William Shawn was the editor of The New Yorker and for whom I worked for, God, 27 years; a man I respected enormously because of what he did, - what the magazine was about.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
Five years before 'Kitchen Confidential' - and before then, the 'New Yorker' essay that led to the book - Bourdain published 'A Bone in the Throat,' a crime novel set in the restaurant world he lived and breathed.
Woody Allen's movies are so much a part of me. I grew up watching them over and over and would read all his comic pieces for the New Yorker. In some ways, his influence is so much there that I can't even locate it any more.
In the high level cartoon world, my number one admired hero would be Chas Addams - really a top, top artist that the 'New Yorker' was lucky to find and employ.
I would kind of, you know, go stand next to some unlucky guy and say eventually, Hi, I'm George. You know, I'm with The New Yorker. I'm a liberal. I'm somewhat left of Gandhi. Do you want to talk? And, you know, they always did.
I never studied art, but taught myself to draw by imitating the New Yorker cartoonists of that day, instead of doing my homework.
I read the 'New Yorker' when I was a kid. I used to love the cartoons and pick the cartoons out of the library, so I felt I knew the world of their cartoons.
I always knew I was a writer. And I always thought to myself, 'Well, why not me?' Someone has to be on the best-seller list, 'Why not me?' Someone has to write for the 'New Yorker,' 'Why not me?' And I didn't really get much positive reinforcement as a kid, so I thought, 'Well let me show you what I can do.'
The title of the poems was The Only Bar in Dixon. We sent it out to The New Yorker on a fluke, and they took them and printed all three in the same issue.
If [Bill Shawn] liked the piece, then he would run it. But he wanted the magazine to be something that was more than just a weekly event. And as a result you could pick up a New Yorker under him, as I mentioned before, a year from then or 10 years or 20 years and there would always be something worth reading in it.
'The New Yorker's' drama critics have always had a comparable authority because, for the most part, the magazine made it a practice to employ critics who moonlighted in the arts. They worked both sides of the street, so to speak.
I loved Charles Addams more than anything. Still love him.
I like [John Cardinal O'Connor] a lot. He - I started a - to know him - when I asked William Shawn at The New Yorker, 'Sh - can I do a profile of Cardinal O'Connor?' He said, 'All right. Find out what he's like.' So I went to his office, and I heard somebody - and it turned out to be O'Connor - yelling outside, and I've never heard him since raise his voice.
It was an incredible resource. I'd sit with a big stack of bound New Yorkers in the library and read through, especially the 'Talk of the Town' sections.
It was actually an Israeli cartoonist, Nurit Karlin, who made me think that I could draw for 'The New Yorker.' I saw her work published in the magazine in the early 1970s - she was the only woman working as a cartoonist at 'The New Yorker' at the time.
