Robert Crumb has revealed the politically charged New Yorker cover over which he quit over a year and a half ago, making The New Yorker look cowardly for rejecting his controversial image. The drawing of a gender indeterminate couple awaiting "gender inspection" before obtaining a marriage license certainly would have caused chatter at the time. But the new context -- rejection and a year-and-a-half simmer period after Crumb's outspoken New Yorker boycott -- has brought the controversy to a whole new level. The political meaning and outrage of the art has been obscured by a more pressing question: Why did the liberal New Yorker reject Crumb's drawing?
There's the obvious answer to this question: Crumb went too far for The New Yorker. At least Gawker's Seth Abramovitch thinks that must be what made Editor in Chief David Remnick forgo Crumb's scandalous offering. "Clearly, the 'gender inspection' sign was what Remnick was wrestling with, and the fallout from millions of gays and lesbians who would have undoubtedly felt marginalized and stereotyped by the depiction," writes Abramovitch. Abramovitch isn't alone in this assertion, Crumb himself in an interview with Vice posited a similar theory. "The New Yorker is majorly politically correct, terrified of offending some gay person," he told Nadja Sayej.