Emdashes. The New Yorker between the lines
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Filed under: New Yorker Festival Tagged: animation, Annie Proulx, David Denby, David Remnick, events, fiction, Judd Apatow, Junot Diaz, movies, New Yorker Festival, Seymour Hersh, The New Yorker
Do you know that magical Max Fleischer animation from the '30s? ("I'm gonna dunk!") It's probably on YouTube (yes it is), and I'll reward myself with it after I've caught up with, you know, my job. All the sleeplessness and doubling up this past week has been worth it, because it was a thrilling festival, inspiring and humbling, and there's more to say about it. So Martin, Toby, and I (filmmaker Quin and poet and fiction writer Tiffany are done with their reports; scroll through a few pages and read them all) will continue to post till we run out of notes, or until our eyes start crossing, whichever comes first.
Meanwhile, here's Glynnis MacNicol (I am jealous of your fantastic name) on the Annie Proulx and Junot Diaz event (and Quin's take).
Another blogger reviews the Lucinda Williams show, and is working on a David Remnick/Semour Hersh and a David Denby/Seth Rogen/Judd Apatow post. I was at those discussions as well—in the same venue and with equally intent audiences, which probably did overlap slightly—so will start working on decoding my elliptical symbols.
Best news of all: pretty soon, a brand-new Ask the Librarians! I saw a lot of stars this weekend, but none compare to Erin Overbey and Jon Michaud, in my book.
Who we?
Emdashes, founded December 2004, is a place where keen and dedicated readers of The New Yorker, past and present, can find related news and commentary: about people, subjects, and ideas within the magazine, and events and conversations outside its pages. Learn more about us and our contributors.
We welcome tips, questions, and comments about The New Yorker past and present, plus related events, links, typeface sightings, &c. To contact the magazine or send a submission, click here.
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This site is neither owned nor operated by The New Yorker magazine or Condé Nast Publications.
A few clips
- Report: Learning to read with comic books edited by Françoise Mouly (for Print)
- Interview: Designer Eleanor Grosch (for Print)
- Review: Charles Addams: A Cartoonist's Life by Linda H. Davis (for Newsday)
- Review: The King's Gambit: A Son, a Father, and the World's Most Dangerous Game by Paul Hoffman (for Newsday)
- Review: Does The New Republic's recent redesign mean a change of tune? (for Print)
- Proposal: A more attractive MetroCard (for A Brief Message)
- Interview: James Surowiecki on what's next for the wisdom of crowds (for Assignment Zero)
- Report: Eustace Tilley spruces up for The New Yorker's website redesign (for Print)
- Feature: Muslim immigration iconography in the Netherlands (for Print)
- Review: books about various New Yorker cartoonists by Liza Donnelly and Iain Topliss (for Newsday)
- Profile: screenwriter and novelist Joe Keenan (for Newsday)
- Review: The Complete New Yorker (for Print)
Tell me more
They say that dashes “are particularly useful in a sentence that is long and complex.” Emdashes—like em dashes—emphasizes what’s between: in particular, between the lines, covers, and issues of a magazine close to my heart.
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Edited by Martin Schneider, designed by Pretty, and illustrated by Inkleaf. Additional drawings by Carolita Johnson. Kissable pencil girl by Jennifer Hadley, based on a 1943 Dorothy Gray ad.
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Comments
Much better than the Fleischer's color cartoons are their bizarre black-and-white cartoons of the early 30s. Betty Boop had a flock of important musical guests (Cab Calloway, Rudy Vallee, etc.) and a free-form Surrealist style that is unmistakable. As the Disney paradigm took over the animation field, the Fleischers lost their panache.