"No one encouraged me to be a cartoonist.... I showed my work and they just said, 'I didn’t know you were this unhappy.'..."

"My dream was to be a working cartoonist for the Village Voice... Because that was Jules Feiffer, Mark Alan Stamaty, Stan Mack. There was something very idiosyncratic, very New York, about them, all social comment and not a gag panel. And the New Yorker cartoon was a gag panel. I liked that, but I had no interest in doing that. I didn’t see myself as part of that. I submitted because I thought, Why not? I was working for the Voice and for the Lampoon, and I thought I should try The New Yorker. It’s cartoons—same deal. I think it was a Wednesday—I called up and found their drop-off day, and I left my portfolio. And that’s pretty much what I’ve been doing ever since. I was absolutely flabbergasted and terrified when I found out I had sold something.... ... I went in to see [Lee Lorenz, the New Yorker’s art editor] and he pulled out a cartoon, and he said, ‘We want to buy this! Are you excited?’ ‘Yeah, I am,’ I said. I thought I might be dreaming. A little bit out of body. I noticed that the lights were very like my elementary school. I liked that it’s not exactly shabby but nothing trying to impress you. Places that are trying to impress me always scare me. They don’t impress me, but they scare me. He told me that Shawn [William Shawn, the magazine’s longtime editor] really liked my work. And I had no idea who Shawn was! I assumed it was a first name, someone named Sean, like Sean Connery, who somehow was allowed to like your work. I nodded. ‘That sounds good.’ I did meet him later, and he doffed his hat and I doffed mine, and I wondered why I was doing this."

From "Scenes from the Life of Roz Chast/In the past four decades, the cartoonist has created a universe of spidery lines and nervous spaces, turning anxious truth-telling into an authoritative art" (in The New Yorker).

Speaking of exciting scenes in the life of an artist, I selected that quote and cut and pasted it here before reading it to the end, and I was flabbergasted to see Sean Connery come up. It's so utterly random. The previous post, which I started writing because I was interested in Dennis Hopper's photography, moved through a sequence of things and ended up on Sean Connery. I'd just created a new tag for "Sean Connery" and added it retrospectively to 3 other posts. Sean Connery had popped up only 3 times in 16 years of writing on this blog, and now, this morning, in the space of a few minutes, he's popped up twice. All 5 of the Sean Connery appearances on this blog have been minimal and random. I'll list them in the order of importance — importance with regard to Sean Connery — with the least trivial thing at #1:

5. Roz Chast heard the last name "Shawn" and thought of the first name "Sean," as in "Sean Connery."

4. Darrell Hammond was identified (in 2011) as the SNL actor who impersonates "Al Gore, Bill Clinton, Donald Trump and Sean Connery."

3. Dream-casting a movie based on a new Sandra Day O'Connor biography in 2005, one commenter pictures "a cameo appearance from Sir Sean Connery as Robert Bork, who turns out to have been the arch-villain all along!"

2. This morning's discussion of the 1995 Sean Connery movie "Just Cause."

1. My revelation that I haven't seen a James Bond movie since the last Sean Connery Bond movie, "Diamonds Are Forever" ("It was 1971, and we thought James Bond was absurdly passé").

"Recently I heard a woman say her department is full of freaks, they don’t like her, and she doesn’t have a life, but that sounded more like a whine than an epiphany."

"I’m no sociologist so I don’t know if this era is less interesting. You’d think people would be as tormented by sex, self-fulfillment, and relationships (and babies) as ever, but I’m not hearing it on any movie lines I’ve been on lately. Maybe I should ask the NSA."

Said Stan Mack in a 2013 interview on the blog Jeremiah's Vanishing New York. Stan Mack drew the fantastic cartoon "Stan Mack's Real Life Funnies" that ran in The Village Voice from 1974 to 1995. The words in the cartoons were all things Mack claims to have heard people say around New York City. I, myself, had long loved the absurdity of the partial conversations you'd overhear as you walked around or half-minded your own business in a restaurant or shop. Here's an example showing part of one week's Stan Mack cartoon:



If you like that, you can order a collection of the funnies — remember when we called the comics "the funnies"? — here (at Amazon).

In the quote that begins in the post title, Mack is comparing the words he used to overhear with the words he overhears today, which, unlike then, include a lot of talking into cell phones. In fact, the reason I was looking up Stan Mack this morning is because I read (on Facebook) this post by Annie Gottlieb:

Really, the things you hear on the street. People on their cellphones seem to assume they’re in a soundproof phone booth, and people just conversing seem to have been made unselfconscious or oblivious by phone culture to being either intrusively loud, or private and overheard. You hear some funny things.

(a woman on her cellphone, crossing the street, indignantly: ) “I don’t want ANY bacteria.” (Apparently no one has yet broken the news about the microbiome.)

(Young man to his girlfriend, walking along holding hands, conversationally) “You know how some people jerk off just to jerk off?” (as opposed to?)

(today) “Hydroglyphics”

ADDED: Did people become less self-conscious because of cellphones? It's very hard to compare what you're hearing now with what you heard back then. Stan Mack is kind of an authority on the subject, and the difference he cites is in the interestingness. If what people are saying these days is less interesting, it could be that people are more private, less prone to revealing themselves when they can be overheard. But it could be that the eavesdropper has changed, and not just because we've all gotten older. We're different because we're listening to phone talkers, not to people who are with other people and talking in the flesh. People talking into a phone irritate us a lot more, so we're more judgmental. We think they're intruding on us. When we listen to people who are together in real life — as in "Real Life Funnies" — we feel that we are intruding on them. Our transgression makes things inherently more interesting.