Dispatches from the Workers Paradise

Today's Graphical History Tour brings us to October of 1926.

Detail from "A Week in Cartoons" by Marvin P. "Hay" Bales in Daily World, Chicago, Oct. 9, 1926

We have a couple stops in this week's Tour, starting back in the U.S.S.R. 

Last week's post closed with an overly optimistic cartoon by A.G. Racey on the promise of lasting peace (a view shared, to be fair, with several other cartoonists). Marvin Bales's cartoon reminds us that there was no cessation of international rivalries in Europe, nor any shortage of bilateral pacts in defense against them. 

"The Cause of the Pause in Disarmament" by James North in Washington (DC) Post, Oct. 3, 1926

Fears of Russian expansionism, however, united governments in Europe and the United States. James North depicted the League of Nations' Disarmament Conference interrupted by the Russian bear reaching to grab Poland, the Baltic states, and China.

It's interesting that North included Turkey as also threatened by Russian domination. The countries actively discussing taking over and dismembering Kemal Attaturk's Turkey at the time were Italy and Greece.

"These Must Be Heard" by A. Jerger in Daily Worker, Chicago, Oct. 2, 1926

Meanwhile, the American Federation of Labor (AFL) held its annual convention in Detroit, in an atmosphere of  alarm over Soviet influence in the worldwide labor movement. Anti-communist prosecution had largely hobbled the "Wobblies" of the International Workers of the World union; the AFL, on the other hand, shunned communist involvement.

"Not the Sort of Recognition I'm After" by Clifford Berryman in Evening Star, Washington DC, Oct. 14, 1926

The 1926 convention unanimously passed a resolution denouncing "the Soviet regime of Russia as the most unscrupulous, most anti-social, most menacing institution in the world today. Between it and our form of political and social organization there can be no compromise of any kind." 

"Through the Red Internationale, which is controlled by the Communist Party of Russia, the Soviet regime has continued its efforts to undermine and destroy the Democratic-Labor movement of the United States. Its lack of any progress in that direction is due, not to any lack of determination on its part, but to the strength and deep determination of the membership of the American trade union movement." 

A competing resolution urging U.S. recognition of the Russian government was not brought to a vote.

"Putting on the Lid" by Fred Seibel in Richmond Times-Dispatch, Oct. 20, 1926

A similar resolution against the fascist regime in Italy received less attention from American editorial cartoonists. It read in part, "In fascism we find only another form of dictatorship and autocracy, a principle of government that can never find anything but opposition in the minds of free people."

"The Big Parade" by Dorman H. Smith for Newspaper Enterprise Assn. ca. Oct. 11, 1926

A more controversial stand taken at the AFL convention was advocating for a five-day work week. At the time, most workers were expected to be on the job six, even seven days a week, for ten or more hours each day. Workers rights organizations had been calling for shorter hours for years; AFL President William Green noted that the five-day work week had already been adopted in some branches of the printing and building trades, and during the summer in some department stores.

The most prominent convert to the five-day work week in 1926 was a big name in the automotive industry.

"Can He Make the Grade" by Dean O'Dell in Dayton Daily News, Oct. 9, 1925

Henry Ford instituted the five-day, 40-hour work week at his automobile plant on May 1, 1926, believing that it would benefit both the company and its workforce — and not incidentally, dampen any enthusiasm among employees for joining a union. His public explanation was that “Every man needs more than one day a week for rest and recreation.”

"The New Commandment" by J.N. "Ding" Darling in Des Moines Register, Oct. 6, 1926

"Ding" Darling cited the biblical command to labor six days out of every seven. I would note that by phrasing its caption as a question and drawing a car in danger of overheating, Dean O'Dell's cartoon casts a shade of doubt upon the success of Ford's five-day work week.

"Out of Order" by Jesse Cargill for Central Press Assn., ca. Oct. 13, 1926

A feature story by L.L. Stevenson for Detroit News marking the 80th birthday of Elbert "Judge" Gary, Chairman of United States Steel, summed up his opinion on the five-day workweek and other labor issues:

For the steel industry, he holds that such a week would be utterly impractical since so many of the operations are continuous. He does not think much of the proposal to unionize the automotive industry. Labor unions when they attempt to dictate when and where a man shall work are in the wrong. English labor unions have become too radical.  Prohibition has increased the efficiency of the American workingman.

"I don't absolve the bad features," he continued. "You must average up things. On the whole, the workingman is better off. If I had been writing the law, I would have excluded beer and light wines, though in my opinion, neither benefits the workingman in any way."

And yet, the five-day work week soon became the norm in much of the industrialized world. For younger generations, it was all they knew since childhood.

"A Popular Movement" by Harold Talburt for United Feature Syndicate, ca. Oct. 9, 1926

An Oliphant Gallery

If you happen to be in Washington D.C. looking for something worthwhile to do, "A Savage Art" The Life & Cartoons of Pat Oliphant" premieres today at the DC/DOX'25 film festival. Bill Banowsky's documentary examines Oliphant's career through interviews with the cartoonist himself, his family, and colleagues. We are told that the documentary also features several of his cartoons.

Pat Oliphant in Denver Post, ca., Feb. 12, 1966

I can't be there (and if the AAEC convention organizers get permission to screen it at our convention in Baltimore in September, I'm afraid it appears unlikely that I'll be able to be there, either), so instead, today's Graphical History Tour highlights some of Oliphant's amazing work. 

A collection of my favorite Oliphant cartoons would require a sequel post or seven, so I have limited my choices to cartoons that do not include caricatures of actual persons. I would like to focus on the artistry that inspired so many cartoonists of my generation to mimic his style.

by Pat Oliphant in Denver Post, March 3, 1970

Compare his 1966 depiction of Vietnam, atop this post, with this one four years later. The sarcasm is the same, but the tone is entirely different.

Not only is the setting much darker, the clean-shaven kids in the first cartoon have been replaced by grizzled, war-weary adults, even though the soldiers would be about the same age in either cartoon. (The best and brightest guys in the white shirts and skinny ties are gone entirely in the 1970 cartoon.)

by Pat Oliphant  in Denver Post, April 18, 1972

Here Oliphant demonstrates an adeptness in portraying the ravages of age on his cartoon character as a parallel with the ravages of war on her country. The forty years between France reclaiming Indochina from its (brief) Japanese occupation after World War II to North Vietnam's conquest of the South three years after Oliphant drew this cartoon wear heavily on her, successive liberators notwithstanding.

By Pat Oliphant in Washington Star, Nov. 6, 1980

Here’s a theme Oliphant revisited more than once, but this is his most impressive depiction of the American Electoral Machine as something massive, complex, and somewhat antiquated. Its engines, gears, fly wheels, pistons, and furnace occupy almost every square millimeter of the frame, save for the exhausted Uncle Sam dwarfed by it in the lower right corner. You can almost feel the heat and smell the coal, soot, and metal in the air.

By Pat Oliphant for Universal Press Syndicate, March 22, 1982

Ronald Reagan, complaining about TV news reporting of the recession early in his presidency, griped, "Is it news that some fellow out in South Succotash who has just been laid off should be interviewed nationwide?" Pat Oliphant took that dismissive, elitist remark and created this excellent cartoon. 

Neatly divided by the railroad, we have dirty, downtrodden, and darkly satanic South Succotash on the wrong side of the tracks. Layoffs and welfare frauds (a longtime Republican byword) combine to outnumber the population. You wouldn't want to live there.

The White House sits perched high on the hills of North Succotash, home to a pleasant golf course, and lovely trees. Its 500 residents pull down millions yet somehow pay no taxes.

And it all fits in one 3-by-5 panel. No animated panorama. Not even color.

By Pat Oliphant for Universal Press Syndicate, Feb. 24, 1983

Upwind of South Succotash, Oliphant’s Burfordville, named for one of Ronald Reagan’s Environmental Protection Agency administrators (incidentally also the mother of a current Supreme Court Justice), cannot possibly exist in the real world. But Oliphant has rendered it in such rich detail that you would swear that it must be real. 

By Pat Oliphant for Universal Press Syndicate, June 6, 1983

A horse cannot roll around on the ground convulsed with laughter, but if it could, this is exactly what it would look like.

Credit the portion of Oliphant's career living out West perhaps. He is a master at drawing — and sculpting — horses, and you can tell how much more loving care he puts into drawing horses than, say, cats. For years, I struggled to depict horses that appeared to be capable of motion; I credit Pat Oliphant as a reference point for every horse I have drawn successfully.

Now, I would have liked to include some more recent cartoons in this discussion, but I had a problem finding examples of superior draftsmanship that didn't include caricatures. So compare this cartoon from 2001...

by Pat Oliphant for Universal Press Syndicate, Feb. 6, 2001

...with a similarly themed cartoon from 1980:

by Pat Oliphant in Washington Star, Oct. 30, 1980

Both cartoons convey the wind and chill, dampness and dreariness outside their respective pawn shops. The earlier one, however, is meticulously rendered, whereas the later one appears rushed and cursory. The elevated perspective of "Lee Iacocca Sent Us" is visually arresting in a way that the Presidential Seal cartoon isn't.

Of course, there's no point in drawing the same cartoon twice, right?

Oliphant's eyesight has betrayed him these days, and there could be some of that showing up by 2001. His having rejected the use of duoshade since 1980 also makes a difference; yet I would point out that the South Succotash, Burfordville, and Western character cartoons are all drawn without it.

With that, I leave you to draw your own conclusions. 

The Odds and Ends of March

We’ll return for The Fall of Indochina, Part Thieu, next week; but first, our Graphical History Tour steps back a further fifty years with a warning that March is almost over.

"This Is April First Anyhow" by Clifford Berryman in Washington Evening Star, April 1, 1925

President Woodrow Wilson had broken off relations with Russia immediately after the Bolshevik October Revolution in 1917, and that policy continued under Presidents Harding, Coolidge, and Hoover in spite of commercial ties between the U.S. and U.S.S.R. At issue, beside the communist form of government, was the Soviet renunciation of international debts incurred by the tsarist regime.

"Anti-League-ville" by J.N. "Ding" Darling in Collier's, April 4, 1925

"Ding" Darling's cartoon will serve to segue from Russia to Germany, which held presidential elections one hundred years ago today.

"Um die Meisterschaft von Deutschland" by Arthur Johnson in Kladderadatsch, Berlin, March 29, 1925

The first round of presidential elections was held on Sunday, March 29 because of the death of President Friedrich Ebert a month earlier.

Johnson pictures seven candidates in this cartoon. The top row are the mainstream party candidates: Karl Jarres (German People's/DVP and German National People's/DNVP), Wilhelm Marx (Center/DZ), Willy Hugo Hellpach (German Democratic/DDP), Otto Braun (Social Democratic/SPD).

Below are the extremist parties: Erich Ludendorf (German People's Freedom/DVFP), and Ernst Thälmann (Communist/KPD). Ludendorf, a German army commander, was prominent in the attempted Nazi putsches of 1920 and 1923, and a firm believer that Germany's defeat in World War I was due to a conspiracy of domestic Jews, Freemasons, and Marxists.

"In der Reichs-Entbindungsanstalt" by Arthur Johnson in Kladderadatsch, Berlin, April 5, 1925

With seven national candidates, none emerged with a majority of the votes on March 30, setting up a second round election a month later. Under the German electoral system, any of the first round candidates — even new candidates — could compete in the second round, and whichever candidate received a plurality of the votes in the second round would be declared the winner.

The Center Party renominated Marx for the second round, and he received the support of the DDP and SPD as well. The DVP's executive committee unanimously endorsed Jarres, but he withdrew in favor of Paul von Hindenburg, despite his having twice declined to run. Convinced by Alfred von Tirpitz to change his mind, and after seeking the approval of former Kaiser Wilhelm Hohenzollern, von Hindenburg announced his candidacy on April 8. He also won the enthusiastic endorsement of the Bavarian People's Party (BVP), a breakaway faction of the Center Party.

"Wilhelm Still Has Some Friends" by Wm. A. Rogers in New York World by March 31, 1925

William Rogers probably made up those four votes for the former Kaiser Wilhelm in his cartoon. It's hard to imagine the deposed emperor putting his name forward for popular election.

The actual results were a resounding defeat for the Fascist DVFP's Ludendorf, the last-place finisher, who thereafter withdrew from politics. 

"Des Feldherrn Abgesang" by Ernst Schilling in Simplicissimus, Munich, Apr. 20, 1925

I strongly suspect that in breaking up the German word "verlassen" in the dialogue, Schilling was making a pun of some sort. If so, there is a vulgar insult "aase" which can mean "bitch" or "swine." (Actually, no. Update below*)

Turning back to America:

"Unbegrenzte Möglichkeiten" by Werner Hahmann, in Kladderadatsch, Berlin, Apr. 5, 1925

Don't be fooled by the printer's choice of colors in Werner Hahmann's cartoons (or a certain saint's day this past week) into mistaking the character on the right is supposed to be Irish. I believe that the hatpin signifies that she is supposed to be a feminist, a harridan in men's clothing.

The six-pointed stars on Uncle Sam's suitcoat are no accident, by the way.

An explanatory note above Hahmann's cartoon states that moves to prohibit the import, production, and sale of tobacco were gaining popularity in the U.S. It is true that there were anti-tobacco activists agitating on the apparent success of the temperance movement, but they were a long way from convincing elected representatives in government to join their cause. 

Tobacco interests weren't giving up without a fight; why do you think that everybody in motion pictures of the era happened to be smokers?

"That New York Mastodon Find" by Orville P. Williams for New York Evening Graphic, by March 31, 1925

Construction crews unearthed a two-foot long jaw bone of a mastodon and other bone fragments during excavation for an apartment building at #2 Seaman Street in Manhattan on March 25.

The beast was believed to have been a baby of the species, but was still considerably larger than a donkey. The first bones in this find were from the mastodon's three-foot-long jaws, including seven of its six-inch-long teeth. At least three of the teeth were seized by passers-by, although one of them was eventually returned to the American Museum of Natural History.

Williams used the find to point out the Democratic Party's misfortunes since Woodrow Wilson's presidency. The Democrats' years in the wilderness would continue as long as Republicans could point to a strong economy and a soaring stock market.

Which brings us full circle.

"The April Fool Pocketbook" by Tom Foley in Minneapolis Daily Star, April 1, 1925

_____________

* My friend Winfried Schmidpott tells me that the dialogue in Schilling’s cartoon references a Bavarian-Austrian song. You can hear Arnold Schoenberg's arrangement of it here. 

Cartoon Like a Lion, Out Like a Light

Having learned last week more than you'll ever need to know about the guy who didn't become Calvin Coolidge's Attorney General, today's Graphical History Tour rummages through my basement in search of new and interesting takes on my own old cartoons.

If we're lucky, we may even find some.

March, 2015

Before there was Project 2025, there was the ALEC Agenda. The corporate-funded American Legislative Exchange Council was founded in 1973 to create cookie-cutter right-wing legislation for state governments from one end of the country to the other.

The Wisconsin politicians in my cartoon are Assembly Leader Robin Vos, then Senate Leader Scott Fitzgerald, and then Governor Scott Walker. Walker is out of office now; Fitzgerald has gone on to Congress, and you may have seen him as one of the congresscretins confronted by angry constituents at his town hall meeting last week.

The character having the ALEC Agenda rammed down his throat — a term usually used by Republicans to vilify marriage equality, abortion rights, health care reform, and anything else they despise — is the laborer from the Wisconsin state flag.

in Business Journal of Greater Milwaukee, March 25, 2015

I didn't get to draw hard-hitting cartoons of Republicans ramming their agenda down Wisconsin throats during my stint illustrating the editorials of the Business Journal of Greater Milwaukee. Once in a while, however, I got to have a little fun with a topic, such as this one.

Investor Mark Attanasio purchased the Milwaukee Brewers Major League Baseball team from Bud Selig in 2004. The team, which hadn't made the MLB post-season since 1982, had a brand new ballpark, and Attanasio wanted to find out what else it was going to take to attract fans to the game.

The fourth panel is an homage to Richard Guindon, whose self-titled cartoon was a beloved feature in the Minneapolis Tribune when I was in college in Minnesota. Not that any regular readers of the Business Journal had any reason to know that; to my knowledge, Guindon's cartoons never appeared in any Wisconsin newspaper.

While lutefisk night at the ballpark might plausibly be a real thing at Target Field (yet certainly isn't), a more appropriate homage to Richard Guindon would have been for the lady in panel four to have cited her enthusiasm for Bring Your Carp to the Ballpark Night.

in UW-M Post, Milwaukee Wis., March 6, 1995

Jumping back another decade, here's another cartoon that would never have run in the Business Journal of Greater Milwaukee. 

This was the first installment of a two-parter, satirizing some image-polishing television advertisements by a certain multinational corporation. Unlike the weeks that have passed between my current episodes of the Max & Leo Show, the student newspaper at UW-Milwaukee published twice a week; so readers could follow the sequel to the Exxtron commercial three days after the first episode.

in UW-Parkside Ranger, Kenosha Wis., March 7, 1985

Finally, let us take a moment to honor the memory of Soviet General Secretary of the U.S.S.R. Communist Party, Konstantin Chernenko. 

Chernenko died on March 10, 1985, just shy of thirteen months in office, of cirrhosis of the liver, chronic emphesema, and congestive heart failure at age 73. He had come to office upon the death of Yuri Andropov, who had succeeded another elderly Soviet leader, Leonid Brezhnev, only sixteen months earlier.

State-run media in the U.S.S.R. had consistently downplayed reports of the three leaders' declining health. On February 25, 1985, aides hauled the obviously ill Chernenko out of his hospital bed so that he could vote for himself (as candidate for Supreme Soviet of the Russian Soviet Federative Socialist Republic) on live television. His last television appearance was three days later to read a brief victory statement celebrating his election.

In completely unrelated news, Donald Полезный Идиот Trump is older today than any of those three Soviet leaders were when they checked into their respective mausolea. 

Meanwhile in Europe

It has been a busy week Chez Bergetoons, so today's Graphical History Tour will just be a quick run-down of 1925 getting underway over there in Europe. To start, let’s check how the armistice is holding up, shall we?

"Open All Winter" by Nelson Harding in Brooklyn Daily Eagle, January 30, 1925

"Digging Out the Old Stuff" by Rollin Kirby in New York World, ca. Jan. 4, 1925

Yes, prospects for peace were pretty dim, according to Rollin Kirby at Joseph Pulitzer's New York World and Nelson Harding at the Gennison family's Brooklyn Daily Eagle.

"Das Nuejahrsprosten" by Erich Wilke in Kladderadatsch, Jan. 4, 1925

Munich cartoonist Erich Wilke depicted international relations as a soap opera. Whenever all the characters gather together, plot twists are in the offing.

You'll notice that Wilke hasn't yet updated his character stock book in a while; Uncle Sam is still Brother Jonathan.

"They're Out Again" by William Hanny in Philadelphia Inquirer, Jan. 25, 1925

U.S. Secretary of State Charles Evans Hughes resigned after successfully negotiating an agreement on postwar reparations between Germany and the Entente nations, leaving it to his successor to get the agreement past the isolationists in Congress. Fortunately for President Coolidge, the Progressives were personae non gratae among their more orthodox Republican colleagues just then after their disappointing showing in the 1924 election.

"Zangengeburt" by Thomas Theodor Heine in Simplicissimus, Munich, Jan. 19, 1925

December elections in Germany — the second in seven months— produced a coalition government of multiple parties from left, right, and center. Nazis and Communists lost seats in the Bundestag. The Social Democratic Party had the most seats, but far from a majority, and without any of the right-wing, Catholic, or monarchist parties willing to join with it.

After lengthy negotiations and bargaining among party leaders and dissidents, a coalition government was led by Centre Party, the radical nationalist German National People's Party, the conservative German People's Party, and Catholic-centered Bavarian People's Party.

"Getting Away with It, Too" by William Hanny in Philadelphia Inquirer, Jan. 12, 1925

In Italy, Benito Mussolini launched his dictatorship in a speech to the Italian Chamber of Deputies. He took responsibility for his Blackshirts, who had rioted and attacked newspaper offices, resulting in three deaths. Mussolini dared anyone to try removing him from office, and promised to restore order to Italy within forty-eight hours.

"Retreat from Moscow" by Daniel Fitzpatrick in St. Louis Post-Dispatch, Jan. 25, 1925

Soviet leader Joseph Stalin fired Leon Trotsky as Kommisar for Military and Naval Affairs. Trotsky was well known outside his country, but few American cartoonists were learning how to draw Stalin yet.

There will always be an England. 

"And Still Poor Old Decadent England Leads the World" by Arthur G. Racey in Montreal Star, Jan. 3, 1925

And according to A.G. Racey, there has always been a faction lamenting that Old Blighty's best days were behind her.

It's a lovely exercise in period costumes, however..

Jimmy, We Harshly Drew Ye

Today's Graphical History Tour leafs through some editorial cartoons from the scrapbook I kept back during Jimmy Carter's presidency. 

Back then, almost every major newspaper in the world had its own editorial cartoonist or two, and very often supplemented them with syndicated editorial cartoons from elsewhere. (And every major city had more than one daily newspaper.) Any given issue of Time, Newsweek, U.S. News & World Report and National Review would have several editorial cartoons illustrating their reportage, even occasionally commissioned for their covers.

So I got to see many cartoonists' work in print. I'm afraid this can't be a comprehensive account of every cartoonist's caricature of the 39th President of the United States. There were hundreds of editorial cartoonists plying the trade in those days, and most of them were quite good at it.

These are the cartoons I liked best for one reason or another: some for the artwork, and others that I thought were most effective at the time, even if I disagreed with them. None of my own cartoons are in that old scrapbook, so none of them follow. (Besides, I've done that post before.)

"Don't You Fret About These Little Rascals," in Chicago Tribune, March 27, 1977

I'll start with the only one of the cartoons in my scrapbook whose cartoonist I don't know for sure. There's no signature on this cartoon, and the Chicago Tribune didn't run a credit line under it. It was not someone who regularly appeared in the Trib. 

I was impressed by the stylish line technique, as well as the caricature; coming early in the Carter administration, cartoonists were just then having to develop a Carter characterization that did not involve him smiling broadly. Quite a few came to exaggerate the distance between nose and mouth.

Next up come two of the giants of editorial cartooning from that era, both here tackling the challenge of drawing President Carter without the smile. Even taking into consideration that both of them inspired imitators in the biz, I wouldn't need to see signatures to identify the work as theirs.

"Performer and Critic" by Pat Oliphant in Washington [DC] Star, April, 1977

The simplicity and spareness of Pat Oliphant's drawing apart from that tuba sells the cartoon. Jeff MacNelly's idea below is carried by the detail and heightened perspective.

"I Sure Picked a Rough Neighborhood to Run Out of Gas In" by Jeff MacNelly in Richmond News Leader, Oct., 1977

Jack Ohman wrote in his Substack this week that both Oliphant and MacNelly hated Carter — well, Oliphant hated everybody, Ohman says. He knew them both, and I don't. Anyway, Oliphant quickly began to draw Carter as a much smaller man than he actually was, and MacNelly gradually followed. By the eve of the 1980 election, both drew cartoons in which Carter didn't even come up to Reagan's knees — their way of saying that instead of growing into the job, Carter had done the opposite. 

"Not a Bad Man" by Dick Locher in Chicago Tribune, Feb. 1979

Such was also the point of this devastating cartoon by the Trib's Dick Locher. He must have really liked this idea, rehashing it decades later with President Barack Obama in the title role.

"For Human Rights" by Don Wright in Miami News, ca. Feb. 1977

I doubt that was the message behind the relative sizes of Carter and the Russian bear in Don Wright's cartoon, drawn only a month or so into the Carter administration. It does illustrate, however, a significant foreign policy change instituted by Carter to emphasize human rights. 

U.S. foreign policy after World War II had been focused on containing communism, even at the cost of allying ourselves with repressive right-wing regimes. That the Soviet Union was both communist and repressive meant that U.S.A.-U.S.S.R. relations were not likely to change all that much.

"Is It True You're Not Leaving Washington" by Mike Peters in Dayton Daily News, ca. Nov. 1977

In matters of style, Carter was given to performative gestures: walking from his inauguration carrying his coat bag, addressing the nation in a cardigan sweater, and cancelling a foreign trip because Congress hadn't passed his energy policy bill.

Mike Peterson posted a selection of cartoons from the Carter presidency on Monday, and Steve Greenberg observed that he was the only cartoonist in that bunch who is still producing editorial cartoons for publication. I believe that Mike Peters is the only such cartoonist in this here post. 

"Of Course I'm in Charge Here" by Clyde Peterson in Houston Chronicle, ca. Nov., 1977

Clyde Peterson drew under the pen name CP Houston with a fetching style all his own. I do suspect that had he drawn a Black politician with lips this large, he would have been labeled, even in pre-P.C. 1977, racist. Plenty of other cartoonists on this blog post would have run the same risk.

"Born Again" by Ivan Licho in Militant, New York, Feb. 3, 1978

This cartoon by Ivan Licho for the newspaper of the Socialist Workers Party (one of my college roommates had a subscription) unfairly likens Carter to the two presidents who preceded him, but I found the drawing itself compelling. 

Its caption's reference to President Carter's religious faith sets up this next cartoon, when Carter's sagging poll numbers were lifted by achievement of a peace agreement between Israel and Egypt:

"Borne Again" by Paul Conrad in Los Angeles Times, March, 1979

I'm not sure that there is anything special about Paul Conrad's drawing, aside from my hometown newspaper's decision to crop it rather severely. I just like the pun.

As I said above, this was not intended to be a comprehensive collection of U.S. cartoonists by any means; others have already tackled that task. What I haven't seen is any sampling of foreign editorial cartoonists; so here's a random bunch from my scrapbook.

"Either This Man Is Dead or My Watch Has Stopped" by Leslie Gibbard in Manchester Guardian, Sept. 1977

Under President Carter, the U.S. officially recognized the government of "Red China," 28 years after Maoist forces overthrew Chiang Kai-Shek. It was an opening made possible by Richard Nixon's historic trip to China in 1972, although our continuing "Two China" policy doesn't quite mean we've surrendered Taiwan to Beijing. Yet.

Even more impressive than transforming Carter into Groucho Marx is Leslie Gibbard's transformation of Chinese President Hua Guofeng into Margaret Dumont.

"You're Not Going to Let a Little Teng Like That Spoil Your Appetite" by Ed Uluschak in Edmonton Journal, ca. Feb., 1979

While I was in college, my parents gifted me a subscription to the monthly Atlas World Press Review, later just World Press Review, which published articles, columns, and editorial cartoons from around the world. (I continued subscribing to it after I graduated until I noticed that my income was falling far short of my expenses, forcing me to cut it along with Cinemax and pre-packaged frozen dinners.)

Ya'acov "Ze'ev" Farkash in Ha'aretz, Tel Aviv, ca. Jan., 1980

Soviet President Leonid Brezhnev sent Russian troops into Afghanistan to bolster a client government there in the winter of 1979-1980, while the Carter administration was hobbled by preoccupation with the hostage crisis in Iran.

by Keith Waite in Sun, London, Feb., 1980

Carter's response of pulling the U.S. out of Moscow's 1980 Olympic Games is beautifully skewered by Britain's Keith Waite. Russia retaliated by pulling out of the 1984 Olympics in Los Angeles.

"Scoops" by Doug Sneyd, self-syndicated, Oct., 1980

In a way, what doomed the Carter administration from the start was that there was no outside voice coming to its defense or lauding its achievements. Its triumphs quickly faded, while the mistakes, misfortunes, and malaise lingered on.

I've read some historical fiction recently imagining Carter reelected to a second term. He would then have been in office as OPEC's grip on world economic power was broken, the Soviet Union became unable to hide losses in Afghanistan and two of its sclerotic leaders died in quick succession. The Equal Rights Amendment might have passed. He'd have gotten to name a Justice to the Supreme Court. 

He'd also have been in office as HIV/AIDS spread like wildfire, terrorists killed 143 Marines in Beirut, and the U.S. went through a recession.

Assuming he didn't get shot to impress Jodie Foster.

Instead, he went on to be one of the most exemplary ex-presidents in history, and his family got to celebrate his 100th birthday with him.