The stories behind The New Yorker's iconic covers | Françoise Mouly

Prevoditelj: Sanda L Recezent: Dunja Knežević

So 24 years ago,

Dakle, prije 24 godine,

I was brought to The New Yorker

stigla sam u The New Yorker

as art editor

kao likovni urednik,

to rejuvenate

kako bih pomladila

what had by then become a somewhat staid institution

nešto što je do tada postalo nekako ozbiljna institucija

and to bring in new artists

te kako bih dovela umjetnike

and to try to bring the magazine from its ivory tower

i pokušala spustiti časopis s njegovog uzvišenog postolja

into engaging with its time.

kako bi se bavio sadašnjim trenutkom.

And it was just the right thing for me to do

Bio je to baš pravi posao za mene,

because I've always been captivated by how an image can --

jer sam oduvijek bila opčinjena time koliko slika može,

a simple drawing --

jednostavan crtež,

can cut through the torrent of images that we see every single day.

može presjeći bujicu slika koje svakodnevno gledamo.

How it can capture a moment,

Kako može uhvatiti trenutak,

how it can crystallize a social trend or a complex event

kako može izoštriti društveni trend ili specifičan događaj,

in a way that a lot of words wouldn't be able to do --

na način na koji mnogo riječi to ne bi moglo,

and reduce it to its essence and turn it into a cartoon.

svede ga na njegovu bit i pretvori u karikaturu.

So I went to the library

I tako sam otišla u knjižnicu

and I looked at the first cover drawn by Rea Irvin in 1925 --

i vidjela prvu naslovnicu koju je nacrtao Rea Irvin 1925. godine,

a dandy looking at a butterfly through his monocle,

kicoš koji kroz svoj monokl promatra leptira,

and we call it Eustace Tilley.

a zovemo ga Eustace Tilley.

And I realized that as the magazine had become known

Shvatila sam da, kako je časopis postajao čuven

for its in-depth research and long reports,

po svom opsežnom istraživanju i dugim reportažama,

some of the humor had gotten lost along the way,

usput je izgubio i malo svog humora,

because now often Eustace Tilley was seen as a haughty dandy,

jer je sada Eustace Tilley često viđen kao oholi kicoš,

but in fact, in 1925,

no, 1925.

when Rea Irvin first drew this image,

kada je Rea Irvin prvi puta nacrtao ovu sliku,

he did it as part of a humor magazine

učinio je to kako bi ona bila dio humorističnog časopisa,

to amuse the youth of the era,

kako bi zabavio mlade tog doba,

which was the flappers of the roaring twenties.

a to su bile šiparice iz burnih '20-ih.

And in the library,

A u knjižnici

I found the images that really captured the zeitgeist

sam pronašla slike koje su zaista uhvatile duh vremena

of the Great Depression.

Velike depresije.

And it showed us not just how people dressed

A to nam je pokazivalo ne samo kako su se ljudi odijevali,

or what their cars looked like,

ili kako su im izgledali auti,

but also what made them laugh,

već i što ih je nasmijavalo,

what their prejudices were.

koje su im bile predrasude.

And you really got a sense

I zaista ste dobili dojam

of what it felt like to be alive in the '30s.

kakav je bio osjećaj živjeti '30-ih godina.

So I called on contemporary artists,

Stoga sam pozvala suvremene umjetnike,

such as Adrian Tomine here.

poput Adriana Tominea ovdje.

I often call on narrative artists --

Često pozivam pripovjedače,

cartoonists, children's book authors --

karikaturiste, pisce dječjih knjiga

and I give them themes such as,

i zadajem im teme poput,

you know, what it's like to be in the subway,

znate, kakav je osjećaj biti u podzemnoj,

or Valentine's Day,

ili Valentinovo

and they send me sketches.

i oni mi šalju skice.

And once the sketches are approved by the editor,

I kada urednik odobri skice,

David Remnick,

David Remnick,

it's a go.

to je to.

And I love the way

I sviđa mi se način

those images are actually not telling you what to think.

na koji vam ti prizori, zapravo, ne govore što da mislite.

But they do make you think,

No, tjeraju vas na razmišljanje

because the artist is actually --

jer je umjetnik, zapravo ...

it's almost a puzzle;

to je poput zagonetke,

the artist is drawing the dots,

umjetnik crta točkice,

and you, the reader, have to complete the picture.

a vi, čitatelj, morate dovršiti sliku.

So to get this image on the left by Anita Kunz,

Kako biste shvatili ovu sliku Anite Kunz slijeva,

or the one on right by Tomer Hanuka,

ili ovu zdesna Tomera Hanuke,

you have to play spot the differences.

morate se igrati zapažanja razlika.

And it is something that ...

A to je nešto što je ...

It's really exciting to see

zaista uzbudljivo vidjeti,

how the engagement with the reader ...

kako komunikacija s čitateljem ...

how those images really capture --

kako ti prizori zaista hvataju ...

play with the stereotypes.

poigravaju se stereotipima.

But when you get it,

Ali kad ih shvatite,

it rearranges the stereotypes that are in your head.

tada to utječe na stereotipe koji postoje u vašoj glavi.

But the images don't just have to show people,

No, slike ne moraju samo prikazivati ljude,

sometimes it can be a feeling.

nekada to može biti i osjećaj.

Right after September 11,

Odmah nakon 11. rujna,

I was at a point,

bila sam u stanju,

like everybody else,

poput svih ostalih,

where I really didn't know how to deal with what we were going through,

gdje zaista nisam znala kako se nositi s onim kroz što smo prolazili

and I felt that no image could capture this moment,

i osjećala sam da nijedna slika ne može uhvatiti taj trenutak,

and I wanted to just do a black cover,

i željela sam samo crnu naslovnicu,

like no cover.

kao da nema naslovnice.

And I talked to my husband, cartoonist Art Spiegelman,

I razgovarala sam s mužem, on je karikaturist, Art Spiegelman,

and mentioned to him that I was going to propose that,

i spomenula sam mu da ću to predložiti,

and he said, "Oh, if you're going to do a black cover,

a on je rekao, "Ako ćeš napraviti crnu naslovnicu,

then why don't you do the silhouette of the Twin Towers,

zašto to ne bi bila silueta Blizanaca,

black on black?"

crno preko crnog?"

And I sat down to draw this,

Krenula sam to crtati

and as soon as I saw it,

i čim sam to ugledala,

a shiver ran down my spine

kralježnicom su me prošli trnci

and I realized

te sam shvatila,

that in this refusal to make an image,

da smo u ovom odbijanju stvaranja prizora,

we had found a way to capture loss

pronašli način kako uhvatiti gubitak,

and mourning

žalovanje

and absence.

i odsustvo.

And it's been a profound thing that I learned in the process --

I tijekom ovoga sam naučila nešto istinski duboko,

that sometimes some of the images that say the most

da ponekad neke slike koje govore najviše,

do it with the most spare means.

uspiju to uz najmanje sredstava.

And a simple image can speak volumes.

Jednostavna slika govori sama za sebe.

So this is the image that we published by Bob Staake

Ovo je slika Boba Staakea koju smo objavili

right after the election of Barack Obama,

odmah nakon što je izabran Barack Obama,

and captured a historic moment.

uhvativši povijesni trenutak.

But we can't really plan for this,

Ovakve stvari ne možemo baš planirati,

because in order to do this,

jer kako bismo to postigli,

we have to let the artist experience the emotions that we all feel

moramo dozvoliti umjetniku da doživi emocije koje svi mi osjećamo,

when that is happening.

kada se to događa.

So back in November 2016,

Dakle, u studenom 2016.

during the election last year,

tijekom prošlogodišnjih izbora,

the only image that we could publish was this,

jedina slika koji smo mogli objaviti bila je ova,

which was on the stand on the week that everybody voted.

koja se pojavila na jednom mjestu u tjednu kada su svi glasali.

(Laughter)

(Smijeh)

Because we knew somebody would feel this --

Jer smo znali da će se netko ovako osjećati ...

(Laughter)

(Smijeh)

when the result of the election was announced.

kada objave rezultate izbora.

And when we found out the result,

A kada smo saznali rezultate,

we really were at a loss,

zaista smo bili zatečeni,

and this is the image that was sent by Bob Staake again,

a ovo je slika koju je opet poslao Bob Staake

and that really hit a chord.

i zaista je pogodila bit.

And again,

I ponovo,

we can't really figure out what's going to come next,

zaista ne možemo znati što će se sljedeće dogoditi,

but here it felt like we didn't know how to move forward,

ali ovdje smo se osjećali kao da ne znamo kako ići dalje,

but we did move forward,

ali smo išli dalje,

and this is the image that we published after Donald Trump's election

i ovo je slika koju smo objavili nakon što je izabran Donald Trump

and at the time of the Women's March

i za vrijeme Marša žena

all over the US.

diljem SAD-a.

So over those 24 years,

Dakle, tijekom ove 24 godine,

I have seen over 1,000 images come to life week after week,

vidjela sam preko 1000 slika kako izlaze iz tjedna u tjedan

and I'm often asked which one is my favorite,

i često me pitaju koja mi je omiljena,

but I can't pick one

ali ne mogu odabrati jednu,

because what I'm most proud of is how different every image is,

jer sam najponosnija na to koliko je svaka slika drugačija,

one from the other.

jedna od druge.

And that's due to the talent and the diversity

A to je zbog talenta i raznolikosti

of all of the artists that contribute.

svih umjetnika koji doprinose ovome.

And now, well,

A sada, pa,

now, we're owned by Russia,

sada smo pod Rusima,

so --

pa ...

(Laughter)

(Smijeh)

In a rendering by Barry Blitt here,

Na ovoj slici Barrya Blitta,

Eustace has become Eustace Vladimirovich Tilley.

Eustace je postao Eustace Vladimirovich Tilley.

And the butterfly is none other than a flabbergasted Donald Trump

A leptir nije nitko drugi nego zapanjeni Donald Trump,

flapping his wings,

koji maše krilima,

trying to figure out how to control the butterfly effect,

pokušavajući shvatiti kako da upravlja efektom leptira,

and the famed logo that was drawn by Rae Irvin in 1925

a čuveni logo koji je nacrtao Rae Irvin 1925. godine,

is now in Cyrillic.

sada je na ćirilici.

So, what makes me really excited about this moment

Dakle, kod ovog trenutka mi je uzbudljiv

is the way that ...

način na koji ...

You know, free press is essential to our democracy.

Znate, sloboda tiska je od ključnog značaja za našu demokraciju.

And we can see from the sublime to the ridiculous

A vidimo od uzvišenog do smiješnog

that artists can capture what is going on

da umjetnici mogu prikazati što se događa

in a way that an artist

na način na koji umjetnik

armed with just India ink and watercolor

naoružan samo tintom i vodenim bojama,

can capture and enter into the cultural dialogue.

može uloviti i ući u kulturološki dijalog.

It puts those artists at the center of that culture,

To te umjetnike stavlja u središte određene kulture,

and that's exactly where I think they should be.

a upravo to je mjesto gdje mislim da trebaju biti.

Because the main thing we need right now is a good cartoon.

Jer osnovno što nam je potrebno baš sada, je dobra karikatura.

Thank you.

Hvala vam.

(Applause)

(Pljesak)