The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.
I enjoy the little drama of seeing the new New Yorker cover pop up on the screen early Monday morning when I go to the digital issue; sometimes there is no Monday morning drama because the cover has been released (online) days earlier. The magazine occasionally does this with of-the-moment covers. That’s the case this week — Anthony Russo‘s “In the Hole” appeared online days ago (I continue to wonder why New Yorker covers need titles, a practice that began with Tina Brown’s second issue, October 12, 1992). The last untitled New Yorker cover, issue of October 5, 1992 was Edward Sorel‘s punk in a hansom cab — the first Tina Brown era cover:
The very next issue, October 12, 1992:
This latest issue’s cartoons start off well with Bruce Kaplan‘s Alice in Wonderland drawing. It’s graphically more complex than his usual style. The caption is excellent. Way to go.
Next up, four pages later, is a Farley Katz concert drawing. I enjoyed hovering over this drawing, looking at the details, especially the drums and drummer. Just three pages later, a couple of texting turtles via Liana Finck. For some reason — I don’t believe I’ve ever thought or said this before about any cartoon (other than one of my own) — I really wanted this drawing to be ever-so-slightly colored-in. Perhaps the largeness of the landscape surrounding the turtles reminded me of how Guy Billout handles his pages.
Six pages later, a fun Drew Dernavich drawing of a situation almost every driver has encountered: the hunt for a space. Coupled with a long-time favorite cartoonist scenario (the person crawling along the desert) and bingo! My only wish here would have been for the cartoon to have more breathing room around it. On the very next page, another drawing that would’ve benefited from a little bit more space on the page (hey what can I say, in the balancing act between text and cartoons, I always notice when there’s an imbalance). In Maddie Dai‘s cartoon we return to the Sistine Chapel (where Julia Suits was not too long ago). Reminder: if you haven’t seen the Michelangelo exhibit at the Met, better hurry.
Five pages later, a splendid Edward Koren drawing. And…it’s placed beautifully on the page. You can’t ask or more, folks.
On the very next page, a history lesson from Sara Lautman: how did the Great Lakes come to be called the Great Lakes. Interesting drawing — I like the scenario Ms. Lautman’s given us.
Three pages later, a cold & flu season contribution from P.C. Vey. The little drawing within the drawing is very funny. The aforementioned Julia Suits has the next drawing (on the very next page after Mr. Vey’s). The drawing makes use of the “what happens in Vegas stays in Vegas” armature. The setting is very George Boothian.
On the opposite page a William Haefeli drawing drawing upon the Bob Newhart showism: “Don’t go to bed mad.” Words of wisdom then and now. On the next page, a Teresa Burns Parkhurst captionless drawing (and the second cold & flu drawing in the issue). Elevator bank drawings are not seen all that often anymore. I like that the drawing was allowed to spread across three columns, allowing us to mosey on over to the pay-off.
Five pages later, Shannon Wheeler brings a very in-the-news item on home. This could easily have been one of those drawings that are sometimes placed below the table of contents. Good stuff.
Six pages later, an Ed Steed scenario ( a category within itself). Dead (?) fish, in a cage, not a tank. The use of color offsets the mystery…just a little.
Eight pages later, courtesy of Mick Stevens, an advice-seeking court jester. Don’t know if this drawing has anything to do with current domestic politics (in particular, a current politician) but it feels like it does. On the opposite page, a Mary Lawton “meet the…” scenario. “Meet the…” drawings seem to be making a comeback. This particular one seems true-to-life (with the exception of the two hours displayed on the sign. I’ve a feeling you could meet those people during all business hours).
Five pages later, the last drawing of the issue (not counting the caption contest cartoons). Tom Toro‘s penchant for detail is put to great use. Funny drawing. I wish it wasn’t slammed up against an ad though. I don’t believe the balancing act mentioned earlier (with text and cartoons) should ever include advertisements and cartoons. Cartoons hugging editorial text: yea. Cartoons hugging ads: nay. Just sayin’.
Update: Rea Irvin’s classic Talk of The Town masthead still missing. This is what it looks like: