Parody Of: Fortune. Title: “Mis-Fortune.” In: Vanity Fair, March 1934, pp. 22-23, 62.
By: “John Riddell” (Corey Ford). Availability: Findable; usually pricey.
Dwight Macdonald dismissed Corey Ford’s parodies as “mild” and didn’t include him in his magisterial Parodies: An Anthology from Chaucer to Beerbohm – And After (Random House, 1960). I’m hesitant to disagree with Macdonald — his book is merely the best thing ever done on the topic of literary parody — but he was strict grader, and Ford was something of a class clown: Like Mad a generation later, he had no qualms about putting authors in their own universes or breaking the fourth wall for the sake of a joke.
Ford went directly from Columbia University, where he edited the Jester and (therefore?) didn’t graduate, to the pages of Life, Judge and, especially, the old Vanity Fair. From the late ’20s until VF’s demise in 1936, he was in nearly every issue with a feature, profile or “Impossible Interview,” the last illustrated by the great Miguel Covarrubias. Meanwhile, his alter ego “John Riddell” wrote a monthly parody — usually of a recent bestseller, but every now and then of a magazine. Before tackling Fortune, he spoofed Time as “Time-and-a-Half” in March 1933 and George Jean Nathan’s American Spectator (no kin to the current title) as “The American Spectre” two months later. There may be others; I haven’t seen every issue. But I doubt any top “mis-Fortune.”
Henry Luce planned Fortune to be a big, beautiful celebration of American capitalism, but it had the ill luck to debut in February 1930, just as the Depression was settling in. It was still big, beautiful and resolutely pro-Free Enterprise (and expensive, going for $1.00 a copy when Time was 15 cents and the SatEvePost a nickel), but in the ’30s it spent as much time diagnosing Big Business’s problems as cheering its success. The early Fortune’s specialty was exhaustively researched, multi-part dissections of publicity-shy corporations and complex business arrangements. Many of them were written by bright, young Ivy Leaguers (all male, of course) with a leftish outlook, including Archibald MacLeish, James Agee and future anthologist Macdonald. “There are men who can write poetry, and there are men who can read balance sheets,” Luce once said. “We made the discovery that it was easier to turn poets into business journalists than to turn bookkeepers into writers.”
Depression-era readers were hungry for facts, and Fortune supplied them, sometimes in a breathless gush out of scale with the info’s importance. “Mis-Fortune’s” opening riff on “an ordinary paper-clip, magnified to one thousand times its natural size,” is absurd but not unjustified. For comparison, here’s a snippet from the real Fortune for August 1934: “The average Greyhound [bus] is a body job thirty-three feet long, and reaches the average legal width of ninety-six inches (the average Buick is seventy-two inches wide). When loaded to its capacity of thirty-three passengers, it weighs – nickelwork, insignia, pretty curtains, and all – eleven tons. If you as a private citizen should be so rash as to offer to buy it, it would cost you $13,500….” And so on for several hundred more words.
Ford is particularly good on Fortune’s bombastic/omniscient house style: For maximum impact, imagine “mis-Fortune” being read by a 1930s newsreel narrator. Like all Ford’s VF parodies, “mis-Fortune” is brief — too brief to duplicate the lushness of Fortune’s art and photo spreads — but it makes the most of its two facing, almost Fortune-size pages. Its three photos of regimented pencil sharpeners, typewriter keys, and workmen not only mock Fortune’s taste for heroic industrial photography, they make a sharper point about the Big-Business Mentality than anything in the text. As a parodist, Ford was too fond of his subject’s foibles to savage them, but he was delighted to point them out. Class clowns usually are. —VCR



















Of all the magazine parodies I’ve heard of but never seen, 1963’s anonymous “Newsweek International Edition” is the most puzzling. Calling it “a vicious piece of propaganda,” the real Newsweek for January 13, 1964, laid out the few facts available: “Purporting to be the Nov. 18, 1963, issue of Newsweek with a cover picture of Sen. Barry Goldwater, the hate pamphlet is a mishmash of doctored photographs and inflammatory captions in French and English, apparently designed to foment race hatred and anti-American sentiment. A number of copies were mailed from Europe, but efforts to track down the publishers and distributors have been unsuccessful.”
I’m more confident that whoever created this “Newsweek” either hadn’t seen the original recently or assumed potential readers hadn’t. The cover resembles a typical Newsweek from 1949 or ’50, when its lopsided-red-border-and-square-photo format was new and not yet plastered with boxes and banners. Newsweek began stripping away this effluvia in 1961 and by mid-’62 was running full-bleed covers topped only by its underlined name, as in the real November 18, 1963, issue shown here. Whatever his(?) talents as a propagandist, the creator of “Newsweek” was no great shakes as a parodist. — VCR





The Harvard Lampoon may be the source of the “annual” misapprehension. Early on, its parodies really did appear every year: 27 in the quarter-century from 1919 to 1943. (Here’s a 

Aardvark was going to be the humor magazine at Chicago’s Roosevelt University until the Powers That Be saw the first issue. Shut out at home, founders Jeff Begun, Ron Epple and Howard R. Cohen decided to broaden their reach to all the city’s campuses. Aardvark survived for at least 11 issues (the last I know of is Vol. 3, no. 2, from 1964) and at its peak was distributed from Madison to Urbana. Its strengths were sharp writing and smart interviews with humorists including Mort Sahl and Shel Silverstein; its handicaps included cheap paper, sloppy layout and ugly columns of typewriter-font text.


