The Rejection Collection by Robert Mankoff

it was quite noticeable.įunny collection, worth at least one read-through (just like its predecessor).Each week The New Yorker receives more than five hundred submissions from its regular cartoonists, who are all vying for one of the twenty coveted spots in the magazine. I wouldn't have thought about it at all except, like the first book, there's a photo of each cartoonist in the book.

The two collections were published in 20, not that long ago, but with the recent attention about lack of representation this is an interesting thing to bump into since it's 'just' a bunch of cartoons. Again, this might only represent those who were willing to contribute to the collection but it makes me wonder who makes up the vast majority of cartoon contributors (not only who submits but who gets published). Of the 38 artists only 5 are women and none are a person of color. Like the previous collection, the lack of diversity caught my attention.

Much like the first collection, this is a raucous look at the crude, vulgar, tasteless but funny cartoons that were rejected by the New Yorker magazine.Īgain each of the artists humorously fills out a questionnaire and contributes 3 - 5 cartoons. 2 will appeal to every New Yorker fan - and everyone with a taste for the absurd. Warped, wicked, and wildly funny, The Rejection Collection Vol.

With appendices that explore the top ten reasons why cartoons are rejected and examine the solitary nature of the job of cartooning - plus a special bonus section of questions asked of and answered by cartoon editor Robert Mankoff - this sequel to The Rejection Collection offers even deeper insight into the exercise in frustration, patience, and amusement that is being a New Yorker cartoonist. Handpicked by editor Matthew Diffee, these hilarious cartoons are accompanied by handwritten questionnaires and photographed self-portraits, providing a rare glimpse into the minds of the artists behind the rejection. 2: The Cream of the Crap is the ultimate scrap heap of creative misfires - from the lowbrow and the dirty to the politically incorrect and the weird, these rejects represent the best of the worst.in the best possible sense of the word. So what happens to the 75 percent of cartoons that don't make the cut? Some go back in a drawer, others go up on the refrigerator or into the filing cabinet.but the very best of all the rejects can be found right here in these pages. Each week The New Yorker receives more than five hundred submissions from its regular cartoonists, who are all vying for one of the twenty coveted spots in the magazine.

The Rejection Collection by Robert Mankoff