Publisher Posts a Sneak Peek at Mankoff Memoir; Chast on 92nd St. & on Living in Connecticut



Publisher Henry Holt & Company has posted a short slide show of pages from the forthcoming memoir by New Yorker Cartoon Editor, Bob Mankoff. The website page also contains a one minute and fifteen second audio clip of Mr. Mankoff discussing his book. (How About Never — Is Never Good For You? is due March 24th)






















On May 29th, Roz Chast will speak at the 92nd Street Y. From the Y’s website:

Upon publication of her new memoir, Can’t We Talk About Something More Pleasant?, Chast discusses her relationship with her aging parents as they shift from independence to dependence.


Can’t We Talk About Something More Pleasant? is due May 6th from Bloomsbury.

As a sort of spin-off to the Westport Show of New Yorker Cover Art, The New Yorker website has posted this short piece on Ms. Chast & living in Connecticut.




New Yorker’s Golden Age of Art Celebrated in Westport, Connecticut

Chas. Addams & Jim Geraghty South Hampton 1947









(Above: Charles Addams at the wheel, with James Geraghty, The New Yorker‘s Art Editor from 1939 through 1973.  South Hampton, 1947)


For those wanting to bathe in the glow of New Yorker covers and art history from the magazine’s Golden Age, there’s no better place this winter than the Westport Historical Society where dual exhibits,  “Cover Story: The New Yorker in Westport and…Can’t Tell a Book by Its Cover”  are currently running (through April 26th).


l. to r. Charles Saxon, James Geraghty, Dana Fradon, Whitney Darrow, Jr. at Westport-Longshore Inn Sept. 1982





(Left: Charles Saxon, James Geraghty, Dana Fradon, and Whitney Darrow, Jr.  Westport, September, 1982.)




Along with a room full of  blow-ups of New Yorker covers and some original cover art by Garrett Price, Arthur Getz and John Norment,  are informative biographies of each of the 16 artists represented, with photographs of the artists.

As the exhibit’s catalog notes:

Between 1925 and 1989, 16 New Yorker artists living in and around Westport – Weston produced a remarkable 761 covers for The New Yorker, a phenomenon first identified by curator Eve Potts.

From less than 10 per year pre-1939, New Yorker covers by greater Westport artists climbed to a peak of 27 in 1957.

The 16 artists: Garrett Price, James Daugherty, Perry Barlow, Alice Harvey, Helen Hokinson, Edna Eicke, Arthur Getz, Charles Addams, Reginald Massie, Whitney Darrow, Jr., Charles Saxon, Albert Hubbell, Donald Reilly, Mischa Richter, David Preston, and John Norment (thumb-nail bios for those artists in bold can be found on Ink Spill’s New Yorker Cartoonists A-Z)


Geraghty:NYer 1948


James Geraghty, seen in the  photograph to the left,  settled with his family in Weston in 1949.  He was the anchor for the concentration of New Yorker art and artists thriving in and around Westport-Weston. The exhibit features a wall of photographs celebrating Mr. Geraghty’s career at the magazine (the photos shown here from the exhibit are courtesy of Sarah Geraghty Herndon)



(Left: Geraghty in his New Yorker office at 25 West 43rd St. 1948)

Mischa, Weston, 1950s



Perry Barlow & Lois Smith, 1959





(Mischa Richter, at the Geraghty’s.  Weston, Ct. 1950s)









(Perry Barlow and Lois Smith at the Geraghty’s home, 1959).




Chuck Saxon & Jim Geraghty  New Yorker Office










(Left: Geraghty and Charles Saxon at The New Yorker)



An Ink Spill Library Addition

Arno : Father William




























Donald Ogden Stewart. Father William. New York: Harper & Brothers, 1929.


Here’s a book that was on my want list for some time (due to the cover by Peter Arno).  It’s finally been added to the Ink Spill library (though not yet scanned onto the online library). The author, Donald Ogden Stewart, a member of the Algonquin Round Table, was an early contributor to The New Yorker who went on to Hollywood fame. In 1940 he won an Academy Award for best adapted screenplay (The Philadelphia Story). The black & white illustrations were supplied by Stewart and Arno’s New Yorker colleague, Eldon Kelley.