The Monday Tilley Watch: The New Yorker Issue of March 26, 2018

The cat, or, uh, cover’s been outta the bag for several days now, so we can move right on to the cartoons in the issue. (I’ll mention Rea Irvin‘s missing masthead later on in this post).

Roz Chast has the first drawing (p.19). The setting of several folks lined up on a sofa hard up against a wall seems to belong to her.  It’s her signature, as much as George Booth’s guy-in-the bathtub scenario is his. 

Six pages later a Zach Kanin cozy-under-a-blanket-by-a-fire drawing (coincidentally, the action in the drawing is set on a sofa). The cartoon is anchored by the use of the word “breasts” in the caption.  A quick online search shows a modest number of New Yorker breast-related cartoons, with very few actually mentioning breasts in the caption. One that came readily to mind is this classic courtesy of Jack Ziegler from November of 1997.  

  Nine pages later, a fun Seth Fleishman drawing (captionless, of course. His specialty).  Succinct clean lines and ideas. The same could be said for the very next cartoonist: William Haefeli. Unlike Mr. Fleishman, he works with a caption. This particular drawing is textbook Haefeli. Even the inconsequential fruit in the bowl (in the foreground) is rendered as if it is essential to our grasp of the entire piece.

On the very next page is a grand drawing from Charlie Hankin, well-placed on the page. A crime scene by P.C. Vey is on the opposite page. I love how he’s drawn the victim. This compact set of drawings is one of my favorites in quite awhile (the set consisting of Fleishman, Haefeli, Hankin, and Vey).

Five pages later, the second New Yorker drawing from Bishakh Som, who delivers the magazine’s weekly subway drawing. Subway drawings are now certifiably the new crash test dummy drawings.  [a second subway drawing, by this cartoonist, appears as this weeks Caption Contest challenge] 

Fifteen pages later (following a photo spread) is a colorful and intricate drawing by Peter Kuper. An excellent piece of work. Five pages later, Carolita Johnson takes us to a concert hall. I like that she’s brought us somewhere we typically don’t go much (anymore) in New Yorker cartoons. Ms. Johnson’s handled the scene well, with the audience, drawn in grey, driving our focus to the sniffling quartet. I am curious about the tiny dash and “c”  appearing next to her signature:

Three pages later a well-drawn Tom Cheney cartoon (is there any other kind?).  NYC apartment seekers who don’t have money to burn will find this drawing especially hilarious. On the very next page, Emily Flake brings us a demographic not often seen in the magazine: senior citizens. It appears the fellow’s had enough and is taking a walk.  He can’t be planning on being away very long: he has no coat or jacket, and just one piece of luggage not much bigger than a bowling ball bag.

The last drawing in the issue (not counting those on the Caption Contest page) is by Edward Koren, who will, this May, celebrate his 56th year of contributing his drawings to The New Yorker.  No one draws birds like Mr. Koren, and, need I say it (sure, why not) — no one draws like Mr. Koren.

 Link here to see all of the drawings referenced in this issue.

And don’t forget to check out The Cartoon Companion (they usually post at week’s end) for their rated take on all the issue’s cartoons.

— See you next week

ps: Couldn’t help but notice that Rea Irvin’s iconic Talk of the Town masthead is still a-missin’.  There’s a substitute in its place.  This is what the real deal looks like:




The Monday Tilley Watch: The New Yorker Issue of March 19, 2018

The latest New Yorker is the “Spring Style” issue (it says so right at the top of the Table of Contents). The huge feathered Carol Channing-esque hat on the cover (by Maira Kalman) sets the tone, or theme. There’s a lot of color in this issue (ads, illustrations, and one cartoon) — more so than usual, I think.  Makes sense: Spring = color.

Was hoping Rea Irvin’s iconic masthead (below) would be reborn for Spring, but alas. Had it popped up in this issue, it would look exactly like this.

And now off to the cartoons. The first, on page thirty-three, is by Carolita Johnson. For those visiting New York, or living in New York, Ms. Johnson’s titled drawing,  Dressing For the Manhattan Climate, will ring true any time of year.  Six pages later a Harry Bliss drawing. Mr. Bliss’s single panel cartoons are instantly recognizable — they’re always in a box. I’ll be curious to see how the fellows at the Cartoon Companion dissect this drawing.  

Five pages later, Joe Dator brings us a variation of pin the tail on the donkey.  For me, Mr. Dator’s drawings belong in that category of cartoonists work that amuses at first sight, even before the caption is read. Four pages later, a Roz Chast drawing that drove me to a dictionary. The drawing is titled Deux Ex Caffeina. I recognized it as a play on deus ex machina — a phrase I know but never bothered (til now) to understand.  Here’s how Mirriam -Webster defines it:

The New Latin term deus ex machina is a translation of a Greek phrase and means literally “a god from a machine.” “Machine,” in this case, refers to the crane that held a god over the stage in ancient Greek and Roman drama.

Got it now. Very nice drawing.

Opposite Ms. Chast’s drawing is a P.C. Vey drawing. With a caption that concerns paper shredding and includes the words “incriminating documents” there’s a heavy overtone of criminality.  By the way, both Ms. Chast’s drawing and Mr. Vey’s sit well on their respective pages, sized and balanced well off each other.

The next two pages contain two cartoons as well.  Mary Lawton’s, with a cat hogging a shaft of late afternoon sun and  Paul Noth’s comment on gun control (or lack thereof). Following a few pages later is a drawing by relative-newbie Olivia de Recat with another in her series of word-based cartoons. Time will tell if this is her specialty.

Two pages later a Will McPhail bathroom drawing.  I found the terror of the fellow in the tub very funny, but I do wonder why the text, in horror typeface, is within the drawing itself. This is the kind of big cartoon question that keep some of us awake at night. 

Opposite Mr. McPhail’s tub terror is Bishakh Som‘s debut in the New Yorker.  For those keeping track, Mr. Som is the fourteenth new cartoonist to make their debut since Emma Allen assumed the position of cartoon editor in May of 2017. 

Three pages after Mr. Som’s drawing is one by this cartoonist, putting to use perspective I learned in a high school Mechanical Drawing class. Thank you, Mr. Minchin.

Two pages later Ed Steed employs a bit of color in a drawing featuring little identical gentlemen.  At first I thought Mr. Steed had joined the cartoon tiny wind-up toy people club (Charles Addams did a lot of those drawings).  But closer inspection reveals these tiny folk to be real cartoon people and not toy cartoon people (you can tell they’re not toys because they lack wind-up keys). It being an Ed Steed drawing I don’t suppose it makes any sense to wonder why these dapper miniature men are tiny and identical and appear to have some Snidely Whiplash characteristics (the hats and mustaches). Funny is funny.

Three pages later, an Emily Flake family in crisis drawing, followed thirteen pages later by a Liana Finck drawing. Ms. Finck’s style, like the aforementioned Mr. Dator’s style, is immediately welcoming (and, of course, humorous). 

Eight pages later, the last drawing in the issue (not counting the Cartoon Caption Contest drawings) and the newest entry in the New Yorker‘s cartoon subway series. This one is by newbie (though not debut newbie) Sharon Levy. Having never been out west, I needed someone with left coast experience to explain it to me.  Okay then.

Note: all of the above cartoons can be seen on the New Yorker‘s website here.   Scroll down to Cartoons from the Issue

–See you next week