The Monday Tilley Watch: The New Yorker Issue of November 20, 2017

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

Wow, three weeks in row without a political cover. This latest cover, of two children chalking out a hopscotch pattern on the ground, has a title, as have all covers since Tina Brown instituted the practice. I’ve always wondered why it’s necessary to title a cover.  Shouldn’t the piece tell you everything you need to know all by its lonesome? A graphic island unto itself? In this case, the title is “Coding 101”; many folks (or at least I) never would’ve caught the reference to coding on the hopscotch pattern.  Honestly, all I saw was kids doing a kid-like thing.  I initially thought: how wonderfully simple (too simple it turns out).  Never having played hopscotch, you could’ve fooled me — and it did — that this cover had an underlying meaning. For the record, I do have one connection to the game: I did a hopscotch drawing back in 1989. No coding appears in the drawing.

After a quick trip through Goings On About Town (or GOAT) we arrive at the Christoph Neimann Talk of the Town Masthead. Notice how I’m no longer referring to it as the Rea Irvin Talk of The Town Masthead. Mr. Irvin created the masthead and it stayed in place, with a few tweaks along the way (made by Mr. Irvin) for 92 years,  This past Spring Mr. Niemann was commissioned to redraw the masthead. Absolutely no knock against his work, but the original really never should’ve been replaced.

Here’s Mr. Irvin’s classic:

Now on to the cartoons and cartoonists.  The first cartoon in the issue is by J.A.K. (Jason Adam Katzenstein). The drawing depends on understanding the caption’s reference to the Large Hadron Collider.  I remember when the collider was all over the news years ago (2008 specifically).  Seeing it referred to here in this drawing I immediately thought there was some collider news event I’d recently missed. A quick search didn’t turn up anything exciting in the news (exciting, that is, to this non-scientific mind). What I did see on Wikipedia is how darn huge the collider is (they don’t call it “large”  fer nuthin’).

Mr. Katzenstein’s drawing — how he drew the collider — made me think of a great Jack Ziegler drawing involving something we tend to think of as small (plumbing pipes).  Unlike Mr. Katzenstein’s collider, Mr. Ziegler went to town in the juxtaposition department, making the small humongous; Mr. Katzenstein made the humongous small-er.  I’m  showing Mr. Ziegler’s here as it appeared on the page in the issue of March 3, 1980. It’s a thing of beauty. While working I often keep in mind this quote from Mr. Ziegler: “…it’s always nice when cartoonists know how to draw so that they can give us something pleasant and fun to look at.”

Six pages later, a Hitchcockian-flavored drawing from Julia Suits. Who can forget this Tippi Hedren moment from Hitchcock’s The Birds? Ms. Suits cartoon adds poppy seeds, and voila!

On the facing page is a Frank Cotham cave man drawing. Similar to his drawing last week in mashing very old (last week medieval and contemporary times) with now.  Here it’s mashing very very very old with now. The cartoon is placed/spaced well on the page.

Ten pages later a drawing by newbie Alice Cheng (her first appearance was this past February), who has employed a semi-forgotten go-to situation: house mice.  This is a Charles Addams moment (bringing in a crime scene with police and the media). Nicely done.  Four pages later a cowboy campfire drawing by Zach Kanin.  I’ll take a cowboy and campfire drawing any day of the week — love them.  Here, Mr. Kanin seems to channel the wonderful wackiness of  the aforementioned Mr. Ziegler. 

And speaking of semi-little-used go-to situations, the very next drawing (by Amy Kurzweil) gives us signs in a store front window. Store front windows with signs once appeared regularly in The New Yorker (I did my share as did many colleagues).

On the very next page is a well placed Roz Chast drawing.  Anxiety in an airplane.  You can just imagine, but you don’t have to, of course. Ten pages later an Ed Steed strip-like drawing along the bottom of the page.  Larkness visible.

Seven pages later, a Charlie Hankin drawing based on the  famous story of Icarus. It never seems to turn out well for poor Icarus. I like Mr. Hankin’s take on the the myth.

Three pages later is the New Yorker (print) debut for Hilary Fitzgerald Campbell; a more than meets the eye drawing.  Good wording. Another three pages brings us to a drawing by William Haefeli. It can be said of a number of New Yorker cartoonists that their work is instantly recognizable (think BEK).  Mr. Haefeli’s work is solidly in that category. The caption for this drawing is priceless. The drawing, as was Ms. Cambell’s, is well placed on the page.

Nine pages later is a Tom Chitty drawing of robots (they appear to be sitting at the same coffee shop table as J.A.K. s collider couple, although the seats are different).  The little flower at the heart of this drawing reminds me (exactly in its look) of a battery-powered plastic flower in a plastic pot my mother gave to me. When you turn it on the flower rotates and “Don’t Worry, Be Happy” starts playing. Would these robots have a real flower or a mechanical flower?

The last drawing in the issue is by Sara Lautman.  Oddly/coincidentally, the drawing incorporates a round-top table (just like Mr. Chitty’s drawing and Mr. Katzenstein’s). But the focus here is on the genie that’s appeared, and his up-dated wisdom (do genies dispense wisdom? Sure, why not). He appears to be drawn in the Disney Robin Williams genie mold more than the Barbara Eden look (below: Disney’s genie on the left, Lautman’s in the center, Barbara Eden’s genie, far right ):

 

— See you next Monday.

 

 

 

   

 

 

 

 

 

Sipress Sees The Birds; Feiffer, Katchor, Burns, Tomorrow, Mankoff & more at Small Press Expo; Books on the Horizon

 

birds

From newyorker.com, August 27, 2014:

“A Fear of The Birds — a piece by the cartoonist, David Sipress.

 

 

 

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SPX_Poster_Gif1

From Michael Cavna’s  Washington Post “Comic Riffs” column, August 27, 2014, “SPX 2014: From alt-weeklies to web-comics, Small Press Expo announces its programming slate”

Among those scheduled to appear are Ben Katchor, Tom Tomorrow, Jules Feiffer, Charles Burns, and Bob Mankoff.

 

 

 

 

 

 

 

 

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Far off in the distance,  a few books of interest have been listed on some popular bookseller websites:

From Thomas Kunkel, who authored  one of the very best New Yorker biographies, Genius in Disguise: Harold Ross of The New Yorker (Random House, 1995), comes Man in Profile: Joseph Mitchell of The New Yorker.  Due  April 21, 2015, from Random House.   No cover image & scant few details  as of now.

 

And in February of 2015, Writing For The New Yorker: Critical Essays on an American Periodical by Fiona Green (Edinburgh University Press). 9780748682492_p0_v1_s260x420Here’s what the publisher has to say:

Original critical essays on an iconic American periodical, providing new insights into twentieth-century literary culture

This collection of newly commissioned critical essays reads across and between New Yorker departments, from sports writing to short stories, cartoons to reporters at large, poetry to annals of business. Attending to the relations between these kinds of writing and the magazine’s visual and material constituents, the collection examines the distinctive ways in which imaginative writing has inhabited the ‘prime real estate’ of this enormously influential periodical. In bringing together a range of sharply angled analyses of particular authors, styles, columns, and pages, this book offers multiple perspectives on American writing and periodical culture at specific moments in twentieth-century history.