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Edward Sorel - Profusely Illustrated: A Memoir

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Edward Sorel Profusely Illustrated: A Memoir
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Profusely Illustrated: A Memoir: summary, description and annotation

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The fabulous life and times of one of our wittiest, most endearing and enduring caricaturistsin his own words and inimitable art. Sorel has given us some of the best pictorial satire of our time ... [his] pen can slash as well as any sword (The Washington Post).Alongside more than 172 of his drawings, cartoons, and caricaturesand in prose as spirited and wickedly pointed as his artworkEdward Sorel gives us an unforgettable self-portrait: his poor Depression-era childhood in the Bronx (surrounded by loving Romanian immigrant grandparents and a clan of mostly left-leaning aunts and uncles); his first stabs at drawing when pneumonia kept him out of school at age eight; his time as a student at New Yorks famed High School of Music and Art; the scrappy early days of Push Pin Studios, founded with fellow Cooper Union alums Milton Glaser and Seymour Chwast, which became the hottest design group of the 1960s; his two marriages and four children; and his many friends in New Yorks art and literary circles. As the young lefty becomes an old lefty, Sorel charts the highlights of his remarkable life, by both telling us and showing us how in magazines and newspapers, books, murals, cartoons, and comic strips, he steadily lampoonedand celebratedAmerican cultural and political life. He sets his story in the parallel trajectory of American presidents, from FDRs time to the present daywith the candor and depth of insight that could come only from someone who lived through it all. In Profusely Illustrated, Sorel reveals the kaleidoscopic ways in which the personal and political collide in arta collision that is simultaneously brilliant in concept and uproarious and beautiful in its representation.

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Acknowledgments

I started collecting my drawings for this book just when the pandemic hit. Suddenly there was no one in Knopfs offices to take my art, and no one there to photograph it. That job fell to my son, Leo Sorel, a busy portrait photographer, who, thanks to COVID-19, suddenly had time to save his fathers book. Leo soon discovered that most of my originals were no longer available due to the fact that I had sold almost all my pictures to the Howard Gotlieb Archive of Boston University, which closed, due to the Plague. The missing originals would have to be photographed from pages in magazines. That meant Leo would have to use his computer skills to bring the poorly reproduced tear sheets up to Knopfs exacting standards. Not easy, but he did it. Leo also served as a sounding board for my doubts and insecurities, and came up with many ideas that made this a better book. I could not have done this book without him.

Ann Close has been my editor for all of the four books Ive done for Knopf. It was her idea to have me accompany my collection of comic drawing with stories about my life. I am, I believe, the only caricaturist who Ann edits. Writers such as Alice Munro, Lawrence Wright, and Norman Rush are the sort of authors Ann usually works with, but I suspect that editing them was not nearly as time-consuming as dealing with this small (but complicated) book.

Maggie Hinders was handed a hodgepodge of unrelated materialblack-and-white drawings, comic strips, photographs of murals, and paintings of every shape and size, and somehow designed a book that flowed like Strausss Blue Danube. Genius!

Romo Enriquez handles the production at Knopf, and his attention to detail means that I didnt have to worry about how my artwork would reproduce. Romo would see to it that each and every one of my pictures appeared as close to the original as is humanly possible. And a salute to Nicole Pedersen, the production editor who oversaw the copyediting and proofreading.

And to Kathy Zuckerman, my publicist, who has promised to make me famous and adored; Im counting on you to keep your promise.

Norman Schwartz, my brother, has always been there when I was in trouble. Although fifteen years younger, he magically turned into my big brother after I was widowed, and saw to it that I got a flu shot every year, and chicken soup when I had a cold. So good having him nearby.

ALSO BY EDWARD SOREL

Mary Astors Purple Diary

Johnny on the Spot

The Mural at the Waverly Inn

Just When You Thought Things Couldnt Get Worse

Literary Lives

The Saturday Kid

Unauthorized Portraits

The Zillionaires Daughter

Superpen

Making the World Safe for Hypocrisy

WITH NANCY CALDWELL SOREL

Word People

First Encounters

Authors Note
This book serves two purposes One of them is shamelessly self-serving to save - photo 1

This book serves two purposes. One of them is shamelessly self-serving: to save a few of my drawings from the oblivion that awaits most protest art and almost all magazine illustrations. The second is to offer an explanation for how the United States ended up with a racist thug in the White House. My belief is that it was made possible by the criminal acts committed by the twelve presidents who preceded Trump. To buttress my argument, I will digress from my narrative now and then to describe their crimes. These exposs will be brief, so dont start skimming every time the book goes political. It will only hurt for a few minutes.

E.S.

A NOTE ABOUT THE AUTHOR Edward Sorel is an illustrator caricaturist and - photo 2
A NOTE ABOUT THE AUTHOR

Edward Sorel is an illustrator, caricaturist, and cartoonist whose satires and pictorial essays have appeared in many, many places, among them Vanity Fair, The Atlantic,The Nation, and The New Yorker, for which he has done numerous covers. He lives in New York in the apartment that he shared with his wife and sometime writing partner, Nancy Caldwell Sorel.

1
Portrait of the Old Lefty as a Young Lefty

I had the good luck to have a warm, upbeat, beautiful mother who told me, when I was twelve, that I really looked better in eyeglasses, and that I was really very bright, though my teachers thought otherwise. She gave me unconditional love, and as a result I went to her with all my worries and insecurities, even when I was already a man. Heres an example. I was twenty-three, and had finally succeeded in getting a girl into bed for the first timebear in mind that this was the 1950s, not the 60sbut I had failed in that crucial rite of passage. I was distraught. I told Mom, and after giving it a moments thought, she said:

I knew from seeing those Andy Hardy movies that the proper person a son should - photo 3

I knew from seeing those Andy Hardy movies that the proper person a son should go to when such a calamity happens was his father. But my father was no Judge Hardy, and we didnt live in a spacious Victorian house on a tree-lined street in a town called Carvel, somewhere in the Midwest. We lived in a fifth-floor walk-up in the Bronx, and there wasnt a room suitable for a man-to-man talk. Furthermore, my father, Morris Schwartz, was not a justice of the court. He was a door-to-door salesman, and far from being wise and benevolent, he was stupid, insensitive, grouchy, mean-spirited, fault-finding, and a racist. Let me also add that he made slurping sounds when he ate soup and always had cigarette ashes on his jacket.

People meeting my parents for the first time surely asked themselves, Why do you suppose she married him? I wondered the same thing. Why did tall, beautiful, Rebecca Kleinberg marry short, jug-eared Morris Schwartz? (If youre confused because my fathers surname is different from mine, I legally changed it to Sorel the momentthe secondI got a steady job.) Whatever reason Mom had for marrying him, I wished he would just somehow disappear. I clearly remember when I was eight or nine, being with him on a nearly empty subway platform, and thinking that, if only that one woman wasnt standing there, I could push him in front of the oncoming train, and no one would see me doing it. Of course, when I grew older, I realized how wrong that would have been. The motorman would have seen me.

Clearly, I was going to be stuck with him until I could find work and move out. Yet I couldnt stop myself from asking Yetta, the youngest of Moms four sisters, Why did Mom marry him? She was as flummoxed as everyone else. Even Aunt Jeanette, the college graduate in the family, who always had a Freudian explanation for everything, couldnt come up with a reason. She assured me that Papa and Mama Kleinberg had begged Rebecca not to marry him. And Mom wasnt pregnant. I was born two years after they married in 1927.

Of course, I couldnt flat out ask my mother, Why the hell did you marry him? But when I was in my teens I thought I might get a clue to the answer by asking Mom how she and Morris met. Here, pretty much, is what she told me.

I was sixteen when I heard about a job in a ladies hat factory on Houston Street. This was a few months after Mama and my sisters and I arrived in America from Romania in 1923. Papa was already here. He had come earlier and sent for us as soon as he had saved enough money to bring us over. Papa had rented a walk-up apartment for us just above the Third Avenue El in the Bronx. It was nowhere near Houston Street, so I asked Papa for carfare. He told me I was too young to work, but I insisted that I wanted to work, and so he gave me three nickels. Two were for the subway that would take me to the factory and home, and one was for lunch.

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