The Cover: A heart-strings reflection of the issue’s Health Issue theme (but it’s tempting to believe we’d see a cover along these lines even if it wasn’t the Health Issue).
An umbrella observation from the get-go: the abundance of color pieces (one by Roz Chast, one by Emily Flake, and one by Liana Finck) in this issue at times kind’ve almost sorta made it feel as if I was paging through a Cartoon Issue. However, unlike the special pieces found in Cartoon Issues of yore, all three of these new pieces are distinctly linked to one subject (can you guess what it might be?).
There are a number of cartoons in this issue that got my attention, beginning with Barbara Smaller’s (p.26) — my favorite Smaller drawing thus far this year. Also eye-catching: Justin Sheen’s castle & moat drawing; Brendan Loper’s getting away from it all cartoon, and Ed Steed’s survivor. All four enjoy a sharply written caption.
A number of drawings (beyond the color pieces mentioned above) are either directly related to, or can be seen as related to the coronavirus, foremost being Joe Dator’s terrif drawing (p.69), P.C. Vey’s (p.31), and Mr. Loper’s cartoon on page 39. Tom Chitty’s friendly city drawing (p.57), as well as John O’Brien’s drawing (on page 72) could possibly be read as corona-related cartoons. The folks in Mr. O’Brien’s supermarket all seem to be spaced at least six feet apart, but, as with most all of Mr. O’Brien’s drawings, it’s an evergreen.
The remaining four drawings: Sofia Warren’s, Amy Hwang’s, Teresa Burns Parkhurst’s, and an effort from the Bliss/Martin duo, are comic relief unrelated to the health crisis.
Paperwork: the aforementioned Justin Sheen is new to the New Yorker cartoonist fold. He’s the 4th new cartoonist of 2020, and the 57th new cartoonist brought into The New Yorker since Emma Allen was appointed cartoon editor in the Spring of 2017.
The Rea Irvin Talk Masthead Watch:
Read about Rea Irvin’s mothballed iconic Talk masthead (above) here.
Just noticed that The New Yorker‘s Facebook New Yorker Cartoons page received a make-over. The new look is shown below — new (old) typography, and a (recycled) Rea Irvin inspired banana peel-inspecting Tilley icon replacing Christoph Niemann’s guy at a table icon. Mr. Niemann’s icon showed up in the Spring of 2017, and replaced an existing icon — a drawing by Jack Ziegler. It puzzled me at the time (and thereafter) that work by a non-New Yorker cartoonist (Mr. Niemann) was chosen to replace an icon drawn by an iconic New Yorker cartoonist.
Kendra Allenby on the newest normal.
Ms. Allenby began contributing to The New Yorker in 2016. Visit her website here.
Avi Steinberg gives us “Things That Used To Be Annoying But Are Now A Comfort” — Mr. Steinberg began contributing to The New Yorker in 2012.