Vanity Fair | MagazineParody.com

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.”

“Mis-Fortune,” continued.

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.”

The real Fortune, August 1934

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

Vanity Fair and People as spoofed by Spy, 1991.

Parody Of (in order): Vanity Fair, People, The New Republic, Architectural Digest, Esquire, Rolling Stone, New York, GQ, New York Times Book Review, Harper’s.
Title: “Coming Soon to a Newsstand Near You.” Parody In: Spy, August 1991. Pages: 9. Contributors: Uncredited. Availability: Not hard to find.

Kurt Andersen and Graydon Carter launched Spy in 1986 as a new kind of humor magazine, one that would mock New York’s rich and powerful by snarkily dissecting their actual behavior rather than making stuff up: “Not parody, [but] satire,” the prospectus said. But parody’s ability to make satire look believable proved too tempting to resist, and after a few years Spy took to running pieces that were fact-based without quite being real, like 1990’s Annual Corporate Report from the Gambino crime family. Another, more fanciful feature (“A Casino Too Far,” August 1990) used fake newspaper clippings to show Donald Trump’s fall from mogulhood to bankruptcy over the next six years. If they’d just looked a few decades further …

Spy, Aug. 1991, p. 45.

Spy’s “Coming Soon to a Newsstand Near You” also peered into the future, but only a few months, and only to cover an event everyone knew was coming: the September 1991 publication of Harlot’s Ghost, Norman Mailer’s much-ballyhooed novel about the CIA. On Spy’s newsstand, Mailer’s 1,300-page gobstopper is mere grist for the editorial mill. “Harper’s” counts the book’s four-letter words for its Index. “People” probes Mailer’s love life, while “GQ” and “Architectural Digest” grade his clothing and shelter. “Esquire’s” Jim Harrison can barely hear Mailer over the burble of his own gastric juices, and “Vanity Fair’s” Nancy Collins turns what should be a portrait of the artist into an advertisement for herself. In the broadest and funniest bit, Jan Wenner drops names, diet tips and the conversational thread in a “Rolling Stone” interview with his clearly bored subject:

JW: “You know what Mick does to stay fit? One weekend a month he does nothing but drink carrot juice.”
NM: “Mick?”
JW: “Jagger.”…
NM: “The ectomorph? With the articulated rib cage?”
JW: “Yeah. Now, you wrote The Executioner’s Song, right? …

Spy's parodies of Rolling Stone and New York

Spy’s “Rolling Stone” and (inset) “New York.”

Salman Rushdie in the “Times Book Review” and Leon Wieseltier in “The New Republic” are almost as self-absorbed, though they name-check Musil and Doctorow rather than Jagger. The navel-gazing climaxes with a gossipy “New York” magazine item about the story behind Wenner’s interview with Mailer that doesn’t even mention the book. And it’s not like those who do stick to the subject have much to say: A running gag shows each publication struggling to make something out of the same ho-hum Mailer remark: “A damned fat old man, that’s what I am.”

The parodies range in length from a few sentences to double-page spreads and are visually and typographically impeccable. As always with Spy, some of the choicest bits are in the tiniest type: Headlines on fake mini-mag covers include “The 50 Greatest Fretless-Bass Players” (“Rolling Stone”) and “The Oreo Returns” (“New York”). Humor magazines regularly ran multi-title “Burlesque Numbers” like this in the 1920s and ’30s, but for some reason they fell out of favor after World War II. Spy’s “Newsstand” is proof the old formula still has life in it. — VCR

Tiny covers from p. 45, enlarged.

MagazineParody.com

Celebrating 225 Years of Newspaper and Magazine Parodies

Tag Archives: Vanity Fair

Corey Ford’s “Mis-Fortune,” 1934

Spy’s 10-Magazine Parody Pack, 1991