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A repackaging of the popular The Best of the Rejection Collection in a smaller, more compact format with 20% new material. It's the best of the worst, with 293+ of the funniest cartoons rejected by The New Yorker, including some of the magazine's most recognizable talents--like Roz Chast, Sam Gross, and David Sipress, plus some of its brightest new stars like Amy Hwang, Amy Kurzweil, Ellis Rosen, and Hallie Bateman, showing off their dark side, their naughty side, their juvenile side. It's hilarious.
It’s the best of the worst: 293 of the funniest cartoons rejected by The New Yorker but luckily for us, now in paperback and available to enjoy. The Rejection Collection brings together some of The New Yorker’s brightest talents—Roz Chast, Gahan Wilson, Sam Gross, Jack Zeigler, David Sipress, and more—and reveals their other side. Their dark side. Their juvenile side. Their sick side. Their naughty side. Their outrageous side. And what a treat. Ventriloquist dummy cartoons. Operating room cartoons. Bring your daughter to work day cartoons (the stripper, the prison guard on death row). Lots of couples in bed, quite a few coffins, wise-cracking animals—an obsessive’s plumbing of the weird, the scary, the off-the-wall, and done so without restraint. Every week The New Yorker receives 500 cartoon submissions, and rejects a great majority—mostly, of course, for not being funny enough. There’s no question why these were rejected, and it’s not for lack of laughs. One can almost hear Eustace Tilley sniffing, We are not amused.
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.
"Contains Diffee's funniest [New Yorker] drawings and writings from the past decade as well as all-new cartoons and sketches organized into categories that will appeal to smart attractive people in all walks of life, based on profession and circumstance."--Amazon.com.
A bright young comic talent presents 18 bitterly funny--and frighteningly universal--tales of rejection, humiliation, and misfortune.
The art director of The New Yorker serves up“a delicious forbidden taste of the art that didn’t quite nail it, or nailed it a bit too hard” (The Marginalian). Françoise Mouly takes us behind the scenes at The New Yorker and reveals how the magazine creates its signature covers commenting on the most urgent political and cultural events of the day. She shows the shocking and hilarious sketches that didn’t make the cut and explains how these are essential stages in the evolution of a cover that stands the test of time but retains its edge. Her book captures contemporary history—from the farce of Monica Lewinsky to the adventures of Michelle and Barack to nuclear meltdown in Japan—in images that are as acute as they are outrageous. More than that, it shows how the magazine that exemplifies journalistic excellence in America also dares to cultivate a sense of humor when grappling with complex moral and political issues. “Interesting failures are the driving force behind Blown Covers . . . paging through this book is like standing in the corner of her office as she pins up rejected covers on the wall. Mouly has dozens of tales about images that failed for one reason or another. Now, presumably with the approval of her bosses at Condé Nast, she has created a tell-all (or tell-most) that even non–illustrators and designers will find enlightening.” —The New York Times Book Review “Yes, Blown Covers sometimes offends—and that’s the audacious joy of it.” —NPR.org “Offers some true delights.” —The Sacramento Bee “Reveals the shocking and hilarious sketches that didn’t make the cut.” —Patch
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.
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 hilarious and utterly relatable collection of flowcharts, rants, and lists about adulting. A humorous guide to adulthood in a collection of 54 charmingly illustrated flowcharts and pros-and-cons lists that each address an all-too-real question, from the mundane to the life-changing. Will I survive this hangover? (Probably not.) Should I cancel my plans? (YES! Cancel immediately.) Am I having a quarter-life crisis? (Probably.) Do I even like this person? (Nope, nope, nope.) This inspired book of humor disguised as invaluable advice is a gift to make anyone feel better, proving that every question, thought, and decision, no matter how ridiculous or irresponsible, is completely valid.
THE ALPHA'S TOY To spare an innocent she has to become his plaything. When Zeke attacks her pack, Mary, a half-breed wolf, wants to save a young wolf, but to do so, she has to accept his bargain. She must be his toy until the next full moon. Mary despises the alpha she must now give her body to, but she can't deny the response he inspires within her. Exploring the deceased pack's lair Zeke stumbles onto something that could destroy all breeds of wolf. The leaders of Mary's pack had been experimenting on wolves. The reasons why are still unknown, but Zeke will do everything in his power to find out the truth, especially when he discovers Mary was one of their experiments. Even before the end of the month Mary becomes all he can think about, and he's determined to keep his toy safe. Then a twist of fate lets him know she's more than a toy. Mary is his mate. Can he overcome her fear of him and convince her to stay when her month is up? ALPHA BAIT There is a law that binds an Alpha to his wolf and stops him from hurting others of his pack. If an Alpha lashes out with the intention to harm, then his wolf will stop it, forcing on the transition...but one wolf has found the loophole. Chain is determined to inflict harm. He sends out the one woman he wants but cannot have, Victoria. She will be his Alpha Bait, luring another Alpha to his death, thus freeing Chain from the control of his wolf. For most of her adult life Victoria has been at the mercy of Chain. He scares her more than anything else. Doing as she's told, Victoria sets the trap in order to gain Scorch's attention. Scorch is a good leader and strong Alpha. He will not hurt anyone. When a beautiful red-head ends up in his care, he cannot turn away from the attraction she inspires. Their wolves are mates, and they're destined to be together. However, what will Scorch do when he realizes Victoria is with him to lure him to his death? Can she really send the man she loves to his grave? Being Alpha Bait was never her choice, but who really holds her loyalty, Chain or Scorch?