The artist Edward Koren, who produced more than a thousand New Yorker gags, illustrations, and covers, died this morning, at 87. “He was a philosopher of the form, but he never stopped marvelling at the miracle of its creation,” Emma Allen writes.
“Being one of the anciens in your new flock, I will be particularly pleased to work with you, as well as offer up whatever of my accumulated institutional wisdom you might find useful,” the artist Edward Koren wrote to me—in his jaunty, winkingly semi-formal way—when I became cartoon editor. He went on, “I’m eager to shake your hand and continue on the familiar—and immensely satisfying—path I’ve been taking for a while now.
—whether human or flora or fauna—in our pages. This morning, he died at eighty-seven, having produced more than a thousandTrying to describe Ed to a friend recently, I kept returning to the phrase “rubber ball.” The man was indefatigable, unsinkable—biking, hiking, skiing, and salsa dancing more than most people a quarter of his age do. He was perpetually rosy-cheeked, from all the athletics, no doubt, and from decades of jollity.
Ed liked to describe the single-panel cartoon as “a lightning-fast one-act play that takes place in a frozen moment in time, with a specific goal: laughter.” And the productions that his characters put on—whether suburban community theatre or Broadway spectacle—were sidesplitting. He was a philosopher of the form, but he never stopped marvelling at the miracle of its creation. “When pen hits the paper, the mind follows the hand,” he once told me.
In recent years, he rebounded from health setbacks with such cheer that it was easy to believe that nothing would ever penetrate his armor of good humor. After one of our final in-person meetings, he sent me a George Eliot quote he’d been searching for. Eliot suffered from terrible migraines, and, when queried about her health before an attack, she would reply that she was “dangerously well.” “I find it applicable in most ways as a report of one’s well-being,” Ed said.
Each time Ed had another encounter with his “pal, the surgeon”—whom he did not begrudge for having “to maintain his skills”—he’d promise to quickly “be back with fervor at the drawing board, conjuring up malevolent, wicked delights and pleasures for your eyes.
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