Description : The cartoons focus on a delightful array of familiar situations and characters, including teachers (from the underappreciated to the overrated), students (from the overachievers to the slackers), and parents (from the demanding to the uninterested). Such New Yorker greats as Charles Barsotti, William Hamilton, Roz Chast, and many others examine education from every perspective with the insightful wit that is the signature of the magazine's cartoons.
Description : Presents 110 of the very best cartoons on business and finance from seventy-five years of The New Yorker, including works by Charles Addams, Peter Arno, Roz Chast, Lee Lorenz, Robert Mankoff, Mike Twohy, George Booth, and many other notable cartoonists. Original.
Description : Today "The New Yorker" is one of a number of general-interest magazines published for a sophisticated audience, but in the post-World War II era the magazine occupied a truly significant niche of cultural authority. A self-selected community of 250,000 readers, who wanted to know how to look and sound cosmopolitan, found in its pages information about night spots and polo teams. They became conversant with English movies, Italian Communism, French wine, the bombing of the Bikini Atoll, pret-a-porter, and Caribbean vacations. A well-known critic lamented that "certain groups have come to communicate almost exclusively in references to the [magazine's] sacred writings." "The World through a Monocle" is a study of these "sacred writings." Mary Corey mines the magazine's editorial voice, journalism, fiction, advertisements, cartoons, and poetry to unearth the preoccupations, values, and conflicts of its readers, editors, and contributors. She delineates the effort to fuse liberal ideals with aspirations to high social status, finds the magazine's blind spots with regard to women and racial and ethnic stereotyping, and explores its abiding concern with elite consumption coupled with a contempt for mass production and popular advertising. Balancing the consumption of goods with a social conscience which prized goodness, the magazine managed to provide readers with what seemed like a coherent and comprehensive value system in an incoherent world. Viewing the world through a monocle, those who created "The New Yorker" and those who believed in it cultivated a uniquely powerful cultural institution serving an influential segment of the population. Corey's work illuminates this extraordinary enterprise in our social history.
Description : Presents the history of the New Yorker's cartoon captions contest and includes a selection of cartoons along with their winning caption entries and their runners-up.
Description : "The early history of New York is obscured in myth," observed the pseudonymous author of "The Story of Manhattankind" in the first issue of The New Yorker (21 February 1925), "and to separate the purely historical from the purely hysterical is no easy task." The same must be said of the magazine itself. The purely historical remained hidden until The New Yorker's archives were opened to scholars in the mid-nineties, although the hysterical--pure and otherwise--dominates the anecdotes in memoirs of some of the magazine's original staff members. Late in 1924 Harold Ross assembled a small staff to create a new kind of weekly humor magazine, a "reflection in word and picture of metropolitan life . . . with gaiety, wit, and satire." His target audience was affluent, local, educated sophisticates. This is the image he sold to Manhattan advertisers. By 1930 the magazine could withstand the Depression even as its predecessors collapsed. In 1952 W. H. Auden declared The New Yorker "the best comic magazine in existence." In 1994 no one disputed Tina Brown's claim that its cartoons constitute "a sort of national treasure." Drawing on archival records and works by major contributors Judith Yaross Lee traces how artists, writers, and editors realized Ross's vision. This first scholarly history of The New Yorker chronicles the magazine's efforts to define an editorial formula that appealed to readers more interested in Picasso's Paris than in Will Rogers's Oklahoma. Lee recovers hundreds of still-funny cartoons, stories, and verses that were eclipsed because The New Yorker was not indexed and because its editors, until 1969, refused to include a table of contents. Also, she dispels cherished myths of the early years. Far from relying on a few insider wits, the editors scoured unsolicited submissions for new artists and writers, honing every item and inviting new ones. Misogynous in neither policy nor practice, the magazine cultivated women both as readers and contributors. While the beleaguered Little Man staggered through tales of the war between the sexes, equally discouraged women set their version of the battles into rhyme. Lee shows how The New Yorker's eminence in cartoons blossomed as the captions were reduced to one line and as the subjects tweaked class and race prejudice, ridiculed feminism and modernism, lampooned urban customs and types, and created new relations between visual and verbal wit.
Description : Original critical essays on an iconic American periodical, providing new insights into twentieth-century literary culture This collection of newly commissioned critical essays reads across and between New Yorker departments, from sports writing to short stories, cartoons to reporters at large, poetry to annals of business. Attending to the relations between these kinds of writing and the magazine's visual and material constituents, the collection examines the distinctive ways in which imaginative writing has inhabited the 'prime real estate' of this enormously influential periodical. In bringing together a range of sharply angled analyses of particular authors, styles, columns, and pages, this book offers multiple perspectives on American writing and periodical culture at specific moments in twentieth-century history.
Description : Only The New Yorker could fetch such an unbelievable roster of talent on the subject of man’s best friend. This copious collection, beautifully illustrated in full color, features articles, fiction, humor, poems, cartoons, cover art, drafts, and drawings from the magazine’s archives. The roster of contributors includes John Cheever, Susan Orlean, Roddy Doyle, Ian Frazier, Arthur Miller, John Updike, Roald Dahl, E. B. White, A. J. Liebling, Alexandra Fuller, Jerome Groopman, Jeffrey Toobin, T. Coraghessan Boyle, Ogden Nash, Donald Barthelme, Jonathan Lethem, Mark Strand, Anne Sexton, and Cathleen Schine. Complete with a Foreword by Malcolm Gladwell and a new essay by Adam Gopnik on the immortal canines of James Thurber, this gorgeous keepsake is a gift to dog lovers everywhere from the greatest magazine in the world.