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

Prevodilac: Milenka Okuka Lektor: Mile Živković

So 24 years ago,

Dakle, pre 24 godine,

I was brought to The New Yorker

"Njujorker" me je zaposlio

as art editor

kao umetničku direktorku

to rejuvenate

da bih podmladila

what had by then become a somewhat staid institution

nešto što je do tad postalo unekoliko uštogljena institucija

and to bring in new artists

i kako bih dovela umetnike

and to try to bring the magazine from its ivory tower

i pokušala da spustim časopis s njegovog visokog postolja

into engaging with its time.

da bi se bavio svojim vremenom.

And it was just the right thing for me to do

I to je bio pravi posao za mene

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

jer sam oduvek 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 da napravi presek bujice prizora koje svakodnevno gledamo.

How it can capture a moment,

Kako može da uhvati trenutak,

how it can crystallize a social trend or a complex event

kako može da kristališe društveni trend ili složen događaj

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

kako mnogo reči ne bi moglo -

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

i da ga svede na njegovu suštinu i pretvori u karikaturu.

So I went to the library

Pa sam otišla u biblioteku

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

i videla sam prvu naslovnu stranu koju je nacrtao Ri Irvin 1925 -

a dandy looking at a butterfly through his monocle,

kicoša koji posmatra leptira kroz svoj monokl,

and we call it Eustace Tilley.

a nazivamo ga Justasom Tilijem.

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 nešto svog humora

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

jer je Justas Tili sve češće viđen kao nadmeni kicoš,

but in fact, in 1925,

ali zapravo, godine 1925,

when Rea Irvin first drew this image,

kada je Ri Irvin prvi put nacrtao ovu sliku,

he did it as part of a humor magazine

namenio ju je bio humorističnom odeljku časopisa

to amuse the youth of the era,

kako bi zabavio mlade iz 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 biblioteci,

I found the images that really captured the zeitgeist

pronašla sam slike koje su zaista hvatale 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 odevali

or what their cars looked like,

ili kako su im izgledala auta,

but also what made them laugh,

već i šta ih je zasmejavalo,

what their prejudices were.

koje su im bile predrasude.

And you really got a sense

I zaista ste imali utisak

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

kakav je bio osećaj živeti '30-ih.

So I called on contemporary artists,

Pa sam sazvala savremene umetnike,

such as Adrian Tomine here.

poput prisutnog Adrijana Tomina.

I often call on narrative artists --

Često pozivam pripovedače -

cartoonists, children's book authors --

karikaturiste, pisce dečjih 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 osećaj biti u podzemnoj

or Valentine's Day,

ili Dan zaljubljenih

and they send me sketches.

i oni mi šalju skice.

And once the sketches are approved by the editor,

I čim urednik odobri skice,

David Remnick,

urednik je Dejvid Remnik,

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 šta da mislite.

But they do make you think,

Ali vas teraju na razmišljanje

because the artist is actually --

jer je umetnik zapravo -

it's almost a puzzle;

to skoro da je zagonetka;

the artist is drawing the dots,

umetnik crta tačkice,

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

a vi, čitaoci, morate da dovršite sliku.

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

Kako biste shvatili ovaj prizor sleva od Anite Kunc

or the one on right by Tomer Hanuka,

ili ovaj zdesna od Tomera Hanuka,

you have to play spot the differences.

morate da se igrate zapažanja razlika.

And it is something that ...

A to je nešto što je...

It's really exciting to see

Zaista je uzbudljivo videti

how the engagement with the reader ...

kako komunikacija sa čitaocem...

how those images really capture --

kako ti prizori zaista hvataju -

play with the stereotypes.

poigravaju se sa stereotipima.

But when you get it,

Ali kad ih shvatite,

it rearranges the stereotypes that are in your head.

onda vam to preuredi stereotipe koji postoje u vašoj glavi.

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

Ali nisu samo prizori ti koji moraju da pružaju uvid ljudima,

sometimes it can be a feeling.

ponekad može da se radi o osećaju.

Right after September 11,

Odmah nakon 11. septembra,

I was at a point,

bila sam u tački,

like everybody else,

kao i svi drugi,

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

gde zaista nisam znala kako da se izborim s onim kroz šta smo prolazili

and I felt that no image could capture this moment,

i osećala sam da nijedan prizor ne može da uhvati taj trenutak,

and I wanted to just do a black cover,

te sam želela da uradimo prosto crnu naslovnicu,

like no cover.

kao da nema naslovne strane.

And I talked to my husband, cartoonist Art Spiegelman,

I razgovarala sam sa mužem, karikaturistom Artom Spigelmanom,

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

i pomenula sam mu da ću to da predložim,

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

a on mi je rekao: "Oh, ako ćeš da uradiš crnu naslovnicu,

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

zašto onda ne bi išla sa siluetom Kula bliznakinja,

black on black?"

crno na crno?"

And I sat down to draw this,

I sela sam da to nacrtam,

and as soon as I saw it,

i čim sam to ugledala,

a shiver ran down my spine

trnci su mi prošli kičmom

and I realized

i shvatila sam

that in this refusal to make an image,

da u ovom odbijanju da nacrtam prizor,

we had found a way to capture loss

pronašli smo način da uhvatimo gubitak

and mourning

i tugu

and absence.

i odsutnost.

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

I tokom ovoga sam naučila nešto istinski duboko -

that sometimes some of the images that say the most

da ponekad neki prizori koji najviše govore

do it with the most spare means.

rade to s najmanje sredstava.

And a simple image can speak volumes.

A prost prizor može mnogo toga da kaže.

So this is the image that we published by Bob Staake

Dakle, ovo je prizor od Boba Staka koji smo objavili

right after the election of Barack Obama,

odmah nakon izbora Baraka Obame,

and captured a historic moment.

i uhvatio je istorijski momenat.

But we can't really plan for this,

Ali ne možemo da planiramo

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 da dozvolimo umetniku da doživi emocije koje svi mi osećamo

when that is happening.

kada se to dešavalo.

So back in November 2016,

Dakle, u novembru 2016,

during the election last year,

tokom prošlogodišnjih izbora,

the only image that we could publish was this,

jedini prizor koji smo mogli da objavimo je bio ovaj,

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

koji se pojavio na štandovima u nedelji kad su svi glasali.

(Laughter)

(Smeh)

Because we knew somebody would feel this --

Jer smo znali da će se neko ovako osećati -

(Laughter)

(Smeh)

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,

i ovo je prizor koji je posalao Bob Stak, opet,

and that really hit a chord.

i zaista je pogađao u centar.

And again,

I opet,

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

zaista ne možemo da znamo šta će sledeće da se desi,

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

no ovde smo se osećali kao da ne znamo kako da idemo 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 prizor koji smo objavili nakon izbora Donalda Trampa

and at the time of the Women's March

i za vreme Marša žena

all over the US.

širom SAD-a.

So over those 24 years,

Dakle, tokom ove 24 godine,

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

videla sam preko 1000 prizora kako oživljavaju iz nedelje u nedelju,

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

i često me pitaju koji mi je omiljeni,

but I can't pick one

ali ne mogu da odaberem jedan

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

jer sam najponosnija na to koliko je svaki prizor različit

one from the other.

od drugih.

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 umetnika koji prave doprinos.

And now, well,

I sad, pa,

now, we're owned by Russia,

sad smo pod Rusima,

so --

pa -

(Laughter)

(Smeh)

In a rendering by Barry Blitt here,

U ovom prikazu Berija Blita

Eustace has become Eustace Vladimirovich Tilley.

Justas je postao Justas Vladimirovič Tili.

And the butterfly is none other than a flabbergasted Donald Trump

A leptir nije niko drugi do zapanjeni Donald Tramp,

flapping his wings,

koji maše svojim krilima,

trying to figure out how to control the butterfly effect,

pokušavajući da shvati kako da upravlja efektom leptira,

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

a čuveni logo koji je nacrtao Ri Irvin 1925.

is now in Cyrillic.

je sad 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, slobodna štampa je od ključnog značaja za našu demokratiju.

And we can see from the sublime to the ridiculous

A vidimo to od uzvišenog do smešnog,

that artists can capture what is going on

kako umetnici mogu da uhvate šta se dešava

in a way that an artist

na način na koji umetnik

armed with just India ink and watercolor

naoružan samo mastilom i vodenim bojama,

can capture and enter into the cultural dialogue.

može da uhvati i uđe u kulturološki dijalog.

It puts those artists at the center of that culture,

To stavlja date umetnike u središte određene kulture,

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

a upravo to je mesto gde ja mislim da trebaju da budu.

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

Jer nam je u ovom trenutku najpotrebnija dobra karikatura.

Thank you.

Hvala vam.

(Applause)

(Aplauz)