The New Yorker’s Bob Mankoff at a recent TED salon. When Mankoff quit psychology school in 1997 to become a cartoonist, he submitted 2,000 cartoons to the New Yorker that year. Of them, 2,000 were rejected. Today, he is the magazine’s cartoon editor.
Pair with the fantastic Fail Safe and Ray Bradbury’s advice on perseverance in the face of rejection.
Now that the numbers are in on same-sex marriage, many Republicans are falling like dominos all over themselves to express their support for something that only a few months ago they steadfastly claimed to stand against. They’ll probably soon claim that this is how they felt all along, and they were simply too hamstrung by politics to be able to say what they really meant. Well, okay. In the spirit of openheartedness and what life is really all about, I’ll go so far as to say that the fear of others may mask some deep-seated desire to understand, and maybe even to love. Because really, what is there to be afraid of?
For Mother’s Day, the New Yorker celebrates marriage equality with this heart-warming cover of a two-mom family by cartoonist extraordinaire Chris Ware.
Beloved cartoonist Hugh MacLeod follows up on Ignore Everybody with The Art Of Not Sucking, a compendium of advice on the creative life.
Complement with Neil Gaiman’s commencement address on the same subject.
The Pirate Publisher—An International Burlesque that has the Longest Run on Record - an 1886 cartoon from Puck Magazine, which gave us history’s first use of emoticons, commenting on the Berne Convention and satirizing the ability of publishers to take works from one country and publish them in another without paying the original authors.
Image from the 1958 Village Voice cartoon classic Sick, Sick, Sick: A Guide to Non-Confident Living by Jules Feiffer, who was born on this day in 1929. Feiffer remains most widely known as the illustrator behind Norton Juster’s iconic children’s book The Phantom Tollbooth – hear him reminisce with Juster about the collaboration.
Displays of Affection (1981) – iconic French cartoonist Sempé explores relationship clichés in charming drawings of people (who fall in and out of love) on bikes.
