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Product Identifiers
PublisherLibrary of America, T.H.E.
ISBN-10159853792X
ISBN-139781598537925
eBay Product ID (ePID)13065000684
Product Key Features
Book TitleMAD Files: Writers and Cartoonists on the Magazine That Warped America's Brain! : A Library of America Special Publication
Number of Pages221 Pages
LanguageEnglish
Publication Year2024
TopicPopular Culture, Comics & Graphic Novels
GenreLiterary Criticism, Social Science
AuthorDavid Mikics
FormatTrade Paperback
Dimensions
Item Height0.8 in
Item Weight13.4 Oz
Item Length8.5 in
Item Width6.8 in
Additional Product Features
Intended AudienceTrade
TitleLeadingThe
Reviews"Vibrant reflections on Mad magazine's legacy from an impressive roster of fans and former contributors. . . . Selections from former contributors brim with behind-the-scenes hijinks . . . and fond appreciations from the likes of Roz Chast and R. Crumb attest to the magazine's widespread influence. It adds up to a surprisingly multifaceted look at a beloved magazine." --Publishers Weekly
SynopsisCelebrate America's zaniest and most subversive magazine in 26 essays and comix from all-star contributors, including Roz Chast, Jonathan Lethem, and Grady Hendrix. Before SNL and the wise-guy sarcasm of Letterman and Colbert, before TheSimpsons and online memes, there was . . . MAD . A mainstay of countless American childhoods, MAD magazine exploded onto the scene in the 1950s and gleefully thumbed its nose at all the postwar pieties. MAD became the zaniest, most subversive satire magazine ever to be sold on America's newsstands, anticipating the spirit of underground comix and 'zines and influencing humor writing in movies, television, and the internet to this day. Edited by David Mikics, The MAD Files celebrates the magazine's impact and the legacy of the Usual Gang of Idiots who transformed puerile punchlines and merciless mockery into an art form. 26 essays and comics present a varied, perceptive, and often very funny account of MAD 's significance, ranging from the cultural to the aesthetic to the personal. Art Spiegelman reflects on how he "couldn't learn much about America from my refugee immigrant parents--but I learned all about it from MAD " Roz Chast remembers how the magazine was "love at first sight. . . . It was one of my first inklings that there were other people out there who found the world as ridiculous as I did." David Hajdu and Grady Hendrix zero in on MAD 's hilarious movie spoofs Liel Leibovitz delves into the Jewishness behind the magazine's humor and Rachel Shteir amplifies the often unsung contributions of MAD 's women artists. Several essays are admiring profiles of the individual creators that made MAD what it was: Mort Drucker, Harvey Kurtzman, Al Jaffee, Antonio Prohias, and Will Elder. For longtime fans and new readers alike, The MAD Files is an indispensable guide to America's greatest satire magazine., A mainstay of countless American childhoods, MAD magazine exploded onto the scene in the 1950s and gleefully thumbed its nose at all the postwar pieties. Unfazed by lawsuits, the ire of J. Edgar Hoover's FBI, and the dull-witted scorn of critics and scolds unwilling to get the joke, MAD became the zaniest, most subversive satire magazine ever to be sold on America's newsstands, anticipating the spirit of underground comix and 'zines and influencing humor writing in movies, television, and the internet to this day. Edited by David Mikics, The MAD Files celebrates the magazine's impact and the legacy of the Usual Gang of Idiots who transformed puerile punchlines and merciless mockery into an art form. 26 essays and comics present a varied, perceptive, and often very funny account of MAD's significance, ranging from the cultural to the aesthetic to the personal. Art Spiegelman reflects on how he 'couldn't learn much about America from my refugee immigrant parents - but I learned all about it from MAD'; Roz Chast remembers how the magazine was 'love at first sight. MAD made fun of stuff that I thought needed to be made fun of... It was one of my first inklings that there were other people out there who found the world as ridiculous as I did.' David Hajdu and Grady Hendrix zero in on MAD's hilarious movie spoofs; Liel Leibovitz delves into the Jewishness behind the magazine's humor; and Rachel Shteir amplifies the often unsung contributions of MAD's women artists. Several essays are admiring profiles of the individual creators that made MAD what it was: Mort Drucker, Harvey Kurtzman, Al Jaffee, Antonio Prohias, and Will Elder. For longtime fans and new readers alike, The MAD Files is an indispensable guide to America's greatest satire magazine.
