The New Yorker

Mankoff, Robert (editor) Remnick, David (Introduction). The New Yorker Book of Business Cartoons [ILLUSTRATED]. New York U. S. A.: Bloomberg Press, 2002.
Marfree, acidfree later prtg 1/4 cloth bound; bowed cov no names, not marked-in, underscored, clearance or discard. Mails from NYC usually within 12 hours. ; 8.6 x 8.3 x 0.8 inches; 110 pages; \nOnline Rev: For many of us, our first memories of The New Yorker date back to childhood, when we would eagerly search through this otherwise impenetrable jungle of words to find the only thing that we could relate to--the cartoons. The New Yorker Book of Business Cartoons is a collection of 110 of the best drawings, selected by New Yorkercartoon editor Robert Mankoff, that lampoon the world of business. The cartoons date from 1938 to the present and include the work of The New Yorker's finest artists, including George Booth, Peter Arno, Roz Chast, Bruce Eric Kaplan, Leo Cullum, and William Hamilton. Whether they aim at the rise of women in business, our anxieties about the stock market, or the foibles of the corporate America, these cartoons seem always to hit the spot in subtle and disarmingly simple ways. This collection reminds us of just how uniquely funny the art of The New Yorker really is, and why the cartoons are the first and sometimes only things we read each week. As New Yorker editor David Remnick says in the introduction, "They are perhaps the most important thing The New Yorker publishes. " --Harry C. Edwards From Library Journal This compilation of 110 classic cartoons on business and finance from The New Yorker spans 60 years. As David Remnick, the magazine's editor, explains, "The New Yorker cartoonists, each in his or her own way, have seized on the business world and found laughter in its codes, cliches, rivalries, desperations, vanities, anxieties, and power relations. " Copyright 1999 Reed. \nSynopsis\nWhat's so funny about business? Plenty-when it's the subject of The New Yorker's wittiest cartoonists! Here are 110 of the very best cartoons on business and finance from 75 years of The New Yorker, attractively packaged and utilizing the brand names and marketing clout of both The New Yorker and Bloomberg to reach consumers. This wonderfully entertaining collection features over 100 classics from our greatest cartoonists-artists like George Booth, Charles Addams, Lee Lorenz, and Peter Arno-selected by Robert Mankoff, Cartoon Editor of The New Yorker, President of The Cartoon Bank, and a first-rate cartoonist in his own right. David Remnick, distinguished author and a regular contributor to The New Yorker, joins in with a delightful introductory essay.. 1576600564.

Hardcover, As New in Fine dust jacket.

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Yagoda, Ben: About Town: The New Yorker and The World It Made, Scribner February 28, 2000 ISBN: 0684816059
,,"The New Yorker will be the magazine which is not edited for the old lady in Dubuque."\n\nThis now-famous line first appeared in the prospectus Harold Ross wrote for a humor magazine he was hoping to start, and, in fact, epitomized the publication's early years. For, as contributing editor E.B. White once ruefully wrote in response to a query about what kind of submissions were wanted, "I myself have only the vaguest idea what sort of manuscripts The New Yorker wants. I have, however, a pretty clear idea of what it doesn't want." \nPlenty of books have been written about The New Yorker over the years--many by people who were intimately connected with it. Ben Yagoda's About Town is the first, however, to concentrate on the magazine itself, rather than the personalities who shaped it. In his introduction Yagoda writes: "What I had in mind was a critical and cultural history. It would consider, first, the content of the magazine--how its original form came to be, and how and why it evolved over the years. Second, I would look at the role the New Yorker has played in American cultural life." Yagoda is as good as his word as he takes readers from the founding of the magazine in 1919 up until 1987, the year William Shawn was forcibly retired from his position as editor in chief. An epilogue covers the Robert Gottlieb, Tina Brown, and David Remnick years, but the author considers that with Shawn's departure, the curtain came down on The New Yorker as "a unique and influential institution in our culture." \nOf course devotees of Harold Ross's brainchild could be expected to eat this book up, but About Town is more than just the story of how a magazine was made. Yagoda provides a window on a lost age--New York in the '20s, '30s, and '40s before the advent of television, when magazines and newspapers were at the center of the nation's cultural and intellectual life. He writes well, evoking the times, the people, and the places with such clarity that Harold Ross himself would have been pleased. And it is to Ross that Yagoda and the reader owe much of About Town, for it seems The New Yorker's founding editor kept meticulous records--as did those with whom he worked. When S.I. Newhouse took control of the magazine in 1985, its editorial files--all 2,500 archival boxes of them--ended up at the New York Public Library. Letters from editors to writers and vice versa, minutes from art meetings, memos, editorial queries, and marked-up manuscripts are the raw materials from which Yagoda shapes his story, and he tells it so well that it often reads like a novel. The section dealing with the magazine's decision to run John Hersey's Hiroshima in its entirety is positively gripping. \nBut perhaps the best thing about About Town--for those readers who, like Alice in Wonderland, demand pictures and conversations in their stories--is the plethora of memorable quotes (and even a few photographs) that bring to life The New Yorker in its heyday. Consider this letter from Vladimir Nabokov concerning a short story the magazine had bought: A man called Ross started to "edit" it, and I wrote to Mrs. White telling her that I could not accept any of those ridiculous and exasperating alterations (odds and ends inserted in order to "link up" ideas and make them clear to the "average reader"). Nothing like it has ever happened to me in my life. Or this snippet from Ross's letter to H.L. Mencken: "We have carried editing to a very high degree of fussiness here, probably to a point approaching the ultimate. I don't know how to get it under control." \nLovers of The New Yorker can thank their stars that Harold Ross never did get his fussiness under control. And they can thank Ben Yagoda for writing this comprehensive and satisfying biography of one of America's most enduring literary institutions. --Alix Wilber

Condition;Very Good / Very Good ,Hardcover ,"The New Yorker will be the magazine which is not edited for the old lady in Dubuque."\n\nThis now-famous line first appeared in the prospectus Harold Ross wrote for a humor magazine he was hoping to start, and, in fact, epitomized the publication's early years. For, as contributing editor E.B. White once ruefully wrote in response to a query about what kind of submissions were wanted, "I myself have only the vaguest idea what sort of manuscripts The New Yorker wants. I have, however, a pretty clear idea of what it doesn't want." \nPlenty of books have been written about The New Yorker over the years--many by people who were intimately connected with it. Ben Yagoda's About Town is the first, however, to concentrate on the magazine itself, rather than the personalities who shaped it. In his introduction Yagoda writes: "What I had in mind was a critical and cultural history. It would consider, first, the content of the magazine--how its original form came to be, and how and why it evolved over the years. Second, I would look at the role the New Yorker has played in American cultural life." Yagoda is as good as his word as he takes readers from the founding of the magazine in 1919 up until 1987, the year William Shawn was forcibly retired from his position as editor in chief. An epilogue covers the Robert Gottlieb, Tina Brown, and David Remnick years, but the author considers that with Shawn's departure, the curtain came down on The New Yorker as "a unique and influential institution in our culture." \nOf course devotees of Harold Ross's brainchild could be expected to eat this book up, but About Town is more than just the story of how a magazine was made. Yagoda provides a window on a lost age--New York in the '20s, '30s, and '40s before the advent of television, when magazines and newspapers were at the center of the nation's cultural and intellectual life. He writes well, evoking the times, the people, and the places with such clarity that Harold Ross himself would have been pleased. And it is to Ross that Yagoda and the reader owe much of About Town, for it seems The New Yorker's founding editor kept meticulous records--as did those with whom he worked. When S.I. Newhouse took control of the magazine in 1985, its editorial files--all 2,500 archival boxes of them--ended up at the New York Public Library. Letters from editors to writers and vice versa, minutes from art meetings, memos, editorial queries, and marked-up manuscripts are the raw materials from which Yagoda shapes his story, and he tells it so well that it often reads like a novel. The section dealing with the magazine's decision to run John Hersey's Hiroshima in its entirety is positively gripping. \nBut perhaps the best thing about About Town--for those readers who, like Alice in Wonderland, demand pictures and conversations in their stories--is the plethora of memorable quotes (and even a few photographs) that bring to life The New Yorker in its heyday. Consider this letter from Vladimir Nabokov concerning a short story the magazine had bought: A man called Ross started to "edit" it, and I wrote to Mrs. White telling her that I could not accept any of those ridiculous and exasperating alterations (odds and ends inserted in order to "link up" ideas and make them clear to the "average reader"). Nothing like it has ever happened to me in my life. Or this snippet from Ross's letter to H.L. Mencken: "We have carried editing to a very high degree of fussiness here, probably to a point approaching the ultimate. I don't know how to get it under control." \nLovers of The New Yorker can thank their stars that Harold Ross never did get his fussiness under control. And they can thank Ben Yagoda for writing this comprehensive and satisfying biography of one of America's most enduring literary institutions. --Alix Wilber

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O'Hara, John (foreword by Albert Erskine): THE TIME ELEMENT - and Other Stories: Encounter: 1943; Conversation at Lunch; Pilgrimage; One for the Road; The Skipper; Not Always; No Justice; The Lady Takes an Interest; Interior with Figures; At the Cothurnos Club; The Last of Haley; Memorial Fund, London Hodder and Stoughton 1973
0340177497 Very Good

(xii) 245 pp. Black boards lettered in gilt on the spine; red upper edge. Light edge and corner wear on the dustjacket; price intact; no interior markings. Thirty-four previously uncollected stories, including fourteen never previously printed, this collection contains: Encounter: 1943 - first printing; Conversation at Lunch - Good Housekeeping July 1944; Pilgrimage - The New Yorker November 9 1946; One for the Road - The New Yorker November 30 1946; The Skipper - first printing; Not Always - The New Yorker January 11 1947; No Justice - first printing; The Lady Takes an Interest - The New Yorker June 28 1947; Interior with Figures - The New Yorker July 19 1947; At the Cothurnos Club - Esquire July 1972; The Last of Haley - The New Yorker August 30 1947; Memorial Fund - first printing; The Heart of Lee W. Lee - The New Yorker September 13 1947; The Brothers - first printing; He Thinks He Owns Me - first printing; The Dry Murders - The New Yorker October 18 1947; Eileen - The New Yorker December 20 1947; The War - first printing; Nil Nisi - The New Yorker January 10 1948; The Time Element - first printing; Family Evening - first printing; Requiescat - The New Yorker April 3 1948; The Frozen Face - The New Yorker April 23 1949; Last Respects - first printing; The Industry and the Professor - The New Yorker July 16 1949; The Busybody - first printing; This Time - first printing; Grief - The New Yorker October 22 1949; The Kids - The New Yorker November 26 1949; The Big Gleaming Coach - first printing; For Help and Pity - first printing; All I've Tried to Be - Esquire July 1972; The Favor - The Princeton Tiger March/April 1952; and That First Husband - The Saturday Evening Post November 21 1959. First UK Edition Very Good Hard Cover 8vo

[SW: collectible; collectable; modern first;]

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Diffee, Matthew (Editor): THE REJECTION COLLECTION: CARTOONS YOU NEVER SAW, AND NEVER WILL SEE, IN THE NEW YORKER, New York Simon Spotlight Entertainment 2006
1-4169-3339-5 Brand New Condition

Review The submissions were not set aside because they were not funny but (for the most part) because they were too funny. --New York Times Product Description Each week about fifty New Yorker cartoonists submit ten ideas, yielding five hundred cartoons for no more than twenty spots in the magazine. Arguably the most brilliant single-panel-gag cartoonists in the world create a bunch of cartoons every week that never see the light of day. These rejects were piling up in the dusty corners of studios all over the country. Sam Gross, who has been contributing since 1962, has more than 12,000 rejected cartoons. (Seriously. He's been numbering every single cartoon he's ever submitted to The New Yorker since the very beginning.) Enter editor Matthew Diffee. He tapped his fellow cartoonists, asking them to rescue these hilarious lost gems. From the artists' stacks of all-time favorite rejects, Diffee handpicked the standouts -- the cream of the crap -- and created The Rejection Collection, a place where good ideas go when they die. Too risque, silly, or weird for The New Yorker, the cartoons in this book offer something no other collection has: They have never been seen in print until now <BLOCKQUOTE><B>. With a foreword by New Yorker cartoon editor Robert Mankoff that explains the sound judgment, respectability, and scruples not found anywhere in these pages, and handwritten questionnaires that introduce the quirky character of each artist, The Rejection Collection will appeal to fans of The New Yorker...and to anyone with a slightly sick sense of humor. Hardcover 10.2 x 8.4 x 0.7 inches

[SW: new yorker, cartoon, comedy, cartooning, daring, extreme, gross, best cartoons, cartoonists, fantasy, humor]

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