![]() ![]() ![]() A broad base of community support is the only reason we're still standing. It's unfathomably hard keeping a newsroom afloat these days, and we're grateful to have a community of readers whose donations make up about 75 percent of our funding. Thank you so much to everyone who pitched in! And thanks to everyone who didn't or simply can't, because Mother Jones wouldn't exist without people who read and share and care about our journalism. We just finished off our fall fundraising drive, and we were able to raise about $225,000 over three weeks to help make the reporting you get from Mother Jones possible. If your sensibility or taste are offended, well, welcome to Mankoff’s daily hell.īy signing up, you agree to our privacy policy and terms of use, and to receive messages from Mother Jones and our partners. Without further ado, meet a selection of the progeny of that intimate partnership. “This collection is yet more proof that bad taste and humor are not strange bedfellows but intimate partners whose down-and-dirty doings often delight us against our better judgment, our scruples, and our politically respectable attitudes,” he writes. There’s no set criteria for what makes a New Yorker cartoon, Diffee explains, but most are 86ed for being one (or more) of the following: too lowbrow, too politically incorrect, too dark, too weird, too political, too difficult to get, too dumb, too bad, or too dirty. Cartoonist Matthew Diffee, who has been published more than 200 times in The New Yorker, helped Workman Publishing gather up some of the most spectacular failures for The Best of the Rejection Collection, out this week. And while creating a winning cartoon is notoriously difficult-just ask anyone who has brainstormed for the magazine’s weekly caption-writing contest-most contributing cartoonists have developed a good feel for what cartoon editor Robert Mankoff is after. The single-panel cartoons peppering the pages of The New Yorker are renowned for timely wit and laugh-out-loud captions.
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