck. Nothing I draw is based on anything real. Even when I’m drawing an elephant, it’s certainly not anywhere near a real elephant. I like them with shorter legs and fatter than they really are.

MM: So you’re suggesting it’s an improvement?

JZ: Yes –it’s an improvement.

MM: I also like the little guy in the plane window, He looks a bit woeful.

JZ: I always like to put in an onlooker.

MM: That’s a good title for a book for you.

JZ: Onlookers Anonymous

MM: I like these vista or panoramic drawings you do, like the Where the Great Wall Ends, the Empire State Building, Pipeline TV, Great Moments from the Silver Screen. This might sound like a stretch, but the Silver Screen drawing looks a little like Steinberg to me.




JZ: Yeah, I guess. This was a drawing that never appeared anywhere but in this book [Hamburger Madness]. I like to get drawings out that I particularly like, that nobody else likes.


MM: All these drawings we’re looking at elicited a laugh beyond my brain, if you know what I mean. There’s a drawing right across from Silver Screen in Hamburger Madness — a guy in a phone booth saying Hare Krishna…very funny.


JZ: They’re essentially really stupid drawings. Y’know, drawings for dopes. Stuff that strikes me funny, a lot of the times for absolutely no reason at all. There’s just something there that’s funny, and I don’t know why. This Hare Krishna one is hardly even a joke, but it is. There’s definitely something wrong with me.

MM: Lucky for all of us.

MM: I love the pencil sharpeners with the pencil stub [“Had enough?”]

JZ: A drawing like that is from a doodle. I just started drawing the pencil sharpener that used to be on my desk. I started drawing several of them and they looked like they were looking at something. I had to put something there they were looking at, so I went with the logical.

MM: You feel sorry for the little pencil?



JZ: Yeah, it does look kind of pathetic.







MM: The drawing Hamburger Madness itself I identify with you a lot, back in the early 70s – the quintessential Jack Ziegler drawing.


ziegler-hamburger-madnessJZ: When the New Yorker bought it they didn’t run it for the longest time and I knew I wanted to use that title [for the book] so I had to kind of pressure Lee [Lorenz] to get that drawing in the mag before this thing got published. He was great about it, and within a couple of weeks it appeared.


MM: Tell me again – maybe I read it in Lee’s book [The Essential Jack Ziegler] or somewhere – that you created this idea of the box around the drawing?


JZ: No, I don’t think so. Kliban was doing stuff sorta but not quite like this. Almost all of his drawings were in boxes. And a lot of times there’d be a title usually up at the top, almost like a panel newspaper cartoon.

I don’t think anybody at the New Yorker was doing it. Right from the beginning I was doing drawings like that, a lot of times they weren’t boxed-in though. Eventually I realized they’d be more attractive and logical if there was box around the whole thing.

MM: The drawing with hooty owl took me by surprise, and that’s what you want right?


























 JZ: That’s exactly what you want. I would think you’d want that of all cartoons as you turn the page — that there’s a surprise.

MM: What about the Electrolux vacuum cleaner that’s in the sea. That’s kind of out there.

JZ: Another unpublished drawing as I recall.

MM: Love the drawing. I don’t expect you’d remember where it came from?

JZ: I’ve done a lot of drawings about Moby Dick, y’know. I’m sure this came from a doodle. I Probably drew the vacuum cleaner in the ocean first.

MM: You would agree that this one is fairly on the spectrum of crazy.

JZ: It’s unorthodox



MM: Let’s talk about “Damn it, man, do I look like I have any yellow ochre?” Another one of those panoramic, sort of vista drawings.




JZ: Yeah, right. I wanted to make it look like a painting by one of the Impressionists. Based on those lines of trees, those tall trees. It might be from a little after I was in France that one time in 2000. There was a New Yorker gig on the QEII and a bunch of us went over and we were drawing for the passengers and the folks in steerage. It was fun –they brought us to England, and then we went over to France and stayed there for awhile. It was so great. We visited Givenchy, Monet’s hometown. Really inspirational to look around there. You couldn’t help but want to be a painter when you looked at the color and the way things were set up.

MM: A beautiful drawing. You got the little car in there.

JZ: Well he had to get there, right?


MM: True, true. Very practical.

MM: A number of your drawings have a far eastern influence. 30 Sumos Over Tokyo for instance.


JZ: I think that was done after Sunrise on Mount Hibachi. I like looking at Japanese prints. Those woodblock prints.

MM: The clouds [in the Hibachi] drawing are great.

JZ: That’s the way the Japanese did the clouds in those days. Very organized.

MM: Bud Handelsman did a bunch of Japanese influenced New Yorker covers…

JZ: Yeah, Japanese type things. I don’t remember why.

MM: And Anatol Kovarsky with his Greek urns. Something for others to think about, I suppose. Interesting how a select few got into these different…

JZ: You have these peripheral interests in things and they kind of pop up every once in awhile when you’re doodling.

MM: The cowboy thing. We both have that in common. Why are they so fun, cowboys?

JZ: They’re just fun to draw. It’s an American icon. Everybody loves cowboys. Every guy wants at some point to be a cowboy, or have been a cowboy or hang out with cowboys. When you live out here [Kansas] you can drive up to Montana and see them all over the place.


MM: Munch Munch Munch was another that took me by surprise. I just thought he was munching. I just realized the double meaning today.

JZ: Really? Well you have to look very closely. I’ve done a whole bunch of drawings about Munch – it’s an image everyone knows. It’s like Moby Dick if you want to refer to a book, you almost always go to Moby Dick.

MM: Here’s another far eastern themed drawing: Fleetwood Mac. I’ve always loved it because I never understood Fleetwood Mac.

JZ: This was a much earlier Fleetwood Mac I was referring to, around the time they got mega platinum. I just needed the name of a band there.

MM: You just imagined this scene?


JZ: Yeah, right. Almost everything I do is as far as the scene background settings – it’s all made up.

MM: What are those little things off to the left on the bottom.

JZ: Oh those are just little houses down the hill. What did you think they were?


MM: Structures of some kind – I just wanted to be sure.


MM: About the burger hut franchise. I like it when you…draw.


JZ: I like doing a city-scape like that, as it were — a street scene. It just adds so much to it I think.

MM: Yeah, well context, of course. Although I guess you didn’t have to have those great buildings there but…

JZ: No, I didn’t but it just works so much better that way. It’s funnier I think.

MM: And that guy, who’s paused, almost paused, stopping and looking back at the work being done.

JZ: My onlooker!


MM: I found myself doing this today while working on a drawing — I kept drawing behind the main thing, adding buildings, rooftops. Is that what happened here?

JZ: It probably did. You know that giant duck on Long Island. You think about selling various things out of various houses… those wiener houses. I just kept drawing buildings in the background until it looked right, until I didn’t think it needed anymore.

MM: It looks like it could actually be a thing.

JZ: I know –you drive in, you drive out.

MM: It’s all very believable. These guys could be adding sesame seeds — not real sesame seeds. It could happen.

JZ: It probably did happen. I’m sure it has, somewhere.


MM: The cashews drawing: pretty wild drawing.



JZ: I just love the way the cashews are coming out of that spray can.

MM: It in a way reminds me of early underground stuff. It has that freaky quality to it.

MM: And First marriage?

JZ: It’s a standard set-up. I thought it’s just a funny thing for the new husband to say.

MM: I’m looking at the details, the guy taking the photo, the stained glass. When you’re drawing these things are you slightly laughing out loud, amused?

jz-first-marriageJZ: When I get the original idea yeah, I’m amused. I like that line. I’m not particularly amused when I’m drawing finishes.

MM: That’s why I don’t draw finishes. Does it happen with you – it happens with me all the time — that you come up with a drawing you really like but know the caption you come up with that moment is terrible, so you wait on it?

JZ: That’s true. That happens to me a lot. Well, not a lot, but occasionally.   I have a drawing I think is really nice but I don’t have an idea to go with it. And then I hang onto to it until something eventually comes to me.

MM: I can sit here and try to come up with something, and nothing. It happened yesterday. I did a drawing I liked, but there wasn’t a caption. And then this morning, I was in the motion of sitting down to look at that drawing and the right caption came to me.

JZ: Yeah, never throw those drawings out. The last drawing I sold The New Yorker was of a cat and dog looking at each other. I didn’t have any real caption. I put it away for a week and I got the proper caption.

MM: The Olympic guy. It’s a different kind of drawing. The guy’s in a little vestibule…



JZ: A little alleyway off the street.

MM: Very little.

JZ: Yes, very little. Very tiny.

MM: Could be a niche.

JZ: Could be a niche. What the hell is that?

MM: How about the doggy in the window drawing. You do a lot of bar drawings.


JZ: Well, I’m a bar guy. I’m always drawing from the bartender’s point of view.


MM: There’s a quote that keeps popping up in interviews with you: “I just want to do funny drawings.”

JZ: When I say funny drawings, I mean funny to me. A lot of my drawings are funny to me but definitely not funny to anyone else. But I always hope that if it’s gonna appeal to me it could possibly appeal to others as well.

MM: What you’re saying is fundamentally the way I operate. I’m trying to please my own sense of humor. Several people over the years have said to me, “I wonder what Lee Lorenz finds funny,” or “I wonder what Bob [Mankoff] finds funny,” or “what does [David] Remnick find funny,” and I always say to them, don’t think like that.

JZ: You can’t — you have to just really think about yourself; whenever I do drawings I never think about the New Yorker – I’m just trying to come up with drawings that I like.

MM: That’s the key to success.

JZ: That’s what I tell all the new kids.

MM: One more hamburger drawing: the big hamburger on the beach. Wondering if this is a Gulliver’s Travels thing?

JZ: Yes, Gulliver’s Travels. It has no meaning.

MM: So that’s his hamburger that’s arrived in the little people’s land?

JZ: Your guess is as good as mine.






(Photo of Jack Ziegler edging closer to Lake Erie, Windsor, Ontario, c.2008,  courtesy of Mr. Ziegler. Photo by Kelli Ziegler)

Jack Ziegler’s favorites among his children:

Sunrise on Mt. Hibachi – New Yorker May 7, 1984

Spray Cashews – New Yorker November 19, 2001

“…yellow ochre…” New Yorker November 11, 2004

“…bitchin’ set of wheels…” New Yorker  June 30, 2008…shown in Part 1 of the interview

“First marriage?” New Yorker  July 20, 2009

Cannon in bushes  New Yorker  February 9, 2015…shown in Part 1 of the interview


Blitt and Kuper on Society of Illustrators Panel; Gil Roth Roth Interviews Glen Baxter; Another Look at Abner Dean; Felipe Galindo In Conference on Political Satire in Latin America; A Case For Pencils’ Pencils

Posted on 12th October 2016 in News




Last Minute Notice!

“Can Art Affect Social Change?”  Barry Blitt and Peter Kuper, among others, will discuss tonight at The Society of Illustrators.  Details here



Check out Gil Roth’s wonderful interview with Glen Baxter on Mr. Roth’s Virtual Memories podcast here.

(Mr. Baxter talks about coming to The New Yorker in the Robert Gottlieb era).

While on the Virtual Memories site also be sure to take a look at past episodes, especially the long list of cartoonists (full disclosure, this cartoonist is among those listed).



dean jacket.inddFrom New York Review Comics comes a new edition of Abner Dean’s What Am I Doing Here? originally published in 1947.  Read Mark Frauenfelder’s piece on it here on Boing Boing.

Here’s Mr. Dean’s entry on Ink Spill’s New Yorker Cartoonists A-Z:

Abner Dean Born, New York City, March 18, 1910. Died, June 30, 1982, NYC.  According to his New York Times obit (July 1, 1982) Dean “started his career at the National Academy of Design and went to Dartmouth College, where he graduated in 1931.”  He published numerous collections of his work, including It’s A Long Way to Heaven  (Farrar & Rinehart, 1945) and Wake Me When It’s Over (Simon & Schuster, 1955). Although primarily a cover artist for The New Yorker (he contributed five, all in the 1930s), he did publish one drawing in the magazine: January 2, 1960. 



71440 Felipe Galindo  (aka Feggo) is participating in  Bitter Laughter: A Conference on Political Satire and Press Freedom in Latin America — a conference taking place in New York City this coming Saturday:  Details here.



a-case-for-pencils-logoJane Mattimoe, who runs the wonderfully informative blog, A Case For Pencils, wherein New Yorker cartoonists share their tools of the trade, is sharing her own tools of the trade this week.  Check it out here.

The Ink Spill Jack Ziegler Interview

Posted on 10th October 2016 in News


Jack Ziegler, recently referred to on this site as the Godfather of Contemporary New Yorker Cartoonists, has been contributing to the magazine since February of  1974.

Now in 2016 he is solidly in the K Crowd — meaning he’s published well over a thousand cartoons and one cover in The New Yorker (we’ll get to the cover later).  Considering that Jack has been the subject of former New Yorker Art Editor, Lee Lorenz’s The Essential Jack Ziegler and more recently as one of Richard Gehr’s subjects in I Only Read It For the Cartoons, I thought it would be interesting to talk about things that, for the most part, weren’t brought up in those books. I highly recommend seeking out both those titles for a full account of Jack’s personal and public shenanigans over the years.

This is Part 1 of my interview with Jack. Later in the week I’ll post Part 2, where we discuss a number of Jack’s favorite drawings, and a number of my favorite Ziegler drawings.



I’d heard from Jack years ago that he was a CBS page during the Beatles historic Ed Sullivan debut, but what I didn’t know was that he also paged for the Jackie Gleason and Garry Moore shows. It seemed the perfect place to begin our interview.

MM: So, this inquiring mind wants to know: did you get to meet  “The Great One” (Jackie Gleason) when you were a page at CBS?

JZ: I never got to meet Gleason.  He wasn’t around all that much and when he was in the studio he was referred to as “God.”  I think we taped the show on Tuesday nights & he wouldn’t show up till sometime that afternoon so that he could watch the dress rehearsal.  That was apparently all he needed to absorb everything he needed to do onstage.  Barney Martin, who eventually played Jerry’s father on Seinfeld, was his stand-in.  It was a fat guy to fat guy transference.

As a page, or glorified usher, I did get to watch all the tapings from Studio 50, now the Ed Sullivan Theatre, at Broadway & 53rd in NYC, from the audience until the Gleason Show moved – lock, stock & barrel – to Miami.

[In Gehr’s book, Jack mentions an elevator ride with Jackie O.  I wanted details]

MM: What about the elevator ride with Jackie O.  Just the two of you?

JZ: I had sold my second book, Filthy Little Things, to Doubleday – and Jackie Kennedy happened to snag a job there around that time as an editor.  I had just dropped off a bunch of drawings for the book and then took the elevator down.  The car stopped at another floor and she got on and it was just the two of us, sans Secret Service escorts.  Then we rode that baby down another couple of floors before she hopped off, exhausted but elated (they tell me), and I stayed on till I hit the street, at which point I had a chance to exhale.

MM: Do you remember the first time walking into the New Yorker’s art department [the magazine’s offices were then located at 25 West 43rd St]  What was that like for you? Who’d you meet?

JZ:  It was a Wednesday in November of 1973.  There was to be an annual Cartoonists Guild meeting & cocktail party later and I was wearing a sports coat and a heavy sweater so that I wouldn’t have to deal with an overcoat later.  I thought I was just going to drop off my usual batch, but there was a note from Lee Lorenz included in my returns asking me to come back to chat about one of my drawings.  Oh, boy!  Natasha the receptionist opened the gates and pointed me in the direction of the Inner Sanctum.

new-yorker-hallway-25-west-43rd-st-ldLeft: the New Yorker‘s Inner Sanctum at 25 West 43rd St.

It was a warmer than usual Nov. day and I was starting to perspire in my excessive outfit.  The first person I saw in the office was Henry Martin, whom I’d already met at True magazine while on rounds.  Sam Gross was there, too; I’d met him a few weeks back at National Lampoon.  I was then introduced to the other people who were there: Dana Fradon, Donald Reilly & Charlie Sauers.  By the time I got to sit down with Lee, the perspiration had turned to flop sweat.  Lee asked if I was OK as he handed me my first OK.  Then he gave me a little pep talk and basically just said to make the drawing a little bit better.  I was a wreck, but in a good way.  When I got back down to earth, i.e., 43rd St., I headed for the nearest pay phone to break the good news to my wife.

MM:  How aware were you of the work of veteran New Yorker cartoonists who were around when you began at the magazine…for example: Frank Modell, Warren Miller, Dana Fradon, Charles Saxon, Mischa Richter and on and on.

JZ: I knew of them all.  When I was a kid, my parents subscribed to a lot of magazines, but not the New Yorker.  Fortunately, a friend of mine’s parents did, so from the late ‘40s, early ‘50s, I was a big fan.  Some neighbors down the block had a copy of the New Yorker 25th Anniversary Album, with which I was fascinated.

nyer-25th-anniversary-album  Every time I went over there, I’d head for a quiet corner with that book.  One day I asked if I could borrow it & the owner said if I could find it, I could have it.  I interpreted “have” as “keep.”  I still “have” it.  After that, I started buying the mag on my own.

MM: Let’s talk about your one and only (as of this week, anyway) New Yorker cover.  Curious as to why there wasn’t a bushel basket full of more Ziegler covers following that one.  You obviously submitted more.   Did more sell that didn’t run?


JZ:  Selling that cover was very encouraging, and i submitted a lot of them, but that was the only one that got bought until 1991, when I sold a fall-themed cover.  They weren’t able to run it that year because all the fall slots had been taken, so it got pushed back to ’92.  Then editor Robert Gottlieb left and Tina Brown took over and killed everything that was scheduled to run.  It was the beginning of The Tina Years.  So – that was that.  It did eventually run inside as a full-color full-pager with the title, Fall Sweeps.  Oh, well.  But I’d love the chance to redo that one cover – ya know, just to make it right.

MM: What about the cover would you change?

JZ: I like the guy.  The bricks should’ve started higher, instead of going all the way down to the sidewalk.  I had to take 3 stabs at the sandwich board before Lee was satisfied and you can almost see that it’s pasted on.  The final (sandwich board) came out OK, though.

MM: I’m going to ask you the same question I asked Woodman [Bill Woodman, who was the subject of an Ink Spill interview in September of this year]: when you began at the New Yorker were you aware your work was quite different than what the magazine had been publishing in its previous fifty years? (Ed Koren, who preceded you in the magazine by  a dozen years would be an exception).

JZ: I had no inkling of that.  I knew that I felt that I wasn’t quite seeing the type of cartoons I wanted to see in the magazine.  They were good cartoons, but too many of them weren’t making me laugh the way they had when I was a kid.  I wanted to do drawings that were funny to me, & not necessarily to anyone else.  I was out to please myself, so I never asked: Is this a New Yorker cartoon?  Who knows?  Is this a Jack Ziegler cartoon?  Yep.

MM: I remember the first time I saw you in person – it was an enormous book fair in midtown Manhattan, circa 1979.  That cartoon anthology Animals Animals, Animals had just been published and you were on a panel with Sam Gross out there on the street (West 50 something) in front of a large crowd.  Were you comfortable being in the spotlight?

JZ: It was probably either Doubleday or Rizzoli – also could have been part of NY Book Fair that year.  Ruth Gordon and Garson Kanin were also there signing books, but hadn’t appeared yet.  I kept telling people that we had them both tied up in the basement & they wouldn’t be set free until the cartoonists had sold a certain number of books.  Oddly, some people were there to buy the Gordon/Kanin book and got pissed off.  So far as spotlight goes, I was never uncomfortable.  When I was a page at CBS we used to have to be front and center to give various little speeches and instructions to our captive audiences.  I was uncomfortable with that for awhile, but quickly got over it and began to tell them silly, made-up stuff, as well as the crucial info.  When you’re signing a lot of books for a crowd and the books are being passed around from cartoonist to cartoonist, the time goes fast and you start doing riffs on the little drawings that the other cartoonists have done before the book got to you.  It was fun.

mankoff-stevens-cline-ziegler-donnelly-1984Left: Bob Mankoff, Mick Stevens, Richard Cline, Jack Ziegler, Liza Donnelly. New York, 1984.

MM: The next time I saw you was in early 1985, at The New Yorker.  William Shawn had called in a bunch of cartoonists to talk about the impending sale of the magazine to Advance Publications. Besides us “kids” sitting on a table along the back wall, I only remember Steig and Barney Tobey. What do you remember from that somewhat historic meeting?  Besides Lee Lorenz, and the aforementioned Steig and Tobey, what cartoonists do you remember being in the room? And…what do you remember how you felt being there with Shawn, in that crowd?  Had you met Shawn before?

JZ:  I had met (or rather, seen) Shawn before, usually exiting or entering his elevator and sometimes in the hallway (rare).  He gave another speech to the assembled troops several years prior to Advance’s acquisition.  It was probably late ‘70s, when a group of New Yorker employees were attempting to unionize the workers.  The unionization never happened, but as a result, we were promised health insurance and a pension plan.  Not a bad outcome at all.
I sort of remember the Advance meeting being in Lee’s office, but that’s probably incorrect – there were a lot of people there.  I noted it in my desk diary as Black Wednesday, 2/13/85.  Other than those you mentioned, also present were gagwriter and sometime cartoonist Richard McCallister, cover artist Gretchen Dow Simpson, Charles Addams, George Price, Frank Modell, Joe Farris, Roz Chast, Al Ross, Ed Frascino, George Booth, Ed Fisher, Bud Handelsman, Arnie Levin, Henry Martin, Bob Mankoff, you, and I.  I was quite impressed with Shawn’s lucid presentation of the complicated takeover process.

MM: It’s risky talking about current New Yorker cartoonists, unless you’re all nicey-nice, so I’d like to ask you to comment, however briefly you’d like, about some of our departed colleagues. Either comment on their work, or them personally, if you knew them.
> Richard McCallister
> Charles Saxon
> Steig
> Charles Barsotti
> Al Ross
> Chon Day
> William Hamilton
> George Price

JZ:  When I first moved to New Milford, CT, in 1975 I used to mail in New Yorker finishes from the local PO.  One day there was a gentleman in front of me who was also holding a manila envelope addressed to Lee Lorenz.  I tapped him on the shoulder and introduced myself, told him that he had to be either Richard McCallister or Stan Hunt (I knew that he, too, lived in the area, but had never met him).  It was McCallister.  We – my wife and I – became friends with him and his wife Alice and would occasionally socialize, at which times I would pump him with questions about the magazine and his (kind of) partnership with Peter Arno, for whom he supplied a buttload of ideas.

Bill Steig also lived in the area, about 20 miles north of us in Kent, CT.  We used to meet up by happenstance in various restaurants and would join each others’ table for the meal.  Bill was always saying that no matter how old they get, he still always worried about his kids. One day I mentioned that I would occasionally send in some resubmissions to fill out the batch if it was a particularly dry week.  He was amazed.  “You mean you can do that?,” he said.  I was stunned that in all his years with the New Yorker it had never occurred to him to do that.

I had communicated with Charley Barsotti for years prior to my moving to Lawrence, KS.  He was living only about 40 miles away in Kansas City, so it was only natural that we get together for lots of lunches & dinners – and we did that a lot, until he was diagnosed with a brain tumor and then died about a year later.  The last time I saw him was for a sun-filled patio dinner at Axois, a great restaurant a block from his house.  He was frail that evening, but still full of spunk, and I’ve never seen a nattier couple.  In comparison, I looked like a dropout in shorts and a Hawaiian shirt.  He wanted a side of potatoes with his meal, but his wife Rae told him they weren’t part of his strict diet.  He just looked at her and ordered the potatoes anyway.  He, as always, just wanted to have a good time.  He died about 2 weeks later.  And, no, it wasn’t the damn potatoes.

I still get together with Rae for the occasional meal and we talk about Charley and all the amazing work he left behind.

I would see Al Ross only occasionally at the magazine and he was always friendly and jovial.  I would see both Hamilton and Saxon at the mag, but they seemed more remote.  I never met Chon Day and only had a glimpse of Price once at the aforementioned Shawn meeting.

MM: Lee Lorenz brought you into the magazine. What was it like working with him? Did he just kind of let you do your thing once you began or was he working closely with you — a combination, perhaps?

JZ: My first meeting with Lee was when he invited me back into his office to “discuss” one of my drawings.  That was a big deal, a life-changing deal.  He gave me a few hints, very loose, very casual, about how to approach the finish.  I think I did 3 versions before it looked right to him.  After that, I sold sporadically for about 6 months before they started buying on a fairly regular basis.

Below: Mr. Ziegler’s first New Yorker drawing, published February 11, 1974




















I do remember having a hard time for some reason drawing older people – I was in my early thirties at the time and I guess I just couldn’t identify.  After several attempts with one idea, Lee gave up on me and had Whitney Darrow, Jr. do the finish. But I’ve come a long way now and drawing old codgers these days comes naturally.

“Hole: The Original Soundtrack” was a 3-page, 8-picture absurdist spread that the New Yorker bought.  Lee had spread out all the drawings on the floor of his office and we were crawling around among them trying to figure out various sizings.  Lee turned to me and mentioned what a ridiculous way this was for two grown men to be earning a living.  And it was.  He was serious about cartoons and great fun to work with.

MM: I know Charles Addams did at least two of your ideas. [Nevermore and the little mail truck…is that right?]  Were there more — and were there ideas given to anyone else other than the Whitney Darrow you mentioned?

JZ: Nope, that’s it.  Only those 3 – and they all looked great.  I couldn’t have done them better myself – I mean, the Darrow drawing I couldn’t do at all – his version is lovely.

whitney-darrow-idea-by-zieglerLeft: drawing by Whitney Darrow, idea by Jack Ziegler

MM: What did you think of Addams’ versions of your ideas?

JZ: Addams’ Nevermore drawing has a layout that closely follows my original (as I remember it – of course, I never saw it again) – there wasn’t anything much different you could have done with it.  His mail truck version is more elaborate and detailed and far, far better than mine.

MM: You began at the New Yorker with Shawn and you’ve seen Bob Gottlieb, Tina Brown and now David Remnick move into the big chair.  Have any of these changes meant some kind of change for you, your work?

JZ:  There’s always a worry when a new editor takes over, but I never had any major problems with any of them.  I didn’t have to make any adjustments, with the exception of the Gottlieb years.  For some reason, Bob G. didn’t like white space in drawings, so every square centimeter had to be filled with something, sometimes to the detriment of the drawing.  The words in a balloon caption had to rub up against the sides of that balloon.  No air allowed.  Seemed silly to me and the drawings of almost everyone suffered.

Tina Brown was different.  She was an anything-goes girl, the nuttier, the edgier, & sometimes the sexier the drawing, the better.  I submitted a rather rude cartoon, “I just did a huge one in my diaper,” a drawing for the hell of it that I knew the New Yorker would never buy.  But, to my surprise, Tina did and it made me very happy.  I love it when a surprise like that happens.


MM: So what’s the thrill, some forty-three years since you began at the magazine: is it that moment an idea works for you, the drawing itself, selling the drawing, seeing it published in The New Yorker?

JZ:  It’s always a blast when you come up with an idea that you know no one has ever come up with before.  Also, it’s fun just thumbing through a stack of old drawings and coming across something that you’ve totally forgotten about and it makes you laugh out loud.

Selling a drawing is always nice for the bottom line, but the choices of what gets bought are almost invariably a surprise.  Personal favorites rarely get chosen.  Sometimes the worst idea in the batch is bought – and then, once it’s published, it turns out to be a huge hit.  Seeing anything of one’s own in the magazine is always a thrill, no matter how many times it happens – especially if it’s sized correctly.  Judging the value of one’s own work has always been impossible.  And I’ll always have certain favorites among my thousands of children, no matter how crappy everyone else thinks they are.

MM: Not long ago someone asked me how I could come up with ideas without getting out in the world. Do you think it’s necessary to “get out in the world” for your work?

JZ: You certainly have to have some background of having been out in the world, but as far as a day-to-day thing, nah.  I have very little live contact during the week, except for dog walks and buying the newspaper.  I rely on the blank piece of paper on my clipboard to reveal the secrets within.  I had normal jobs and contacts for my ten years between college and cartooning, so I was aware of the ins and outs of daily workplace socializing, so I rely on those not-so-fond memories to get me through the batch.

MM: I know you read everyday before you begin working on drawings.  Does the reading actually translate into drawings or is it something that, let’s say, exercises the brain?

JZ: It’s more a case of getting the brain moving in the morning.  Sometimes ideas spring from that, but mostly not.  After reading, I check out the New York Times, just the first page of each section, to see if anything leaps out at me.  With all the budget cuts and downsizing of that paper over the past few years, there’s far less there, so that formerly useful tool has become kinda useless.  But I still look, just in case.  I rarely get to delve into the interior until lunchtime.

MM: Is there a certain cartoon scenario that your happiest working on/workin in? (marital situations, barbeques, the old west, business people, etc) or are you happiest with whatever you’re working on at the moment?

JZ: Whatever I’m working on at the moment, whatever ideas pop into my head, no matter the genre.  I do like drawing cowboys on horses and almost anything to do with the “Wild West,” however.  Whenever I’m stuck I invariably start drawing guys on horses, and ninety per cent of the time that leads somewhere.

MM:  I love your  drawing of the cowboy kissing the gal while covering his horse’s eyes.  It’s one of those not laugh out loud drawings (although it could be), but some other kind of humor.


JZ: I really like that one too.  My memory of it is that it’s something that emerged totally out of a doodle that I just kept adding things to, including the frame.

MM: I’m not one for dissecting what’s successful, but I think of that as a very successful drawing, an evergreen. Any comment on that drawing, or evergreen drawings in general (as in: do you prefer them to topical drawings?). 

JZ:  I do like drawings where there really isn’t any joke — or kicker, as Sam Gross would say. The cannon in the bushes is like that.  I’m sure a lot of people scratched their heads over that one, but it’s just a cannon poking out of some suburban bushes and that’s all it is. There can be many interpretations.  It amuses me and I have no idea why. I far prefer these types of drawings to topical.  They have a longer shelf life, at least in my own mind.


MM: The New Yorker‘s current cartoon editor, Bob Mankoff memorably said, “It’s the think, not the ink.”  Agree, disagree?

JZ: Agree.  But it’s always nice when cartoonists know how to draw so that they can give us something pleasant and fun to look at.


(Photo of Jack Ziegler at the very top of the piece, taken in 1985;  photo of the New Yorker‘s Inner Sanctum, taken in 1991: both courtesy of Liza Donnelly)

A Jack Ziegler selected bibliography:









Hamburger Madness  Harcourt Brace Jovanovich, 1978.

Filthy Little Things    Dolphin, 1981.

Marital Blitz   Warner, 1987.

Celebrity Cartoons of the Rich and Famous   Warner, 1987.

Worst Case Scenarios    Fireside, 1990.

The Essential Jack Ziegler (Edited by Lee Lorenz)  Workman Publishing, 2000.

How’s the Squid?   Harry N. Abrams, 2004.

Olive or Twist? Harry N. Abrams, 2004.











John Lennon: “I was about 15 when I started Thurberizing the drawings.”

Posted on 9th October 2016 in News

Back in December of 2013 Ink Spill ran a piece, “John Lennon & James Thurber: A Sunnier Connection.”  To celebrate John Lennon’s birthday, I’m re-posting that piece, albeit in slightly edited form.



Anyone familiar with John Lennon’s and James Thurber’s drawings can’t help but see some cross-pollination from Thurber to Lennon.  Lennon’s drawings, published in 1964’s In His Own Write immediately drew comparisons to Thurber’s work. According to a Lennon biographer, Ray Coleman, Lennon at first scoffed at the suggestion, telling a BBC interviewer in 1965, who brought up book reviewers mentioning Thurber and Edward Lear (among others) as influences on Lennon’s work, “I deny it because I’m ignorant of it.”

Not too many years later, in 1971, during an appearance by Yoko Ono and Lennon on The Dick Cavett Show, Cavett brought up the subject, saying, “You know, your drawings look a little like James Thurber’s.”


In a funny moment as Lennon begins to respond to Cavett, Yoko Ono turns to Lennon and says, “His work does look a bit like yours, y’know, I think” to which Lennon replies, “Well he’s older than me, so he came first, so I look like him.”  And then he went on to say:

“I used to love his stuff when I was a kid. There were three people I was very keen on—Lewis Carroll, Thurber and an English drawer, or whatever you call him, called Ronald Searle. When I was about 11, I was turned on to those three. I think I was about 15 when I started Thurberizing the drawings.” (Another Lennon biographer, Philip Norman, credits Lennon’s Aunt Mimi with introducing her nephew to Thurber’s work).

[Top drawing, from  The Thurber Carnival.   Lower drawing from Lennon’s A Spaniard in The Works]

 Note: In His Own Write and the follow-up, A Spaniard in the Works are still in print.  You can see many of the drawings in those two books by Googling: John Lennon +drawings    (then select “Images”)

 To see the Yoko Ono & John Lennon Cavett moment, click here.  The discussion turns to Thurber at around the 6:05 mark.