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Sempé Fi: Winter Flapper
Filed under: Sempé Fi Tagged: 1920s, art, Art Deco, Brian Stauffer, covers, dog, fashion, flapper, Helen Dryden, Pollux, Vogue
Pollux writes:
She's knee-deep in a blanket of pure white snow. She's out for a walk with her dog. Her faithful dog cannot be seen except for its tail. In fact, the dog is clearing a pathway for her as they make their way through the wintry landscape.
This is the scene depicted in Brian Stauffer's cover for the March 1, 2010 issue of The New Yorker, called "Whiteout."
(continued)
Secret Tilley Revealed: A Hidden Image
Filed under: Sempé Fi Tagged: Adam Kempa, covers, Dan Brown, Eustace Tilley, Kempa.com, Pollux, Robert Langdon
Pollux writes:
Did you know that if you place the four Anniversary New Yorker covers together, this creates a large composite image of Eustace Tilley? When I wrote about the covers a few days ago, this had escaped my attention.
It wasn't Dan Brown (or his hero Robert Langdon) who have told me. You can read about this hidden image at the blog Kempa.com.
Adam Kempa, the blog's creator, has cleverly, and helpfully, created an overlay of the four covers to reveal the subtle outlines of Tilley.
(continued)
Sempé Fi: Boing Boing Discusses 1946 Alajalov Cover
Filed under: Sempé Fi Tagged: art, Boing Boing, Constantin Alajalov, covers, Pollux
Pollux writes:
Over at Boing Boing, they're discussing the March 16, 1946 cover for The New Yorker, created by artist Constantin Alajalov.
(continued)
Sempé Fi: The Butterfly Effect (Four Covers for The Anniversary Issue)
Filed under: Sempé Fi Tagged: Adrian Tomine, art, butterfly, Chris Ware, covers, Daniel Clowes, Emily Gordon, Eustace Tilley, iPhone, Ivan Brunetti, Pollux, Rea Irvin
Pollux writes:
The February 15 & 22 issue of The New Yorker was The Anniversary Issue of the magazine. To celebrate this occasion, The New Yorker ran a quadruple cover that honored its history, mascot, and sense of humor.
Four artists created various New Yorker-tinged realities: in 1925, a struggling male model visits a new publication in order to pose, to his horror, as Eustace Tilley; Eustace's Butterfly, who also reacts negatively to a vision of Eustace Tilley, performs a poetic monologue; a world of Tilley-like figures record and observe butterflies; Rea Irvin creates the mascot of Eustace Tilley. These visions are both tributes and tongue-in-cheek interpretations of New Yorker history.
(continued)
Sempé Fi: The Houndstooth
Filed under: Sempé Fi Tagged: Ana Juan, art, covers, dog, dogs, fashion, Pollux
Pollux writes:
Are dog-sweaters and dog-coats just silly accessories? After all, dogs have fur, so why would they need to wrap up for the winters as humans do? But dogs, despite their natural furry coats, get cold, they get wet, and they get uncomfortable.
As one blog points out, "small dogs, such as Chihuahuas and Maltese; also Yorkies, Lhasa Apsos, and Shih tzus (especially if clipped) need protection from the cold, along with Bichon Frise and short-haired dachshunds to name a few... if your dog seems to be cold, then yes, he or she should wear a sweater."
(continued)
Who we?
Emdashes, founded in 2004 by Emily Gordon, 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.
No fear: Everything you say or send is off the record unless we ask for your permission to use it.
This site is neither owned nor operated by The New Yorker magazine or Condé Nast Publications.
Some writing by Emily Gordon
- Review: A Gate at the Stairs by Lorrie Moore (for Newsday)
- Annotated slide show: a wet, festive 2009 Coney Island Mermaid Parade (for nycgo.com)
- Proposal: A better-looking MetroCard (for A Brief Message)
- Feature: Muslim immigration iconography in the Netherlands, and an interview with Ayaan Hirsi Ali (for Print)
- Review: Does a redesign of The New Republic mean a change of tune? (for Print)
- Interview: four online obsessives and visual cataloguers, Kate Bingaman, Nicholas Felton, Ellie Harrison, and John D. Freyer (for Print)
- Review: King's Gambit: A Son, a Father, and the World's Most Dangerous Game by Paul Hoffman (for Newsday)
- Interviews: winning New Visual Artists Eleanor Grosch, Zigmunds Lapsa, Christian Cervantes, and Kate & Camilla (for Print)
- Profile: lindy hop legend Frankie Manning (for Newsday, with Robert Fouch)
- Feature: Rea Irvin, illustrator, bon vivant, and The New Yorker's first art director (for Print)
- Profile: screenwriter and novelist Joe Keenan (for Newsday)
- Review: My Tiny Life: Crime and Passion in a Virtual World by Julian Dibbell (for Newsday)
- Review: Charles Dickens by Jane Smiley (for Newsday)
- Review: Jayber Crow by Wendell Berry (for Print)
- Report: Learning to read with comic books edited by Françoise Mouly (for Print)
- Report: The New Yorker's redesigned website (for Print)
- Interview: James Surowiecki on what's next for the wisdom of crowds (for Assignment Zero)
- Review: The Complete New Yorker (for Print)
- Interview: Matthew Diffee on the appropriately inappropriate cartoons of the The Rejection Collection (for Print)
- Interview: Roz Chast on Brooklyn, pysanky eggs, and animation (for Newsday)
- Review: books about various New Yorker cartoonists by Liza Donnelly and Iain Topliss (for Newsday)
- Review: Charles Addams: A Cartoonist's Life by Linda H. Davis (for Newsday)
- Interview: Edward Gorey (for Newsday)
More clips.
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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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Founded by Emily Gordon, edited by Martin Schneider, designed by House of 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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