The New Yorker Book of Teacher Cartoons

This item was delivered just as the seller promised. I am very satisfied with my purchase and will definitely do business again in the future.

Great delivery timing and the book was in the exact condition seller advertised it in.

I read the customer reviews before I bought this and had read a few saying that they've seen better. So I bought one of these and then two of the chicken noodle soup for the teacher's soul and its a collection of comics. This book was soooo much better than that one. This has preschool humor, teacher humor, student humor, in addition to just the silly things kids say and do. Its a riot and I wish I had bought three of these.

I gave this book to my kids' teachers as well as to several family members. I have never had such enthusiastic thank you's from not just one, but 4 teachers! The book is clever and thoughtful and appreciated by the profession.

This is one of the titles in a series of anthologies of subject-specific cartoons which first appeared in The New Yorker, a magazine to which I have subscribed since I was enrolled in college. Once again, Robert Mankoff serves as editor and once again, he has made excellent choices. Mankoff is the founder and president of The Cartoon Bank and cartoon editor of The New Yorker. His own cartoons have been published in that magazine since 1974. At the outset, I acknowledge the difficulty of discussing cartoons without benefit of having them displayed...and this is especially true of New Yorker cartoons. Those who create the best of them have a unique talent for combining precisely the correct illustration and caption. Styles vary from one artist to the next, of course, but so many New Yorker cartoons suggest an urban lifestyle perspective with an emphasis on wit and whimsy. That is even true of so-called "sick humor" as found in Charles Addams' cartoons, for example. FYI, Addams is not among the artists represented in this volume. Some cartoons require no caption such as one drawn by Lee Stevens which features a building behind a prominent lawn sign whose message serves as a caption: "The Knowledge Hut® formerly P.S. 102." Other cartoons have an extensive caption such as one devised by George Booth in which a wife is commenting on their daughter's schoolwork. "Sarah's grades are excellent. She got an A+ in `Yogi Berra: Philosopher or Fall Guy?,' A in `Dollars and Scents: An Analysis of Post-Vietnam Perfume Advertising,' A- in `The Final Four as Last Judgment: The N.C.A.A. Tournament from a Religious Perspective,' and A in `The American Garage Sale: Its Origins, Cultural Implications, and Future.'" The husband is understandably dismayed. The works of artists such as Stevens, Booth, Lee Lorenz, Warren Miller, Charles Saxon, William Steig, and James Stevenson are immediately familiar to me and other long-time subscribers to The New Yorker. As another of their drawings appears in a new issue, I am curious to learn what their latest comment is on the human condition. Thus was my reaction when coming upon several drawings in this volume, ones I did not recall seeing previously, by artists style is almost instantly recognizable. My point is that New Yorker cartoons can certainly offer cultural insights concerning a given era (e.g. The Great Depression) as well as a given subject (e.g. business) but their humor is never dated. A few brief concluding comments about the selections in this volume. The perspectives offered include those of parents and students as well as those of teachers. Having taught for 24 years (13 of them in two New England boarding schools), I can personally attest to the authenticity of those situations portrayed in which education seems to be much less important than establishing and then maintaining control over whatever, making certain reassurances now to avoid unpleasant situations later, or at least "showing an interest" w