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The New Yorker presents the best of its weekly cartoon caption contest. The book also presents fun facts and statistics about who enters and why.
Memoir in cartoons by the longtime cartoon editor of The New Yorker People tell Bob Mankoff that as the cartoon editor of The New Yorker he has the best job in the world. Never one to beat around the bush, he explains to us, in the opening of this singular, delightfully eccentric book, that because he is also a cartoonist at the magazine he actually has two of the best jobs in the world. With the help of myriad images and his funniest, most beloved cartoons, he traces his love of the craft all the way back to his childhood, when he started doing funny drawings at the age of eight. After meeting his mother, we follow his unlikely stints as a high-school basketball star, draft dodger, and sociology grad student. Though Mankoff abandoned the study of psychology in the seventies to become a cartoonist, he recently realized that the field he abandoned could help him better understand the field he was in, and here he takes up the psychology of cartooning, analyzing why some cartoons make us laugh and others don't. He allows us into the hallowed halls of The New Yorker to show us the soup-to-nuts process of cartoon creation, giving us a detailed look not only at his own work, but that of the other talented cartoonists who keep us laughing week after week. For desert, he reveals the secrets to winning the magazine's caption contest. Throughout How About Never--Is Never Good for You?, we see his commitment to the motto "Anything worth saying is worth saying funny."
The "New Yorker" cartoon editor has collected dead-on portraits and eye-opening ruminations on all things bookish, courtesy of the magazine's renowned stable of cartoonists, from Charles Barsotti to Roz Chast, Ed Koren to Frank Modell, and Jack Ziegler to Victoria Roberts.
A behind-the-scenes look at The New Yorker cartoon caption contest, its history, how it's judged, and the secrets to writing a winning caption Every week, thousands of people enter The New Yorker cartoon caption contest in hopes of seeing their name and caption in print. But only one person has made it to the finalists’ round an astounding fifteen times and won eight contests: Lawrence Wood, also known as the Ken Jennings of caption writing. What's Wood's secret? What makes a caption good or bad? How do you beat the crowd? And most important, what makes a caption funny? Packed with 175 of the magazine's best cartoons and featuring a foreword by Bob Mankoff, former cartoon editor of The New Yorker and creator of the caption contest, Your Caption Has Been Selected takes you behind the scenes to learn about the contest’s history, the way it’s judged, and what it has to say about humor, creativity, and good writing. Lawrence reveals his own captioning process and shows readers how to generate the perfect string of words to get a laugh. Informative, funny, and just a little vulgar, this book will delight anyone who doesn't have a personal vendetta against the author.
A collection of 100 cartoons published in The New Yorker on school, teachers, and education—from the most prestigious publisher of cartoon material in American media. From preschool through the PSAT, and from the playground to the detention hall, this remarkable collection of 100 cartoons from the illustrious archives of The New Yorker celebrates the humor and ironies of our educational system. 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. School Days will make a great gift for New Yorker fans and is guaranteed to bring a particular smile of recognition to the faces of teachers, students, and parents everywhere.
Showcases the work of hundreds of artists who have contributed to the magazine throughout its eighty-year history, in a richly illustrated volume containing 2,500 black-and-white cartoons by Peter Arno, Charles Addams, Jack Ziegler, Roz Chast, and other notables, along with essays on the evolution of the magazine's humor and style, and a fully searchable DVD-ROM. Reprint. 40,000 first printing.
A Lit Hub “Most Anticipated Books of 2019” A Read It Forward “Perfect Gifts for a White Elephant Exchange” From New Yorker humorist Emily Flake, a hilarious, oddly enlightening book of illustrations, observations, and advice that embraces the inescapable awkwardness of two human beings attempting to make physical contact with each other. We've all been there. You encounter the mother of your recent ex. That guy your best friend dated sophomore year. That friend-of-a-friend who you've met once but keeps popping up in your "People You May Know" feed. Do you shake hands? Do you hug? Do you--horrors--kiss on the cheek? And then the inevitable: The awkward hug. That cultural blight we've all experienced. Emily Flake--keen observer of human behavior and life's less-than-triumphant moments--codifies the most common awkward hugs that have plagued us all. Filled with laugh-out-loud anecdotes and illustrations, astute observations, and wise advice, That Was Awkward is a heartwarming reminder that we're all in this together, grasping hastily at each other in an attempt to say: let's embrace to remind ourselves of our essential and connecting humanity, but also, please don't touch me for more than three seconds.
A razor-sharp collection from the acclaimed New Yorker cartoonist and Instagram sensation whom Vulture recently called “a remarkable young talent” With her trademark, scratchy style and keen eye for the absurd, Liana Finck has amassed a large, devoted following who love the deeply insightful, delightfully odd way she describes how we all experience the world. Excuse Me assembles more than 500 of her most loved cartoons from Instagram and The New Yorker over the past few years, in such distinctive chapters as: Love & Dating; Gender & Other Politics; Animals; Art & Myth-Making; Humanity; Time, Space, and How to Navigate Them; Strangeness, Shyness, Sadness; and Notes to Self. Melancholy and hilarious, relatable and surreal, intensely personal yet surprisingly universal, Excuse Me brings together the best work so far by one of the most talented young comics artists working today.
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 risqué, 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. 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.
It’s no secret that most New Yorker readers flip through the magazine to look at the cartoons before they ever lay eyes on a word of the text. But what isn’t generally known is that over the decades a growing cadre of women artists have contributed to the witty, memorable cartoons that readers look forward to each week. Now Liza Donnelly, herself a renowned cartoonist with the New Yorker for more than twenty years, has written this wonderful, in-depth celebration of women cartoonists who have graced the pages of the famous magazine from the Roaring Twenties to the present day. An anthology of funny, poignant, and entertaining cartoons, biographical sketches, and social history all in one, VeryFunny Ladies offers a unique slant on 20th-century and early 21st-century America through the humorous perspectives of the talented women who have captured in pictures and captions many of the key social issues of their time. As someone who understands firsthand the cartoonist’s art, Donnelly is in a position to offer distinctive insights on the creative process, the relationships between artists and editors, what it means to be a female cartoonist, and the personalities of the other New Yorker women cartoonists, whom she has known over the years. Very Funny Ladies reveals never-before-published material from The New Yorker archives, including correspondence from Harold Ross, Katharine White, and many others. This book is history of the women of the past who drew cartoons and a celebration of the recent explosion of new talent from cartoonists who are women. Donnelly interviewed many of the living female cartoonists and some of their male counterparts: Roz Chast, Liana Finck, Amy Hwang, Victoria Roberts, Sam Gross, Lee Lorenz, Michael Maslin, Frank Modell, Bob Weber, as well as editors and writers such as David Remnick, Roger Angell, Lee Lorenz, Harriet Walden (legendary editor Harold Ross’s secretary). The New Yorker Senior Editor David Remnick and Cartoon Editor Emma Allen contributed an insightful foreword. Combining a wealth of information with an engaging and charming narrative, plus more than seventy cartoons, along with photographs and self-portraits of the cartoonists, Very Funny Ladies beautifully portrays the art and contributions of the brilliant female cartoonists in America’s greatest magazine.
