Audio Of Interest: About Thurber’s 125th Anniversary Exhibit, Books; A Bonus Daily Cartoon; Today’s Daily Cartoonist & Cartoon

Audio Of Interest: About Thurber’s 125th Anniversary Exhibit, Books

Michael Rosen (shown above), the fellow key to the festivities surrounding the 125th anniversary of Thurber’s birth, talks to Thurber’s hometown newspaper’s “Newsroom” about the events tied-in to the anniversary. Hear it here.

And here’s a calendar of Thurber events

__________________________________________

A Bonus Daily Cartoon & Today’s Daily Cartoonist & Cartoon

See Barry Blitt’s Bonus Daily here. Mr. Blitt has been contributing to The New Yorker since 1992.  A link to his website

Today’s Daily cartoon, politicians and food at the Iowa State Fair, is by Tim Hamilton, who began contributing to The New Yorker in 2015.

Rewind Wednesday: Thurber On The Cover Of Newsweek

           Newsweek’s Thurber Cover Story

In July of 1951, TIME  put Thurber on its cover — it’s the cover most Thurber biographies mention.  Newsweek’s Thurber cover, out six years later, is rarely mentioned. Thinking about it this morning,  I dug out the sole bound volume of Newsweek in the Spill‘s library (acquired, obviously, because it contains the Thurber issue) and took another look at this lost feature.

The piece was an old-fashioned tie-in with his new book The Wonderful ‘O’ . Like all profiles it’s a mini-biography. If you’re familiar with the broad strokes of Thurber’s story, there isn’t much new here —  it’s simply a fun refresher course. There is however this Thurber gem tossed in: 

“I have never understood how Americans got the reputation for having a sense of humor. Actually we are a nation of slapstick people. We invented  the gag, the belly-laugh, and the hotfoot. We are not a nation who chuckles…”

Along with the now familiar late-in-life photo of Thurber drawing while wearing a Zeiss loupe (he was close to completely blind — the magnifying device allowed him to continue drawing) and a photo of him with his second wife, Helen, and their dog, there are plenty of Thurber drawings, many of them playfully bordering the text.  It’s a lovely intro to a New Yorker  giant.  

If this puts you in the mood for more Thurber, be sure to check out Michael Rosen’s A Mile and a Half of Lines: The Art of James Thurber (Trillium/Ohio State University Press, 2019), a wonderful addition to your library. It’s out August 23rd.  [Full disclosure: my wife, Liza Donnelly, and I contributed to the book]

 

 

Thurber’s “Mile And A Half Of Lines” Launched; Today’s Daily Cartoonist & Cartoon: More Spills: …Graphic Mueller Reports…Liza Donnelly On Compassion

Thurber’s “Mile And A Half Of Lines” Launched

This must-have book takes wing today with an event in Thurber’s hometown of Columbus, Ohio. Read about it here.

Related: A Thurber piece in the CSM, July 11, 2019, “The not-so-secret life of James Thurber”

[full disclosure: both my wife, Liza Donnelly, and I contributed to A Mile and a Half of Lines]

________________________________________________________________________

Today’s Daily Cartoonist & Cartoon

Politics & money by Mort Gerberg, who began contributing to The New Yorker in 1965.

___________________________________

…From Salon, July 11, 2019, “Will more people read the Mueller Report if it’s a comic book?”

— with Shannon Wheeler content. Mr. Wheeler began contributing to The New Yorker in 2009.

___________________________________________________________________

…From Medium, July 12, 2019, by Liza Donnelly: “What It Means To Be An American: Compassion”

Ms. Donnelly began contributing to The New Yorker in 1982.

 

 

Esquire Lets Cartoon Editor Go; A New Yorker State Of Mind Two-Fer With Soglow, Arno, Thurber & More; Today’s Daily Cartoonist: Kendra Allenby

Heads Roll At Esquire: Cartoon Editor Let Go

From The New York Post, June 6, 2019, “Esquire Magazine Faces Turmoil Amid Masthead Exodus” — among those let go: the magazine’s cartoon and humor editor.

 

 

_____________________________

A New Yorker State Of Mind Two-Fer

A favorite blog looks at the two issues shown above. Peter Arno did the cover on the left; Constantin Alajalov did the cover on the right.  This particular post is chock full of cartoon related material (Ottos Soglow, Thurber, Reginald Marsh…), so dive in!

___________________________

Cartoonist/Cartoon Of The Day

Kendra Allenby, who began contributing to The New Yorker in 2016, reflects on summer jobs. 

George Booth’s New Yorker Golden Anniversary!

Let us raise our cartoon glasses and toast to the great New Yorker artist, George Booth. His very first New Yorker drawing appeared in the issue dated this day in 1969. His most recent drawing appeared in the magazine’s issue of June 10, 2019. My math tells me that he has now been contributing to The New Yorker for half a century.

I’ve always felt that Mr. Booth’s arrival at The New Yorker  was part of a transitional moment for the magazine’s art, helping it move from its mid-1950s Eisenhower-ish slumber to the excitement right around the bend in the late 1960s and 1970s. In the decade Mr. Booth’s work appeared, The New Yorker had lost two of its giants: James Thurber in 1961, and Peter Arno in 1968. Tremendous losses, but also a decade of tremendous gain for the magazine when the art editor, James Geraghty brought in a number of artists who would also become giants in their field: Edward Koren in 1962, Charles Barsotti, Sam Gross, and George Booth in 1969.  How fortunate we are that three of these artists continue showering us with their work right up to today (Charles Barsotti passed away five years ago this week).

By the time I was making a serious effort to get into The New Yorker in the mid 1970s (my work rejected a mountain of times by Mr. Geraghty), Booth, Koren, Barsotti and Gross had already been added to the New Yorker’s  Mt. Rushmore of cartoonists; their work impossibly inspiring. I felt (and still feel) about Booth’s drawings as I felt about work by Thurber and Hokinson and Steig and Saxon, and Peter Arno and Steinberg (and many more): it cannot get any better than this.

(above: A Booth New Yorker cartoon from the issue of March 25, 1991)

As with so many, if not all of the New Yorker great artists, there is an education for aspiring cartoonists, and published cartoonists as well, in every single one of their drawings. Even this morning looking through Booth’s work, I find my electrical cartoon current even buzzier than usual. There’s beauty and excitement in Booth’s art, and of course, there’s that signature Boothian barrel of fun.

For those wanting more of his work, Omnibooth is a great place to dive in.  Find Lee Lorenz’s The Essential George Booth (Workman Publishing Company, 1998) and you’ll be treated to a mini-bio of Booth as well as samples of pre-New Yorker work. There is also his classic 1975 collection, Think Good Thoughts About A Pussycat (Dodd, Mead & Co.).

And very luckily for us all, Nathan Fitch’s documentary film on Booth, Drawing Life  is well on its way.

I  leave you with a small sample of Mr. Booth’s cover work, and with hearty applause for George Booth — a fine person, and an exceptional artist.

 

Note: Here’s what Fred Taraba of Taraba Illustration Art had to say about the Skittish Dog drawing shown at the head of this post: Not published, rather a version of one of Booth’s most recognized cartoons. The published version appeared in The New Yorker on August 15th, 1977. A third version appears in the book, Omnibooth: The Best of George Booth.