the magazine's covers, and occasionally getting them to work as fumetti actors/models (including Orson Bean, Jean Shepherd, and Jack Carter, though usually less well-known comics were employed in the photoplays...such as Woody Allen, or a visiting Briton, then in the US with a small Oxbridge Fringe-style troupe trying their luck with NYC audiences, John Cleese...by the time Cleese's strip appeared in the magazine, Steinem had moved on and was replaced as primary assistant by a young Minneapolis cartoonist, Terry Gilliam, who worked with Cleese on that shoot...and both would later work together in London on Monty Python's Flying Circus). Meanwhile, writers such as Peter De Vries, Roger Price, Algis Budrys, Robert Sheckley, Ray Bradbury, Rod Serling, Stan Freberg, Joan Rivers and (primarily a book editor) Bernard Shir-Cliff were contributing text pieces and fumetti scripts to the magazine (alongside reprinted work of Saki and Ambrose Bierce), veteran cartoonists such as Jack Davis, Paul Coker (among many of Kurtzman's associates at Mad and later), Edward Gorey, Gahan Wilson and Shel Silverstein were contributing panels and strips, and younger cartoonists also making their names in "underground" comics were contributing, such as Gilbert Shelton and his superhero-parody "Wonder Warthog" stories, R. Crumb, Jay Lynch, and others; Sid and Marty Krofft, the psychedelic puppeteers, had a piece in one issue.
So, such collections as Second Help!-ing, or the 23rd issue of the magazine (only three issues before the last), could individually seem a bit thin, but there are always solid and memorable bits, and both the evidence of what the assembled were capable of, and the since-fulfilled promise of many of the new faces on display (even if such come-ons as Jerry Lewis's tiresome piece leading off the Fawcett Gold Medal collection, or Alan Seus, of all emerging one-note performers, engaging in a weak cover-gag on the issue, were indicative of what was least about the project).
Monocle, for its part, had the most common sort of roots among US satiric magazines: it began as a late 1950s campus project, among some law students at Yale, including the co-editor of the volume cited above, Victor Navasky (who went on to serve as editor and then also publisher for The Nation magazine over most of the last four decades). The students took their cue from Mort Sahl and other emerging satirical comedians, and then Paul Krassner's The Realist, and eventually began publishing in earnest a rather well-written and well-designed irregularly issued magazine, in the sort of tall, thin format favored till recently by Foreign Affairs magazine (or am I thinking of Foreign Policy?) Boasting of contributions by regulars such as Calvin Trillin, Marvin Kitman (put up as a Republican Party presidential contender, against Goldwater in the primaries, by the magazine), fiction writer C.D.B. Bryan, and co-editor Richard Lingerman, the contributions can feel a bit notional at this remove, literary Second City scenes that don't quite hit their targets as hard as might've been hoped...but such pieces as Godfrey Cambridge's "My Taxi Problem and Ours" (simultaneously dealing, early on, with the difficulties of even a well-off black man hailing a cab in NYC, and mocking the title and format of a certain clangorous, and racist, Norman Podhoretz essay of some months before), or Katherine Perlo's poem "The Triumphant Defeat of Jordan Stone", hold up pretty well...as do various other bits here and there, including challenging one-liners (under the heading, "We're Not Prejudiced, But...", "Would you want your brother to have lunch with James Baldwin?") and Robert Grossman's superhero satire strip "Captain Melanin". This Monocle should definitely not be confused with the current newsstand magazine founded in 2007. It should be noted that this "Bantam Extra" book was published in typical mass-market paperback format, and on better-than-average paper, for what was in 1965 a ridiculous price of $1, ensuring some sales-suppression...perhaps Bantam thought they had caviar for the millions, here.
And since I'm running very late with this entry, I'll simply note that the online archive of The Realist, which I've recommended before, remains available and invaluable, and much of this material remains as challenging and sadly too often pertinent as when it was published, beginning in 1958... For more of today's books, please see Patti Abbott's blog.