The Monday Tilley Watch: The New Yorker Issue of November 6, 2017

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

 I think it’s safe to say we have in our hands this week the New Yorker’s official Fall issue what with John Cuneo‘s beautiful giant leaf descending cover. 

For a change, I looked through this week’s issue (the digital issue, of course) on my laptop instead of on my tablet. It’s helpful seeing everything in an immediately readable format instead of having to zoom in, but it also removes a layer of mystery I’ve come to enjoy: seeing the cartoons small, and trying to figure out (sometimes) who did them and guessing what the caption might be. Back to the tablet next week.

Skipping through the front of the magazine, I did pause to admire the illustration on page six by Roman Muradov. It sort of has a Arthur Getz and Eugene Mihaesco mash-up feel — a 1960-ish vibe.  Nice.

Passing by the “redraw” of Rea Irvin‘s  iconic never-shoulda-been-replaced Talk of The Town masthead (above) we get to the first cartoon on page 22, a couple of beavers, courtesy of Kaamran Hafeez.  One of the beavers suffers from an age-old problem that was used to great effect on The Mary Tyler Moore Show when  newsman Ted Baxter read, on air: “I’ve just been handed a bulletin: ‘You have something on your front tooth!'” Curious about whether there was any significance to running a beaver drawing now, I consulted Wikipedia for a snap education. The entry included this:“Maintenance work on the dam and lodges is particularly heavy in autumn.”

Here’s a photo of a beaver, just because:

 Five pages later is a Zach Kanin drawing of a fitting room. I like the louvered fitting room doors, which could easily double for those steel roll-down gates you see on storefronts. Below left: Kanin louvered door.  Right: steel roll-down gate.

Eight pages later a Paul Noth mobster-tinged bar scene based on  “if a tree falls in the forest…” Nice expression on the woodsman’s face.  Good caption. Four pages later an Ed Steed drawing (i.e., dark). Shades of Charles Addams’ kids home from camp drawing

On the very next page, Julia Suits takes us out west to the reliable compound of cowboys at a campfire plus modern technology (I’ve done it myself a few times — it’s an irresistible scenario). Can’t see a cowboy campfire without thinking about Mel Brooks’ classic scene. Three pages later an interesting garage drawing by Ellis Rosen. One of our grandmasters, George Booth did a number of memorable garage drawings. Here’s one (published in the issue of December 28, 1998):

Mr. Booth has had a lot of company over the years. Mr. Ellis gives us a lovely drawing with an excellent caption. And, bonus: it sits well on the page. An Amy Kurzweil drawing is on the very next page.  A chess scenario, perfectly timed for Halloween. I like this drawing, but did find myself pondering why the chess pieces have arms. Are these actual chess pieces dressed up for Halloween, or are they people dressed up in chess pieces for Halloween who have decided to further Halloween-ize their chess costumes? So many questions…

Five pages later a Roz Chast triptych (her preferred construct in recent years). The third panel is a gem.

Six pages later, a Sara Lautman drawing leaning heavily on a pun. Five pages later, appearing just a day after International Cat Day, is an Amy Hwang cat drawing. If you want even more cartoon cat drawings, find these somewhere online or in your favorite used book store:

Five pages later, veteran Mick Stevens brings us back to much earlier times. I’m aware of the cartoon takes of Moses passing by a burning bush (hmmm, that was him, wasn’t it?) and him famously getting hold of the tablets containing the Ten Commandments. But the Biblical-era press conference is new to me.  I note that Moses looks weary.

Three pages later another cartoonist trope: the wedding scene. This one’s by Emily Flake. Understanding the definition of the word “algorithm” as used in the caption is key to understanding this drawing.  Someone should really do a book of New Yorker  dating/mating/algorithm related drawings (there was a dating cartoon in the magazine two weeks ago).

Four pages later, the last drawing in the issue (not counting the caption contest work): a banana peel domestic situation via J.A.K. (Jason Adam Katzenstein). The only thing as funny as someone slipping on a banana peel is someone getting slapped with a pie in the face. Danny Shanahan gave us both:

To see a slideshow of all the cartoons in this week’s issue, go here to the Cartoons page of newyorker.com and scroll down past the Daily Cartoon, Caption Contest to Cartoons from the Issue.

–See you next Monday

 

 

 

   

 

 

Must See: George Booth Exhibit at The Society of Illustrators

Here are a bunch of photos taken at last night’s opening reception for The Society of Illustrators exhibit, George Booth: A Cartoonist’s Life, curated by J.J. Sedelmaier

A ton of original George Booth covers and drawings in one place. What more could anyone ask for?  It’s a wonderful show. Go see it.

Above left, Danny Shanahan with Seth Fleishman (and right behind Mr. Fleishman is Stephen Nadler who runs Attempted Bloggery). Photo right: seated, John Cuneo, with the Director of the Society of Illustrators, Anelle Miller. Behind them is Felipe Galindo, and Stephen Nadler speaking with the cartoonist, Marc Bilgrey.

Below: two similar group photos. Can you spot the difference?

Top group photo: Mike Lynch, Michael Maslin, Liza Donnelly, Danny Shanahan, Jane Mattimoe, Felipe Galindo, George Booth, Mort Gerberg, Sam Gross, Ellis Rosen and Hilary Campbell.In the second group photo, Mike Lynch has disappeared and been replaced by John Cuneo, who is between Liza Donnelly and Danny Shanahan).

Below right: Seth Fleishman and the New Yorker‘s cartoon editor, Emma Allen.

Below: animator, Bill Plympton. Right: Eric Lewis

Above left: the show’s curator, J.J. Sedelmaier. Right: the Booth family

Below: Mike Lynch with Gina Kovarsky, daughter of the late very great New Yorker cartoonist and cover artist, Anatol Kovarsky

(photo courtesy of Mike Lynch)

Below: George Booth, with the illustrator,Tom Bloom in the background — he’s the fellow with the beard. (This photo courtesy of Stephen Nadler). 

Above left: Sam Gross.  Above right: Felipe Galindo with Colin Stokes, the New Yorker‘s assistant cartoon editor.

Below: Liza Donnelly, George Booth

 

–All photos above by Liza Donnelly, except where noted. My thanks to her for being the Spill’s official photographer.  

 

 

 

 

 

 

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of October 30, 2017

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

We are definitely in the Halloween mode in the new issue, and it all begins with Carter Goodrich’s cover; a scary clown looking remarkably similar to our current president peers out from the woods.  For some reason my thoughts drifted back to what I believe was the first appearance of the Donald on the cover way way back in 1992; the Robert Risko high-kickin’ chorus line cover was on the 13th issue of Ms. Brown’s tenure.

Skipping through GOAT (Goings On About Town), and, sigh, the redrawn Rea Irvin Talk of the Town masthead,  we come to page 18, and the first cartoon of the issue.  Zach Kanin is back with what at first might seem like a Halloween themed drawing, what with the full-face ski hats, but it’s not Halloween-related — it’s a pizza crime cartoon. Not the first pizza drawing in the magazine (for instance: who could forget Gahan Wilson’s 1997 classic), but possibly the first incorporating a stick-up using bank robbery terminology.  My one microscopic quibble with the drawing is not with the drawing at all, but the proximity of the Otto Soglow spot drawing just above it.  I’m firmly in the camp of letting the New Yorker‘s cartoons have plenty of breathing room. 

 Roz Chast’s gingerbread man drawing, appearing five pages after Mr. Kanin’s, is an example of plenty of breathing room.  A Danny Shanahan carrot cake man two issues ago, and now a gingerbread man.  Somebody should really do a book of pastry people cartoons.

Nine pages following Ms. Chast’s couch-bound confection (with a Trump illustration appearing along the way) is an Amy Hwang drawing that, at first glance, appears to be Halloween-related. But, like Mr. Kanin’s, it’s not a Halloween drawing (although I’ve seen situations like this set up in front yards of homes at this time of year). A buff executioner stands beside a rope-less(?) guillotine. Five pages later is a Will McPhail drawing with its figures in silhouette (guillotine, silhouette…what an issue).  Lovely night sky, Mr. McPhail. On the very next page is another William’s drawing (William Haefeli).  I should mention that all of the drawings, from Ms. Chast’s on, have been beautifully placed on the page. Mr. Haefeli delivers a principal’s office cartoon drawn in his trademark style. This drawing might even have more going on than the usual Haefeli contribution. I found myself enlarging the cartoon on my computer screen to see what was on the cartoon computer screen and what was going on out in the cartoon hallway.

Three pages later is a Julia Suits drawing that causes us (or maybe just me) to imagine another cartoon within her cartoon.  A fellow at a very long bar is thinking about a woman who’s walked into his wet cement. That’s what I was imagining — the walking into the wet cement scene.

On the very next page is — yay! — a Halloween cartoon, courtesy of one of our modern anchor cartoonists, Joe Dator.  Mr. Dator’s “last-minute” parade drawing made me think about the now famous Greenwich Village mega-parade, wherein gazillions of costumed folks gather together.  Mr. Dator’s less populated parade is appealing. Four pages later, a drawing by one of the most recognizable stylists in recent times, Seth Fleishman. Looking slightly Spy vs Spy in this drawing (it’s the hat, I think, plus the mash-up of black & white figures) Mr. Fleishman dips into mobsterville  — the fish wrapped in newspaper). 

On the very next page is a Drew Panckeri drawing of a reclined and relaxed member of the armed forces on his bed speaking with what I imagine is a counterpart from an adversarial country. I find the fellow’s coat interesting — it looks a bit like an Eisenhower jacket, but it’s not quite short enough. Several objects in the room caused me to linger on this drawing for awhile: the lava lamp, the large model (?) of a rocket, and the framed piece which looks as if it might be based on James Montgomery Flagg’s 1917 “I Want You poster (itself based on New Yorker cartoonist Alfred Leete‘s earlier work, shown below far right). The fellow in Mr. Panckeri’s  frame is definitely pointing at the viewer, but his clothing looks more carny than country.  

 

Fourteen pages later (following a photo essay) is a Bruce Eric Kaplan drawing of a woman in bed. As usual with Mr. Kaplan, a winning caption. Opposite Mr. Kaplan’s drawing is a wonderful bookend to Mr. Dator’s parade drawing (it being the Halloween issue): witches standing at a boiling cauldron.  This is a lovely drawing, with an Edward Gorey-ish feel to it.

Ten pages later is the last drawing of the issue (not counting the caption contest work on the last page).  It’s a Paul Noth word play drawing.  I see people at a table with the mention of wine and I cannot not think of James Thurber’s 1937 oft-reprinted classic drawing.

I can’t leave this week’s issue without a Charles Addams shout-out. If you have a moment, seek out his covers and drawings.  With Addams it was Halloween all year long. 

Til next Monday… 

 

 

 

 

 

 

 

 

Fave Photo of the Day: Edward Sorel & Company; Karen Green Pencilled; A Cartoon Companion Two-fer: Mick Stevens Interviewed (Pt.1) & The Latest New Yorker Cartoons Dissected; Tilley Watch Online

Fave Photo of the Day: Edward Sorel & Company

Edward Sorel had a few friends over for lunch yesterday; a splendid time was had by all.

Front row, l-r: Danny Shanahan, Edward Sorel.  Back row, l-r: Michael Maslin, a wooden St. Peter,  James McMullan, and John Cuneo

(photo courtesy of Danny Shanahan who used the time-delay function on his phone)

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Columbia’s Comics & Cartoons Curator, Karen Green Pencilled

Jane Mattimoe’s wonderful blog, A Case For Pencils features Karen Green, who is the Comics & Cartoon Curator at Columbia University.  A good read!

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Cartoon Companion Two-fer: Mick Stevens Interview (Pt.1) and the Latest New Yorker Cartoons Dissected

The Cartoon Companion‘s Max & Simon are back with a close look at the cartoons in the New Yorker’s latest issue as well as part one of an interview with veteran New Yorker cartoonist, Mick Stevens.  Read the Stevens interview here And read the CC’s take on the current issue here.

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…a Halloween video from the Cartoon Department…Daily Shouts from Ward Sutton, and Will McPhail (who seems to be in a Rear Window-esque mood lately — a recent piece for Esquire also featured a city building with individuals in various windows), and Daily Cartoons by, among others, Peter Kuper, and Kim Warp.  See it all here.  

The Monday Tilley Watch: The New Yorker Issue of October 23, 2017

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

This week’s cover (by R. Kikuo Johnson, who we learn from the Contributors page teaches cartooning at the Rhode Island School of Design) is of robots on their way to wherever robots go to. One has an on-the-go cup of coffee(?) while another carries an old-fashioned lunch box.  When I was a little kid, I was slightly fascinated by the lunchbox a neighbor (his name was Joe) carried to and from his factory job everyday. I sometimes wondered what was in his lunchbox and whether he had the same lunch everyday. Anyway, back to the cover. I thought seeing all the technology, it was going to be a Technology Issue, but no… it’s the Money Issue. The semi-Tilley on the Table of Contents alerts us to the theme:

Anyone who reads Ink Spill can probably guess that Tilley tampering (see yesterday’s Spill) will be duly noted here. Other examples :

Now on to the issue’s cartoons, and it doesn’t take long at all to find one. A nicely placed Tom Cheney drawing appears on page 4 directly following the end of the magazine’s Table of Contents.  I like that the magazine does this every so often and not all the time.  It’s a fun surprise.  Mr. Cheney takes one of the cartoonist’s most reliable  characters, death, to an artist’s studio. Artists studios, and artists, were very popular in years past, especially in the James Geraghty era (the New Yorker’s art editor from 1939 through 1973). Many of the best were gathered in The New Yorker Album of Art & Artists (New York Graphic Society, 1970).

There’ve been several other art-themed collections since (shown above: The New Yorker Book of Art Cartoons (Bloomberg, 2005), and The Museum of Modern Art Book of Cartoons (Museum of Modern Art, 2008 — a custom production), but the 1970 collection  is the mother ship, containing some of the most famous art cartoons in the magazine’s canon. 

Moving through the front of the magazine, I really like the beautiful photograph of a cow (in an ad for Louis Roederer) on page 15. What can I say? I love cows (to look at, admire, and occasionally pat on the head).

David Borchart has the second drawing of the issue. Age, of course, comes up most every time (heck, every time) there are Galapagos tortoises involved. Charles Addams (and there it is: an Addams reference and it’s only the second drawing of the issue) did several (I can remember three) — here’s one. Mr. Borchart delivers a caption that many can relate to, and just as many have probably heard said, or said.  As usual with his work, it’s beautifully drawn. The elder tortoises look kind’ve happy.

I don’t usually comment on the illustrations but I do really like the cup of coffee by Golden Cosmos on page 40. Six pages later we have an Amy Hwang  Jack and the Beanstalk drawing.  A more complicated drawing than we’re used to seeing from Ms. Hwang. I like the beanbag chairs — I picture them in color for some reason: left to right:  baby blue, brown, and rust colored.  Two pages later another keeper from BEK (Bruce Eric Kaplan). I’m reminded here of the late James Stevenson’s barely disguised textbook political satire.

On the very next page is a Mike Twohy cornucopia drawing. Cornucopia drawings aren’t as plentiful (haha?) as artist drawings once were, but they showed up from time-to-time, sometimes on the cover. Here’s a beauty by Arnie Levin from 1978 (and how convenient it is that it’s a baseball themed cover in this heavy-duty baseball time of year).

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Mr. Twohy’s cartoon, referring to a certain mega-online shopping site, is concerned with way more than baseballs. Eight pages later is a darkish Ed Steed drawing. His fishnet roller coaster recalls Lou Myers’s style (a snippet from a 1969 Myers United Airlines ad below left. On the right, a portion of Mr. Steed’s drawing). 

Three pages later a dog walk in the park drawing from the long-time Wildwood, New Jersey lifeguard (retd), John O’Brien. As mentioned in the last Monday Tilley Watch, Mr. O’Brien excels at captionless drawings (to my mind the hardest to do; Charles Addams told Dick Cavett captionless drawings were his personal favorites). Mr. O’Brien’s drawing is placed perfectly on the page.

Four pages later, newbie Maddie Dai returns with, yes, an Addamsy situation. If it seems like there are a lot of references to Mr. Addams in these posts it might be because his work — well over a thousand cartoons published in The New Yorker — touched on so many situations favored-by-cartoonists, especially, of course in his case, dark side situations. Of the notes I received from former New Yorker Art editor, Lee Lorenz during my years of his tenure (he was editor from 1973 – 1997;  I began receiving notes from him in 1977) at least three-quarters of them said, “Sorry — Addams already did this.” 

Three pages following Ms. Dai’s drawing is a Julia Suits be careful what you say out thereit just might get you in trouble drawing. On the very next page is an oddity that’s now appeared for the second issue in a row (wait, does that mean it’s not an oddity anymore): a collaborative drawing by Kaamran Hafeez and Al Batt. Mr. Hafeez is responsible for the drawing itself. The setting is that old New Yorker cartoon chestnut: a  business meeting.

Three pages later, a drawing by Farley Katz, a cartoonist who always shakes things up somehow.  I like the complexity of the drawing – the stethoscope connecting both doctors with the patient —  but I’m unsure who the “we” is in this case. Even on a very large screen it appears both women’s mouths are open, suggesting that they are both speaking.  Someone write in please and clarify.

Three more pages and we find Batman, beginning his memoir, recalling his childhood.  Nice drawing by Zach Kanin. I like how he’s shown us the Wayne family portrait over the mantel.  When I see a New Yorker Batman cartoon I immediately recall this 1989 classic by Danny Shanahan:

Three pages following Mr. Kanin’s Batman is the the second sidewalk Liana Finck drawing in two issues.  The beginning of a sidewalk series perhaps?  I like the little birds on the sidewalk. 

Alice Cheng, another newbie (her first New Yorker cartoon appeared in February of this year) is next with a salmon swimming upstream drawing. I love that this is here as it gives me an opportunity to recall the great 1998 Bill Woodman bears and salmon cartoon shown below.  Look at this drawing! Lovely, funny. This is what the late very great Jack Ziegler had to say about Mr. Woodman: “Bill Woodman is a great cartoonist and one of the funniest “draw-ers” of all time, right up there with George Booth.” 

 

Three pages later, a drawing of mine. I believe it’s the first time that I’ve had Uncle Sam in a New Yorker drawing.  Four pages later is a not-quite-so-empty nest drawing by another newbie, Teresa Burns Parkhurst, who made her debut this month (not counting her caption contest appearance in September). I like the framed items on the wall, including the coffee mug, or mugs(?). On the very next page is what at first appears to be a doorman at an exclusive club situation.  But as it’s a Peter Vey drawing, it’s not, of course — it’s a writer needs to escape drawing. Nice stanchions!

The next to last drawing in the issue belongs to Avi Steinberg. A man at a diner counter encounters a teeny coffee cup.  As in an earlier drawing not long ago — not by Mr. Steinberg (I don’t think), I wonder about the level of the counter top in relation to the customer.  It’s either a very low counter, or a very tall customer. One wonders too if the customer is just walking by the counter and has remarked on the little cup of coffee.  There’s no indication of seating, so he isn’t about to sit; there are, however, items on the counter indicating customers might sit.  As I’ve said before, I like imagining a backstory. Good caption.

The final drawing in the issue (not counting the caption contest drawings) is by Carolita Johnson. A fortune teller!  As with Mr. Steinberg’s drawing, there’s some kind of perspective thing going on (with the door and the room) that caught my eye. You’ll see.

 — Back next Monday

 

 

 

Avi Steinberg

Carolita Johnson

 

 

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of October 16, 2017

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

Wowzers! 23 cartoons in this issue, and it’s not even a double issue.

The cover was mentioned here last week.  If you want to read what David Plunkert, the cover artist had to say about his design, go here

Without pausing at the renovated Rea Irvin Talk of The Town masthead (yes, that’s still an “issue” here at the Spill) we move onto the very first cartoon — it appears on page 22.  Bruce Kaplan’s been on a roll these past many weeks, with two covers and weekly appearances.  This makes sense to me, and reminds me of the system once in place at the magazine that kept us in touch with a number of artists over time. In this case, Mr. Kaplan gives us a Kaplanesque restaurant scene with a Kaplanesque caption.  Nice.

Nine pages later, following David Remnick’s “Postscript” about the late Si Newhouse,  we come to a well-placed Mick Stevens caveman drawing. I wonder sometimes if we will ever reach the end of the road, cave people drawings-wise.  Hope not. Imagine how much material has come from so little: cave people, their caves and rocks.  Someone should really do a book of these drawings.  Five pages later we come to a Sara Lautman art museum cartoon.  From a distance (that is, viewing it on a tablet) its use of blocks of black ink resembles an Ariel Molvig drawing. As I’ve mentioned a few times on the Monday Tilley Watch, certain brand new drawings immediately summon up drawings out of the magazine’s deep catalog. I cannot see an art museum cartoon these days without recalling this (captionless) Helen Hokinson classic from the issue of February 6, 1926.

 

Three pages later a gingerbread man-inspired drawing by the one-and-only Danny Shanahan. I’m assuming the carrot cake man’s hair(?) is made of frosting. The world could use more talking cake drawings right about now; Mr. Shanahan is the cartoonist for the job.

Five pages later P.C Vey dips into the literary world as well as the world of apartment plumbing.  Men-in-bathtub drawings always make me think of George Booth’s recurring guy in a claw foot tub (usually viewed from an adjoining room).  Here, Mr. Vey takes us right into the bathroom. I particularly enjoyed the recessed soap tray.  

On the very next page is a Liana Finck drawing.  I needed to reach out to a family member in her mid 20s for help on this one, and here is what she emailed me, cautioning she is not an expert on the subject, having never used the app:

I believe it’s a Tinder thing. I think if you like someone, you swipe right. Then if you match (if they swiped right on you too) you can talk to the person. Some people swipe right for everyone just to increase their chances. I think that’s what she’s commenting on: people frantically, desperately looking for love on their phones to the point that they’re numb to Cupid’s arrows.

Three pages later is a drawing by newbie, Maddie Dai.  This is graphically ala Roz Chast, utilizing a magazine cover as a humor conveyance vehicle. There’s some pointed messaging going on in this cartoon.

On the very next page a drawing by Kate Curtis,  a not-so-newbie relative to Ms. Dai.  There’s some helpful color in this cartoon (pinkish chewing gum).  I’ve spent most of my time on this one trying to understand if the gum was pre-chewed. It looks pre-chewed. I hope it’s not though.

Five pages later, A Will McPhail drawing.  Somewhat atypical for this cartoonist (at least  of his work I’ve seen in the magazine), the drawing is not a close-up of an individual or individuals.  Even enlarging the drawing on my laptop, the mouth of the woman speaking seems a black-hole void. Is that intentional, or smudged ink, or or or…?  Bonus(?) element: a guy with a man-bun.

Three pages later a Zach Kanin drawing.  Having just yesterday driven past and heard some part of a marching band competition in a nearby metropolis, I’m delighted to see this drawing. Kanin cartoon children are always a treat.  On the very next page, a Trevor Spaulding drawing concerning 401(K)s. Interesting drawing style, sort of a mash up of Kim Warp,  Marcellus Hall and Herge (the fellow responsible for Tintin).

Four pages later, Roz Chast gives us a Trumpian geography lesson. This would’ve made for a good New Yorker cover back in late September when the president came up with the nonexistent country, Nambia.

A Tom Toro Frankenstein-related kitty drawing is next. As with all of Mr. Toro’s drawings, we get more than our money’s worth in the detail department.  Two Frankenstein-ish drawings in two weeks (Liana Finck’s drawing of last week had some  Frankensteinian elements) — we must be getting close to Halloween. Two pages later, a drawing I momentarily mistook (again, while looking at the small screen of my handheld tablet) for a Charles Addams drawing.  But it’s an illustration by Bill Bragg, not an Addams cartoon. It would’ve been quite a shock had it been a full page cartoon. As mentioned here from time-to-time, full page single panel cartoons are rarities in The New Yorker. 

Speaking of rarities, the very next cartoon is a duo effort: Emily Flake and Rob Kutner. Here’s a Spill post from 2013 about collaborating cartoonists. This cartoon, based on one of the classic scenes in the film, Casablanca, was also the subject of a Bob Eckstein cartoon not too long ago (November 30, 2015, to be precise):

Perhaps Casablanca airport farewell scenes will take the place of desert island cartoons.  Nah…

Two pages following the collaborative effort is a drawing by Frank Cotham. A sparser look than usual for Mr. Cotham, but the subject matter is as Cothamy as you can get.  As much as I love his horses I think I love the little hut in the background even more.

Two pages later, a cartoonist making his debut in The New Yorker (if I’m wrong about this, someone please advise).  Joseph Dottino delivers a prayer at bedtime cartoon;  a seldom seen scene (seldom anymore that is.  They were once nearly as plentiful as talking parrot drawings).   Again, my thoughts go to several from the archives, but I’ll mention just one, by one of the masters, Dana Fradon (from the issue of September 23, 2002).

 

Opposite Mr. Dottino’s drawing is a beautifully placed John O’Brien cartoon. Mr. O’Brien is the magazine’s contemporary master of caption-less drawings.  This time round though,  he provides a caption (in a speech balloon).  As I’ve said in almost every one of these Monday posts, I try to stay away from heaping praise on any one drawing, but I can’t resist applauding this particular drawing (there are a few others in this issue as well, but once I begin applauding this one and that one, or holding my applause for that one or this one, I’m well into Cartoon Companion territory).

Following Mr. O’Brien’s drawing is another reliable cartoonist scenario: human evolution. This one’s from J.A.K. (Jason Adam Katzenstein). I’m a big fan of evolution drawings having returned to the standard human evolution graphic (seen below) a number of times.

Five pages later, yet another brand new cartoonist (again, if I’m wrong, someone please let me know).  Sophia Wiedeman debuts with a drawing of a person experiencing a mole or crumb moment.   Five pages later, Robert Leighton has us in space. The floating woman astronaut is close to Thurber-like. Thurber-like is always a very good thing. Three pages later, is a William Haefeli  drawing, the polar opposite of Thurber’s minimalism.  Mr. Haefeli’s caption reminds me of Kevin Bacon’s line in the Chisholm Trail scene in Diner: “You ever get the feeling there’s something going on we don’t know about.”

Three pages later work by yet another newbie.  Teresa Burns Parkhurst brings us a touch of Fall with a farm stand-like setting featuring apples.  A nicely placed drawing. 

And lastly in the issue (not counting the contest drawings on the last page) is a Harry Bliss drawing incorporating Sherlock Holmes, Watson, and a missing, or misplaced  illegal substance.

–See you next week