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A lavishly illustrated, witty, and original look at the awesome power of the political cartoon throughout history to enrage, provoke, and amuse.

As a former editor of The New York Times Magazine and the longtime editor of The Nation, Victor S. Navasky knows just how transformative—and incendiary—cartoons can be. Here Navasky guides readers through some of the greatest cartoons ever created, including those by George Grosz, David Levine, Herblock, Honoré Daumier, and Ralph Steadman.  He recounts how cartoonists and caricaturists have been censored, threatened, incarcerated, and even murdered for their art, and asks what makes this art form, too often dismissed as trivial, so uniquely poised to affect our minds and our hearts.

Drawing on his own encounters with would-be censors, interviews with cartoonists, and historical archives from cartoon museums across the globe, Navasky examines the political cartoon as both art and polemic over the centuries. We see afresh images most celebrated for their artistic merit (Picasso's Guernica, Goya's "Duendecitos"), images that provoked outrage (the 2008 Barry Blitt New Yorker cover, which depicted the Obamas as a Muslim and a Black Power militant fist-bumping in the Oval Office), and those that have dictated public discourse (Herblock’s defining portraits of McCarthyism, the Nazi periodical Der Stürmer’s anti-Semitic caricatures). Navasky ties together these and other superlative genre examples to reveal how political cartoons have been not only capturing the zeitgeist throughout history but shaping it as well—and how the most powerful cartoons retain the ability to shock, gall, and inspire long after their creation.


Here Victor S. Navasky brilliantly illuminates the true power of one of our most enduringly vital forms of artistic expression.
Mission Accomplished! Or How We Won the War in Iraq is the definitive collection -- systematically categorized, indexed, and footnoted for your convenience -- of authoritative misinformation, disinformation, misunderstanding, miscalculation, egregious prognostication, boo-boos, and just plain lies, about the Iraq War.

"Never before has such a large and diverse group of experts been so unanimously in favor of a particular national policy as they were in the case of the U.S. invasion of Iraq," note Christopher Cerf and Victor Navasky, who, as co-founders of the Institute of Expertology, the nation's leading purveyor of expertise on expertise, were uniquely qualified to assemble this impressive collection. "In the face of such a consensus, we had no choice but to ask ourselves, 'Could the iron law of expertology -- the experts are never right -- be wrong?'"

At once an entertainment, a cautionary tale, a critique of mass media, a reference tool, and a postwar manifesto, Mission Accomplished! presents, as no book has before, the collective wisdom of all those who are presumed to know what they talking about on the subject of America's adventure in Iraq. As this hilarious, yet depressing, volume demonstrates, they don't.

From MISSION ACCOMPLISHED!

"Major combat operations in Iraq have ended. In the battle of Iraq, the United States and our allies have prevailed."

-- President George W. Bush, May 1, 2003

"[Insurgents] pose no strategic threat to the United States or to the Coalition Forces."

-- L. Paul Bremer III, Administrator of the Coalition Provisional Authority in Iraq, November 17, 2003

"Military action will not last more than a week."

-- Bill O'Reilly, The O'Reilly Factor, January 23, 2003

"I couldn't imagine somebody like Osama bin Laden understanding the joy of Hanukkah."

-- President George W. Bush, at a White House menorah lighting ceremony, December 10, 2001
In this entertaining anthology, editors, writers, art directors, and publishers from such magazines as Vanity Fair, The New Yorker, The New Republic, Elle, and Harper's draw on their varied, colorful experiences to explore a range of issues concerning their profession. Combining anecdotes with expert analysis, these leading industry insiders speak on writing and editing articles, developing great talent, effectively incorporating art and design, and the critical relationship between advertising dollars and content. They emphasize the importance of fact checking and copyediting; share insight into managing the interests (and potential conflicts) of various departments; explain how to parlay an entry-level position into a masthead title; and weigh the increasing influence of business interests on editorial decisions. In addition to providing a rare, behind-the-scenes look at the making of successful and influential magazines, these contributors address the future of magazines in a digital environment and the ongoing importance of magazine journalism. Full of intimate reflections and surprising revelations, The Art of Making Magazines is both a how-to and a how-to-be guide for editors, journalists, students, and anyone hoping for a rare peek between the lines of their favorite magazines. The chapters are based on talks delivered as part of the George Delacorte Lecture Series at the Columbia School of Journalism.

Essays include: "Talking About Writing for Magazines (Which One Shouldn't Do)" by John Gregory Dunne; "Magazine Editing Then and Now" by Ruth Reichl; "How to Become the Editor in Chief of Your Favorite Women's Magazine" by Roberta Myers; "Editing a Thought-Leader Magazine" by Michael Kelly; "Fact-Checking at The New Yorker" by Peter Canby; "A Magazine Needs Copyeditors Because...." by Barbara Walraff; "How to Talk to the Art Director" by Chris Dixon; "Three Weddings and a Funeral" by Tina Brown; "The Simpler the Idea, the Better" by Peter W. Kaplan; "The Publisher's Role: Crusading Defender of the First Amendment or Advertising Salesman?" by John R. MacArthur; "Editing Books Versus Editing Magazines" by Robert Gottlieb; and "The Reader Is King" by Felix Dennis

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