Word: cartooning
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Dates: during 1970-1979
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...fact, cartoons help illuminate all strange tunes. Of all the publications of the Foreign Policy Association, none enjoys the immediacy of its A Cartoon History of United States Foreign Policy Since World War I. In an introduction, Political Analyst Richard H. Rovere acknowledges the ability of certain cartoons to provide "flashes of extraordinary insight and political prescience." In this category he places a David Low cartoon of 1939. Hitler bows to Stalin: "The scum of the earth, I believe." Stalin returns the courtesy: "The bloody assassin of the workers, I presume." Recalls Rovere: "It took most of us more than...
...last of the great British cartoonists. But even at his apogee he seldom surpassed the best of his American colleagues. A Cartoon History offers compelling work of artists representing the whole ideological spectrum. On the political left are some superlative efforts from the World War II years: William Cropper's fascists, consuming the globe for dinner, and Saul Steinberg's Hitler, portrayed as a constipated hen. The progressives are matched in temper and tone by conservatives of the '50s: Joseph Parrish's conception of the U.N. as a Trojan horse, brimming with "alien spies"; Reg Manning...
Happily, such pictures are beginning to find less favor with readers-and with cartoonists. Says Bill Mauldin, at 53 a. 35-year veteran of the editorial page: "Cartoons are getting better, more and more away from labels. Readers are more savvy. It is less and less necessary to put names on things. The trend is more interesting drawing, less complicated captions." To sharpen his point, Mauldin spent last semester teaching a course in his profession at Yale. "I deliberately started with a nondrawing bunch," recalls the most technically proficient cartoonist of his generation. "What counts is the thinking. A drawing...
Wright's judgment has been accepted by many editors who know that, of all features, the editorial cartoon is the least imitable by TV. Cartoonists have been encouraged to explore new forms: Jules Feiffer's psychiatric monologues have spawned a generation of imitators; Garry Trudeau's campus favorite, Doonesbury, is bringing politics back to the comic strip. Moreover, because cartoons are a major journalistic attraction, editors are often tolerant of artistic statements that would not be welcome in a prose piece. Says Herblock: "A lot of newspapers run my stuff even though they don't agree...
...likely to remain so. The mood of the nation is skepticism, not credulity. The appetite for the cartoon is whetted. International and local tensions call for caricature, not portrait. Today, more than a score of editorial cartoonists answer that demand-and answer it with astonishing quality. These artists fulfill the difficult prerequisites that Historian Allan Nevins lays down for their work: "Wit and humor; truth, at least one side of the truth; and moral purpose." After 100 years, the nation that nurtured Nast can be proud of his successors...