Next week, two events of great interest to New Yorker cartoon aficionados.
On Tuesday, April 23rd, Bob Eckstein’s promotional tour for The Ultimate Cartoon Book of Book Cartoons makes a stop at Word Bookstore. Mr. Eckstein will be joined by fellow New Yorker cartoonists Nick Downes and David Borchart. Mr. Downes began contributing to The New Yorker in 1998. Both Mr. Borchart and Mr. Eckstein began contributing to The New Yorker in 2007.
On April 24th, Mort Gerberg continues his promotional campaign for the recently released Mort Gerberg: On the Scene. He’ll be joined atThe New York Historical Society by Garry Trudeau, and New Yorker contributor, Sofia Warren. Mr. Gerberg began contributing to The New Yorker in 1965, Ms. Warren in 2017. (Mr. Eckstein’s event is free; Mr. Gerberg’s costs $20.00)
As mentioned here last week, the Brexit-inspired cover, by Mark Ulriksen, was early-released. Read about it here.
Suerynn Lee‘s work has appeared on newyorker.com; this is her print debut in the magazine. Ms. Lee is the fifth cartoonist to debut this year, and the twenty-ninth cartoonist brought aboard since Emma Allen took the reins of the cartoon department in May of 2017.
A quick tour through the issue and we find Roz Chast’s take on the tale of the Little Red Hen, Lars Kenseth’s commemorative pizza plate, Sophia Warren’s office politics mouse maze, Tom Chitty’s genie who specializes in just one thing, P.C. Vey’s couple’s abrupt waking in the night, a Will McPhail long-lasting roller coaster, Karen Sneider’s desert island delirium, Frank Cotham’s concerned waiter, BEK’s second-guessing God, Victoria Robert’s juggling husband, Harley Lin’s lawyer, client and rubber band ball… and the aforementioned Ms. Lee, with a drawing of Death and the five second rule. Ms. Robert’s and Mr. Chitty’s drawings are given the most breathing room.
Twelve cartoons; Twenty-one illustrations — approximately five-and-a-half of them are full page.
Attempted Bloggery continues its Price Fest, with close-up looks at the artist’s originals. See it here!
I’ve always found Price’s split lines intriguing. Sorry I never had the opportunity to ask him about his style. I only was in the same room (an office) with him once, ages ago — unfortunately it wasn’t the time or place to start asking questions.
The Cover: This week’s New Yorker cover is by Pascal Campion, his second cover for the magazine — his second moody metropolis scene. Read about it here. I wonder if we’ll see a moody mid-western, western, northeastern or southern scenario anytime soon.
The Cartoons: Several nice surprises this week. The first was running into Sam Gross’s lead-in cartoon (his work has been appearing in the magazine for forty-nine years). There are certain cartoonists whose style alone gets the laugh meter buzzing. Mr. Gross is one of those cartoonists. The other surprise: R.O. Blechman’s “spot” drawings. Mr. Blechman’s wonderful drawings and covers have appeared in the magazine for forty-five years.
A third nice thing to see in this issue: the number of cartoons. Bumped up from the usual dozen or so to a healthy eighteen. They just keep on a-comin as you flip through the magazine (as do the illustrations).
If I have one little dark cloud to drag over this sunny moment it’s another plea for some of the work to be run larger (true, some cartoons run large, should be smaller). A number in this issue are, to my eyes, sized just right (a few for instances: Tom Cheney’s on page 54, and Jon Adams on page 52). Perfectly sized is Seth Fleishman’s terrific drawing on page 39. But others seem wedged into their corners; Roz Chast’s intricate Candy Land For Adults (page 32) and David Sipress’s off the beaten track restaurant (page 25) would benefit from more space. Really all I’m campaigning for is a graphic invitation for readers to fully appreciate the work. The work of the late George Price is a good example of how a cartoonist’s world can take us in for some detached momentary fun-time. Mr. Price’s drawings were usually allowed a lot of breathing room on the page. One paused to inspect the work, to enjoy all the “stuff” Price gave us. Imagine one of his drawings run in a little box on the corner of a page.
A few favorite drawings, or elements of drawings in this issue: Joe Dator’s monkey (page 40); Paul Noth’s drawing (page 60) — a great addition to the New Yorker‘s doctor canon; P.C. Vey’s theater drawing; Maddie Dai’s drawing of a sculptor and friend, as well as the caption; Frank Cotham’s perfect caption for his drawing (page 36). All fine, inspiring moments.
Next-to-Lastly, a mention of the newest cartoonist on the block:Ellie Black, the third newbie this year and the twenty-seventh new cartoonist brought in since Emma Allen became the magazine’s cartoon editor in May of 2017. A good debut, with a welcome unexpected play on the well-worn hands touching moment we’ve seen in movies and books.
Speaking of Mr. Irvin, I spoke too soon last week about the New Yorker‘s anniversary issue appearing this week. Had I bothered to consult the fine print publishing info found near the end of each issue I would’ve seen that next week’s magazine (a double issue: February 18 & 25) is the 94th anniversary issue.
The Magazine: Whenever February comes around, I begin thinking about the upcoming anniversary issue of The New Yorker, a favorite child here on this site (Spill visitors might rememberthis Tilley-centric piece I wrote for newyorker.com a few years back). Seeing Rea Irvin’s classic dandy this year would be such a welcome surprise. Even more of a surprise than, say, coming upon the now-famous Mandy the Mandarin duck in Central Park. It’s been awhile since we’ve seen Irvin’s iconic cover. In fact, the last time was in 2011. So what will next week’s cover be: the dandy or a duck?