(From Wood's Introduction: "Most of these satires were wri...)
From Wood's Introduction: "Most of these satires were written for the Masses but only a few were published. ... The unpublished bits were returned to me ... Max Eastman and others urged that I bring them out as a book, and Art Young desired to renew his acquaintance by contributing a few sketches ..."
To Laugh That We May Not Weep: The Life And Art Of Art Young
(Art Young was one of the most renowned and incendiary pol...)
Art Young was one of the most renowned and incendiary political cartoonists in the first half of the 20th century. And far more ― an illustrator for magazines such as The Saturday Evening Post and Colliers, a magazine publisher, a New York State Senatorial candidate on the Socialist ticket, and perhaps the only cartoonist to be tried under the Espionage Act for sedition. He made his reputation appearing in The Masses on a regular basis using lyrical, vibrant graphics and a deep appreciation of mankind’s inherent folly to create powerful political cartoons. To Laugh That We May Not Weep is a sweeping career retrospective, reprinting ―often for the first time in 60 or 70 years― over 800 of Young’s timeless, charming, and devastating cartoons and illustrations, many reproduced from original artwork, to create a fresh new portrait of this towering figure in the worlds of cartooning and politics. With essays by Art Spiegelman, Justin Green, Art Young biographer Marc Moorash, Anthony Mourek, and Glenn Bray, with a biographical overview of Young’s life and work by Frank M. Young, To Laugh That We May Weep is a long-awaited tribute to one of the great lost cartoonists whose work is as relevant in the 21st century as it was in its own time.
When Writing Teachers Teach Literature: Bringing Writing to Reading
(
What happens when the teaching of literature and the te...)
What happens when the teaching of literature and the teaching of writing intersect? How does instruction change when teachers apply composition theory and practice to the study of literature? In Art Young and Toby Fulwiler's collection of essays, twenty-three teachers of writing describe their experiences teaching literature, revealing some remarkable ideas and results.
When Writing Teachers Teach Literature shows how college English instructors apply composition strategies such as writing to learn, the composing process, collaborative learning, and portfolio assessment to literature. The contributors, all reflective practitioners, discuss how they teach literature and what it means to them. They examine:
• What writing teachers do differently when they teach literature
• How their approach differs from that typically taken by literature teachers
• What happens to the learners and texts when composition pedagogy is applied to literary study.
In brief interchapters contributors focus on professional and student texts as well as the learners who create them. Each demonstrates that the best teaching is the transmission not just of knowledge, but of the means and satisfactions of creating that knowledge.
These essays confirm the value of new voices in the canon and the classroom, of diverse theoretical perspectives that merge with interactive pedagogical practices, and especially of the emergence of writing along with reading as the central business of English studies.
(Populist preacher Hiprah "Hell-fire" Hunt is obsessed wit...)
Populist preacher Hiprah "Hell-fire" Hunt is obsessed with proving the existence of Hell, and Dante's Inferno is his constant companion. When the evangelist mysteriously disappears for six weeks, it's hardly surprising to hear that he's been to Hell and back. This comic graphic novel depicts his odyssey among the damned, where corrupt politicians, bores, frauds, and other sinners receive their just punishments.
American cartoonist and writer Arthur Henry "Art" Young (1866–1943) is best known for his socialist cartoons, particularly those drawn from 1911–17 for the left-wing political magazine The Masses. Young's lifelong enthusiasm for the works of Gustav Doré — particularly the French artist's interpretation of Dante's Inferno — inspired this humorous 1901 publication. Anyone with an interest in political cartoons, early cartoons, and socialist cartoons will be fascinated by this marvel of invention and craftsmanship and its unique reinterpretation of one of literature's great classics.
Hell up to date (Vol-1): the reckless journey of R. Palasco Drant, newspaper correspondent, through the infernal regions, as reported by himself
(This book was digitized and reprinted from the collection...)
This book was digitized and reprinted from the collections of the University of California Libraries. It was produced from digital images created through the libraries’ mass digitization efforts. The digital images were cleaned and prepared for printing through automated processes. Despite the cleaning process, occasional flaws may still be present that were part of the original work itself, or introduced during digitization. This book and hundreds of thousands of others can be found online in the HathiTrust Digital Library at www.hathitrust.org.
Arthur Henry Young was a satiric American cartoonist and crusader whose cartoons expressed his human warmth as well as his indignation at injustice.
Background
Young was born on January 14, 1866 in Orangeville, Illinois, the son of Daniel Stephen Young, a storekeeper. The Youngs, of English ancestry, had come from northern New York; Art's Pennsylvania Dutch mother, Amanda Wagner, was a descendant of German Lutheran emigrants from the Palatinate. She was a Methodist, his father something of a freethinker. Art was third among four children and second of three boys. When he was a year old, the family moved to nearby Monroe, Wisconsin.
Education
Young enrolled in the Chicago Academy of Design in 1884, where he studied under J. H. Vanderpoel. In 1888, Young resumed his studies, first at the Art Students League of New York (until 1889), then at the Académie Julian in Paris (1889-1890).
Career
Young published his first cartoon in 1884 in a grocers' magazine, the Nimble Nickel. That year he commenced a series of connections as staff artist with Chicago newspapers. Following a long convalescence in Monroe, in 1892 he signed up to draw daily political cartoons on the Chicago Inter Ocean for $50 a week. "A Republican without knowing why, " Young pictured the dangers in low tariffs and drew cartoons violently critical of Gov. John P. Altgeld, for which he was thoroughly ashamed later. With the friendly encouragement of Thomas Nast, then briefly connected with the paper, he also participated in the Inter Ocean's colored Sunday supplement launched in 1892.
In 1896 he served briefly as cartoonist for the Times in Denver, but it was long enough for him to begin questioning the quality of economic justice, thanks largely to the sermons of a Denver minister and Christian Socialist, Myron Reed, and lectures by the British labor leader Keir Hardie. Foreseeing his future in New York, Young moved to Washington Square and prepared comic drawings for Judge, Life, and Puck. At the invitation of Arthur Brisbane, he drew cartoon illustrations for editorials in Hearst's Evening Journal and Sunday American. He volunteered his talents in 1902 for the reelection campaign of Gov. Robert M. La Follette of Wisconsin.
As he approached forty, Young undertook serious debate of public issues at Cooper Union, came under the influence of the muckraking journalists, and steeped himself in radical literature. His new turn was illustrated by a double-page drawing for Life in 1907, "This World of Creepers. " Young now refused to draw cartoons whose ideas he did not support and by 1910 concluded that he belonged in the socialist "war on capitalism. " He was a frequent contributor to the Masses, beginning with its first issue in January 1911. Exulting in his new freedom, Young militantly hurled "pictorial shafts" at the "symbols of the system - financiers, politicians, editors. " For much of this period, Young was also Washington correspondent (1912-1917) for Metropolitan magazine, on whose behalf he interviewed and drew caricatures of notables. These Metropolitan assignments also included illustrating articles by Walter Lippmann. His political cartoons in the election year of 1916 were syndicated by the Newspaper Enterprise Association to more than 200 dailies.
Young strove for a clear, uncluttered style, stripped of nonessentials. His Masses cartoons were twice involved in prosecutions brought by institutions he lampooned. In November 1913 he was indicted, along with Max Eastman, editor of the Masses, on a charge of criminal libel filed by the Associated Press. The offending cartoon, "Poisoned at the Source, " showed a man personifying the Associated Press pouring into a reservoir labeled "The News" the dark contents of bottles of "Lies, Suppressed Facts, Prejudice, Slander, and Hatred of Labor Organizations. " The case was dropped after a year. In 1918 Young joined in establishing the Liberator, to which he contributed steadily. Representative of his Liberator cartoons was one that burlesqued the judicial invalidation of the 1918 Child Labor Act.
From 1919 to 1921 he enjoyed the tribulations as well as satisfactions of publishing his own Good Morning, a weekly of art and comment. During the early 1930's he contributed occasional cartoons and some prose to the New Yorker. Writing came harder than drawing, yet Young wrote with grace, spirit, humor, and seeming ease. His first book, Hades up to Date (1892), self-illustrated as were all the others, appeared in Chicago when he was twenty-six. Other titles were: Author's Readings (1897), Through Hell with Hiprah Hunt (1901), Trees at Night (1927), and Thomas Rowlandson (1938). Young died of a heart attack in his apartment at the Irving Hotel on Gramercy Park, Manhattan, as he neared the age of seventy-eight. A memorial service was conducted by the Rev. John Haynes Holmes at the Community Church. As he had requested, he was cremated and the ashes deposited in the "good earth" at Bethel.