At an upscale seaside bistro, human-sized lobsters lounge at outdoor tables, menus in claw, discussing the evening's specials with great gusto. Some wear monocles, others sun hats, as they sip from goblets and gesture toward the centerpiece: a crystal-clear tank filled not with lobsters, but tiny, live humans. Their nervous swimming suggests they might soon be dinner. This witty role-reversal, rendered in Bruce McCall's signature retro-surreal style, graced the cover of The New Yorker on August 4, 1997 — a deliciously bizarre take on who's dining on whom.