The Pulitzer Prize Archive: Volume 13 Editorial Cartoon Awards 1922–1997 [Reprint 2011 ed.] 9783110955774, 9783598301834

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THE PULITZER PRIZE ARCHIVE A History and Anthology of Award-winning Materials in Journalism, Letters, and Arts Series Editor: Heinz-Dietrich Fischer Ruhr University, Bochum Federal Republic of Germany

PART E: LIBERAL ARTS

Volume 13

K · G · Säur München 1999

Editorial Cartoon Awards 1922 - 1997 From Rollin Kirby and Edmund Duffy to Herbert Block and Paul Conrad

Edited with general and special introductions by Heinz-Dietrich Fischer in cooperation with Erika J. Fischer

K · G · Säur München 1999

Gefördert durch Prof. Dr. Dietrich Oppenberg aus Mitteln der Stiftung Pressehaus NRZ Essen

Die Deutsche Bibliothek - CIP-Einheitsaufnahme The Pulitzer prize archive: a history and anthology of award winning materials in journalism, letters, and arts / ser. ed.: Heinz-Dietrich Fischer. - München : Säur ISBN 3-595-30170-7 Vol. 13: PL E. Liberal arts. Editorial cartoon awards 1922 -1997 : from Rollin Kirfay and Edmund Duffy to Herbert Block and Paul Conrad / ed. with general and special introd. by Heinz-Dietrich Fischer in cooperation with Erika J. Fischer.-1999 ISBN 3-598-30183-9

Gedruckt auf säurefreiem Papier Printed on acid-free paper Alle Rechte vorbehalten / All Rigths Strictly Reserved K.G.Saur Vertag GmbH & Co. KG, München 1999 Part of Reed Eisevier Printed in the Federal Republic of Germany by WS-Druckerei Werner Schaubruch, Bodenheim Bound by Buchbinderei Schaumann, Darmstadt Cover Design by Manfred Link, München ISBN 3-598-30183-9 ISBN 3-598-30170-7 (Complete Set)

PREFACE While preparing this book, we had a completely unexpected reunion with someone we haven't seen for decades: In the late fifties, during a lecture dealing with "The Political Cartoon Past and Present" at the Free University of Berlin the professor showed slides of some estimated examples. In one session, a caricature appeared on the wall of the darkened room and Prof. Dr. Emil Dovifat, one of the doyens of German "Journalism and Communication Research," pointed to it explaining that this one was awarded the Pulitzer Prize. The name of that drawing was "Peace Today" and the artist was Reuben Goldberg of the New York Sun. The cartoon gave an extremely graphic description of the Cold War Period displaying an atomic bomb on the edge of an abyss, which symbolized the highly explosive situation of those days. All the students, including the authors, were particularly appealed by that drawing at a point of time when West Berlin was in the center of the permanent confrontation between the Western and Eastern Super Powers. Thus, the authors have developed a special affinity for the cartoon by Reuben Goldberg dated 1947, of which a reprint can be found on page 104 of the volume on hand. In general, while making this book, we ran into numerous difficulties: The definite location of the award-winning cartoons in the Pulitzer Prize Collection at Columbia University was one of these problems as well as finding usable reproduction copies. Furthermore, it proved to be exceptionally complicated to pinpoint where exactly the drawings were located within the newspapers when they were first published. That is why, for instance, it took weeks of extensive research in the Library of Congress, Washington/D.C. and in the New York Public Library as well as in different municipal and newspaper archives all over the US in order to ensure precise bibliographical and other references. That the completion of this book was possible yet, is largely due to Prof. Dr. Dietrich Oppenberg (Publisher of the Neue Ruhr/Rhein Zeitung at Essen) who provided some funds for research and travelling. On the part of the

VI

Pulitzer Prize Office, Professor Seymour Topping and Mr. Edward M. Kliment were supportive in every conceivable way by providing unlimited access to material and information sources of the Pulitzer Archive and we want to express our gratitude to them in particular. Once again, Mr. Carroll Brown, President of the American Council on Germany, and Mrs. Karen Furey of the same institution turned out to be very supportive contributors to this publication. Furthermore, the following people helped in many ways: Mr. Tony Abraham (New York), Dr. Daniel Boehnck (Cologne), Mr. John S. Carroll (Baltimore/Md.), Mr. Bernard R. Crystal (New York), Mrs. Anita Clesle (Düsseldorf), Mr. Larry Heinzerling (New York), Mrs. Anne Lewis (Washington, D.C.), Mrs. Andrea A. Palmer (New York) and Mr. Jonathan W. Pilgrim (Munich). Mrs. Kay Conrad and Mr. Paul Conrad of the Los Angeles Times kindly made available a copy of one of his three Pulitzer Prize certificates. Many American publishing houses as well as cartoonists kindly agreed to the reprinting of their award-winning works. From Europe though, it proved to be difficult to contact everybody who owns copyrights of the works depicted. Thus, a number of drawings in the volume on hand had to be reprinted with reference to the "Doctrine of Fair Use" as embodied in the United States Copyright Act of 1976. According to this doctrine, excerpts of copyrighted works in the context of a compendium or a work of reference may be reprinted when the quotation does not encompass a substantial portion of the copyrighted work: So it is the case, too, since we only took three cartoons of each artist out of hundreds of drawings published by each person every year. At the Ruhr-Universität Bochum, once again it was Mrs. Ingrid Dickhut, who made the manuscript ready for print and drew up the index. Mrs. Nicole Warthun translated the introduction, whereas Mrs. Britta Duddeck and Mrs. Klaudia Dworaczek looked after the compilation of biographical details on the prize-winners. Eventually, Mrs. Monika Sprengel prepared interpretations of the contents of the reprinted cartoons. We are very much in debted to all of them! Bochum, FRG August, 1999

E.J.F./H.-D.F.

VII

CONTENTS PREFACE INTRODUCTION

V XXI

By Heinz-Dietrich Fischer, Ruhr-Universität Bochum HISTORY AND DEVELOPMENT OF THE PULITZER PRIZE FOR EDITORIAL CARTOON

PRESENTATION PRACTICES OF AWARD-WINNING CARTOONS REMARKS ABOUT THE DOCUMENTATION CRITERIA

XXI

1 2

1922 AWARD: ABOUT PROBLEMS WITHIN THE SOVIET UNION IN 1921 By Rollin Kirby, The World, New York

3

"WELL-YOU MAY 'KEEP PART OF YOUR FOOD.1 IVAN' "ASSISTING THE SICK MAN" "ON THE ROAD TO MOSCOW"

4 5 6

1923 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1922 By The Advisory Board, Columbia University, New York

7

NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

8

1924 AWARD: ABOUT AMERICAN PEOPLE AND INSTITUTIONS IN 1923 By Jay N. Darling, Des Moines Register & Tribune

9

"IN GOOD OLD U.S.A." "RIDDLE: WHY IS THE MACHINERY OF GOVERNMENT LIKE ANY OTHER KIND OF MACHINERY?" "AND WE TALK ABOUT STABILIZING THE FARM INDUSTRY BY LEGISLATION I"

10 11 12

VIII 1925 AWARD: ABOUT PEACE HOPES AND WAR FEARS IN 1924 By Rollin Kirby, The World, New York "NEWS FROM THE OUTSIDE WORLD" "A COUPLE OF QUESTIONS" "BRINGING A LITTLE LIGHT INTO IT"

1926 AWARD: ABOUT LAW AND ORDER VALUES IN 1925 By Daniel R. Fitzpatrick, St. Louis Post-Dispatch "THE LAWS OF MOSES AND THE LAWS OF TODAY' •THE VOLSTEAD TRAIL" "MAKING HER RIDICULOUS"

1927 AWARD: ABOUT CONFLICTS AND PROBLEM SOLVING IN 1926 .. By Nelson Harding, Brooklyn Daily Eagle •TOPPLING THE IDOL" "TOP-HEAVY STRUCTURES REQUIRE BRACING" 'HIS OWN DUST"

1928 AWARD: ABOUT PEACE KEEPING WITH LATIN AMERICAN COUNTRIES IN 1927 By Nelson Harding, Brooklyn Daily Eagle "MAY HIS SHADOW NEVER GROW LESS" "A NEW BOUNDARY MARK" "A BIRD OF PEACE"

1929 AWARD: ABOUT ASPECTS OF THE GRAND OLD PARTY IN 1928 . By Rollin Kirby, The World, New York

1930

1931

13 14 15 16

17 18 19 20

21 22 23 24

25 26 27 28

29

•TAMMANY" "SEE THE PRETTY BANNER" "WE'LL RUN THIS CAMPAIGN"

30 31 32

AWARD: ABOUT WAR DEPTS AND REPARATIONS IN 1929 By Charles R. Macauley, Brooklyn Daily Eagle

33

"PAYING FOR A DEAD HORSE" "WILL THE PEACE DOVE RETURN?" "LIGHTING THE WORLD"

34 35 36

AWARD: ABOUT RUSSIA'S INTERNAL AND EXTERNAL ITEMS IN 1930 By Edmund Duffy, The Sun, Baltimore

37

"AN OLD STRUGGLE STILL GOING ON" 'CANT GET A FIRM GRIP" "MOVE OVER!"

38 39 40

IX 1932

AWARD: ABOUT DEPRESSION AND UNEMPLOYMENT IN 1931 .... By John T. McCutcheon, Chicago Daily Tribune

41

"A WISE ECONOMIST ASKS A QUESTION' "THE DANGEROUS SHORT-CUT" "THE DREAM OF LABOR'

42 43 44

1933 AWARD: ABOUT JAPAN'S QUARRELS AND AGGRESSIONS IN 1932 . By Harold M. Talburt, The Washington Daily News 'THE LIGHT OF ASIA" "HARA KIRI" "FANNING THE FLAME'

1934 AWARD: ABOUT AMERICAN LYNCHING PRACTICES IN 1933 By Edmund Duffy, The Sun, Baltimore

1935

1936

1937

1938

45 46 47 48

49

OVER THE DOME AT ANNAPOLIS—" •CALIFORNIA POINTS WITH PRIDE—!!" "A REMINDER"

50 51 52

AWARD: ABOUT STRIKES AND LABOR ACTIVITIES IN 1934 By Ross A. Lewis, The Milwaukee Journal

53

"WHY MUST IT REACH THIS 'POINT?'" "WE COVER THE WATERFRONT" 'SURE, I'LL WORK FOR BOTH SIDES"

54 55 56

AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1935 By The Advisory Board, Columbia University, New York

57

NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

58

AWARD: ABOUT DANGEROUS EUROPEAN CONDITIONS IN 1936. By Clarence D. Batchelor, Daily News, New York

59

"COME ON IN, I'LL TREAT YOU RIGHT. I USED TO KNOW YOUR DADDY" "EUROPE'S EYE VIEW OF HER FUTURE" "A FAMOUS CAT BEGINS TO WORRY OVER ITS REMAINING LIVES"

60 61 62

AWARD: ABOUT ARISING OF WORLD-WIDE CONFLICTS IN 1937 . By Vaughn Shoemaker, The Chicago Daily News

63

•WHEN THE LAST ETHIOPIAN IS DEAD" "WHEEEEE-E-E-E-E-E-E—BANG!—EXCUSE IT, PLEASE" "THE ROAD BACK?"

64 65 66

1939

1940

1941

1942

AWARD: ABOUT GERMANY'S STRATEGIES OF OCCUPATION IN 1938 By Charles G. Werner, The Daily Oklahoman, Oklahoma City

67

"THE NEXT BITE' "THE STAKES ARE HIGH" "NOMINATION FOR 1938"

68 69 70

AWARD: ABOUT BREAKING OUT OF WORLD WAR II IN 1939 By Edmund Duffy, The Sun, Baltimore

71

"THE OUTSTRETCHED HAND' "THE BOY AT THE DIKE" "THE WILD WAVES AREN'T SAYING NICE THINGS"

72 73 74

AWARD: ABOUT GERMANY'S BOMBING OF GREAT BRITAIN IN 1940 By Jacob Burck, Chicago Times

75

"IF I SHOULD DIE BEFORE I WAKE..." "WEATHER FORECAST: CLOUDY - CONTINUED SHOWERS" "ALL IS CALM..."

76 77 78

AWARD: ABOUT WAR AND ITS ECONOMIC CONSEQUENCES IN 1941

79

By Herbert L. Block, Newspaper Enterprise Association, Cleveland

1943

1944

"BRITISH PLANE" "LOSSES' "LABOR DAY PARADE-1941'

80 81 82

AWARD: ABOUT WARTIME COMMUNICATIONS IN 1942 By Jay N. Darling, The Des Meines Register

83

"NEWS AT HOME AND ABROAD" •WHAT A PLACE FOR A WASTE PAPER SALVAGE CAMPAIGN' "THE MOST EXCITING READING OF ALL TIME"

84 85 86

AWARD: ABOUT CONDITIONS OF FIGHTING NATIONS IN 1943 .. By Clifford K. Berryman, The Evening Star, Washington, D.C.

87

"POST WAR FOOD PLANS" "BUT WHERE IS THE BOAT GOING?" •THANKSGIVING FEAST IN BERLIN, 1943"

88 89 90

XI 1945

AWARD: ABOUT AMERICAN INFANTRY TROOPS IN EUROPE IN 1944 By William H. Mauldin, United Feature Syndicate, New York

91

•COLONEL CAPTURED BY GERMANS" "FRESH, SPIRITED AMERICAN TROOPS..." "YA DON'T GIT COMBAT PAY..."

92 93 94

1946 AWARD: ABOUT SUPER POWERS AFTER THE WAR IN 1945 By Bruce A. Russell, Los Angeles Times "HITLER'S LEGACY" "TIME FOR ATOMIC STATESMANSHIP' "TIME TO BRIDGE THAT GULCH"

1947 AWARD: ABOUT LIVING COSTS AND STARVATION IN 1946 By Vaughn Shoemaker, Chicago Daily News

1948

96 97 98

99

"OUT OF SIGHT, OUT OF MIND" "MEMORIAL" "STILL RACING HIS SHADOW

100 101 102

AWARD: ABOUT FEARS OF ANOTHER WORLD WAR IN 1947 By Reuben L. Goldberg, The Sun, New York

103

"PEACE TODAY" "COUNTING BEARS" "PRAYER FOR TODAY"

104 105 106

1949 AWARD: ABOUT INTERNAL AND EXTERNAL U.S. PROBLEMS IN 1948 By Lute C. Pease Jr., Newark Evening News

1950

95

107

"WHO, ME?' "AUGUST IN BERLIN" "A LOT OF FACES WILL BE RED 1 -PROPHET TRUMAN"

108 109 110

AWARD: ABOUT TRUMAN'S ADMINISTRATION AND THE PUBLIC IN 1949 By James T. Berryman, The Evening Star, Washington, D.C.

111

•THERE ARE ENTIRELY TOO MANY HEADLINE HUNTERS..." "ECONOMIC REPORT TO THE NATION" "ALL SET FORA SUPER-SECRET SESSION IN WASHINGTON"

112 113 114

XII 1951

AWARD: ABOUT EARLY PHASES OF THE KOREAN WAR

IN 1950

115

By Reginald W. Manning, The Arizona Republic, Phoenix "SHIPS THAT PASS" "HATS' •WE LOVE THE RED CHINESE, WE LOVE THEM NOT..."

116 117 118

1952 AWARD: ABOUT PRESIDENT TRUMAN AND THE DOLLAR VALUE IN 1951 By Fred L. Packer, Daily Mirror, New York

119

OUR GLORIOUS DEAD!" Ί WAS A HEAVYWEIGHT CHAMP..." "YOUR EDITORS OUGHT TO HAVE MORE SENSE...."

120 121 122

1953 AWARD: ABOUT CONSEQUENCES OF THE KOREAN WAR

IN 1952

123

By Edward D. Kuekes, Cleveland Plain Dealer "WHITE CROSSES MOUNT WHILE PEACE TALKS DWINDLE" "CROSSES" "AFTERMATH" 1954 AWARD: ABOUT STALIN'S DEATH AND HIS FOLLOWER IN 1953 By Herbert L. Block, The Washington Post "YOU WERE ALWAYS A GREAT FRIEND OF MINE, JOSEPH" "ERA OF THE MECHANICAL MAN" "ANY OTHER IMPORTANT FUNERALS COMING UP?" 1955 AWARD: ABOUT EAST-ASIAN ZONES OF CRISIS IN 1954 By Daniel R. Fitzpatrick, St. Louis Post-Dispatch

1956

124 125 126 127 128 129 130 131

"HOW WOULD ANOTHER MISTAKE HELP?" "SLOGAN PAINTER'S TROUBLES" "IT STOPPED THE RED RASH IN EUROPE, DOCTOR"

132 133 134

AWARD: ABOUT DEFICITS DURING PROSPERITY TIMES IN 1955

135

By Robert York, The Louisville Times "ACHILLES" "CONSTRUCTION BOOM" "SOME ARE STRANDED ON THE LEDGES"

136 137 138

XIII 1957 AWARD: ABOUT HEALTH QUESTIONS AND LIFE RISKS IN 1956 By Tom Little, The Nashville Tennessean •WONDER WHY MY PARENTS DIDN'T GIVE ME SALK SHOTS?" "EVERY TIME I START TO DOZE OFF, HE DROPS ΈΜ1" "THINK YOU'LL MAKE IT?"

1958

139 140 141 142

AWARD: ABOUT SOCIAL AND POLITICAL CONDITIONS IN 1957.. 143 By Bruce M. Shanks, Buffalo Evening News "THE THINKER" "LITTLE ROCK" "VOX POP"

1959 AWARD: ABOUT ACTIVITIES OF THE SOVIET UNION IN 1958 By William H. Mauldin, St. Louis Post-Dispatch

144 145 146

147

m

\ WON THE NOBEL PRIZE FOR LITERATURE. WHAT WAS YOUR CRIME?" "DON'T PUSH YOUR LUCK, MISTER" "GOOD MORNING, COMRADES!"

1960 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1959 By The Advisory Board, Columbia University, New York NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

1961 AWARD: ABOUT KHRUSHCHEV'S ROLE IN WORLD POLITICS IN 1960 By Carey Orr, Chicago Daily Tribune

148 149 150

151 152

153

"A WARNING FROM THE JUNGLE" "HIT BACK! HIT BACK! YOU CANT WIN COVERING UP!" "THE KINDLY TIGER"

154 155 156

1962 AWARD: ABOUT INTENTIONS OF SOCIALIST COUNTRIES IN 1961 By Edmund S. Valtman, The Hartford Times

157

"BY GOVERNMENT DECREE EVERY MEMBER OF THE COMMUNE IS ENTITLED TO A PRIVATE LOT" •I WOULD HAVE PREFERRED IT WELL-DONE" "WHAT YOU NEED, MAN, IS A REVOLUTION LIKE MINE!"

158 159 160

XIV 1963

1964

1965

AWARD: ABOUT NUCLEAR WEAPONS AND WORLD POLITICS IN 1962 By Frank A. Miller, The Des Meines Register "I SAID-WE SURE SETTLED THAT DISPUTE, DIDN'T WE!" "A NEEDLE IN A HAYSTACK IS EASY" "A WALL!" AWARD: ABOUT ATTITUDES AND HOPES TOWARD INTEGRATION IN 1963 By Paul F. Conrad, The Denver Post "STAND BACK EVERYBODY! HE'S GOT A BOMB.!!" "NO CHEEKS LEFT TO TURN" "PROFILE IN COURAGE" AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1964 By The Advisory Board, Columbia University, New York NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

161 162 163 164

165 166 167 168

169 170

1966 AWARD: ABOUT CONFLICT PHANTASIES AND REALITIES IN 1965 By Don C. Wright, The Miami News "YOU MEAN YOU WERE BLUFFING?" "ANYBODY SEE A PLACE TO GET OFF?" "HOW THE WAR WENT TODAY"

171 172 173 174

1967

AWARD: ABOUT SOUTH-EAST ASIAN TROUBLE ZONES IN 1966 .. 175 By Patrick B. Oliphant, The Denver Post "THEY WON'T GET US TO THE CONFERENCE TABLE... WILL THEY?" .. 176 "YOU WANT US TO SIT DOWN AND DISCUSS OUR PROBLEMS? / DONT HAVE ANY PROBLEMS!" 177 "PROPOSALS..." 178

1968

AWARD: ABOUT PRESIDENT JOHNSON AND SENATOR KENNEDY IN 1967 179 By Eugene G. Payne, The Charlotte Observer "DR. KING SAYS, WOULD YOU PLEASE MOVE TO THE BACK OF THE BUS?" 180 "THE WAR IS GOING VERY WELL-PASS IT ON" 181 "ITS TERRIBLE THE WAY TOBACCO ADVERTISING IS SLANTED TOWARDS YOUNG PEOPLE" 182

XV 1969 AWARD: ABOUT WAR OUTSIDE AND WITHIN THE U.S. IN 1968 By John Fischetti, Chicago Daily News

183

"SPEAKING FROM A POSITION OF STRENGTH...' •AMERICAN STYLE' "TRAMP, TRAMP, TRAMP, THE BOYS ARE MARCHING..."

184 185 186

1970 AWARD: ABOUT AMERICANS DURING THE VIETNAM WAR IN 1969 By Thomas F. Darcy, Newsday, Garden City, N.Y.

187

"GOOD NEWS, WE'VE TURNED THE CORNER IN VIETNAM!" "PRISONER OF WAR" "SORRY FELLAS...BUT THAT'S THE ONLY WAY OUT"

188 189 190

1971 AWARD: ABOUT WAR CONDITIONS AND WAR VICTIMS IN 1970 .. 191 By Paul F. Conrad, Los Angeles Times "THE OPERATION WAS A COMPLETE SUCCESS... AS THE AUTOPSY WILL SHOW!" "FROM HERE TO ETERNITY" "THE U.S. ARMY..."

192 193 194

1972 AWARD: ABOUT AMERICAN POLITICS AND ECONOMY IN 1971 .. 195 By Jeffrey K. MacNelly, The Richmond News Leader "GEORGE?...' "FEDERAL FLOATING NOTE" "THE ECONOMY"

1973 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1972 By The Advisory Board, Columbia University, New York NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

1974 AWARD: ABOUT WATERGATE AND ITS FOLLOW-UP IN 1973 By Paul M. Szep, The Boston Globe "SOME OF THE STARS HAVE JUST ARRIVED" "I'VE DECIDED NOT TO TELL YOU ABOUT THE ALLEGED SHIPWRECK" "YOU'RE SURROUNDED NIXON...GIVE UP THE TAPES!"

196 197 198

199 200

201 202 203 204

XVI 1975 AWARD: ABOUT POLITICS OF THE POST-WATERGATE ERA IN 1974 By Garry Trudeau, Universal Press Syndicate, New York "THE PRESIDENT FIGHTS BACK1 •CONGRESS GROWS RESPONSIVE' "THE WATERGATE REUNIONS"

205 206 207 208

1976 AWARD: ABOUT FOREIGN COUNTRIES AND DOMESTIC ISSUES IN 1975 209 By Tony Auth, The Philadelphia Inquirer "O BEAUTIFUL FOR SPACIOUS SKIES, FOR AMBER WAVES OF GRAIN..." "BEIRUT..." "CIA..."

1977 AWARD: ABOUT FACETS OF THE PRESIDENTIAL CAMPAIGN IN 1976 By Paul M. Szep, The Boston Globe

210 211 212

213

"THREE VERSIONS OF JIMMY CARTER" "I'LL BE JACK KENNEDY... WHO DO YOU WANT TO BE?" "END OF ROUND ONE"

214 215 216

1978 AWARD: ABOUT TAX QUESTIONS AND ENERGY ASPECTS IN 1977 By Jeffrey K. MacNelly, The Richmond News Leader

217

"INDIVIDUAL INCOME TAX RETURN" "IRS..." "ENERGY PROGRAM"

218 219 220

1979 AWARD: ABOUT POLITICS AND CAMPAIGN SPENDINGS IN 1978 . 221 By Herbert L. Block, The Washington Post "AND BRING ME THEIR HEADS SO I CAN SEE WHAT GOES ON INSIDE THEM" •PRE-ELECTION BALLOT BOX" "ELECTION TRENDS"

1980 AWARD: ABOUT DEATH PENALTY PROBLEMS OF FLORIDA IN 1979 By Don C. Wright, The Miami News "FLORIDA STATE PRISON" "THE ELECTRIC CHAIR" "SHORTAGE OF BURIAL PLOTS"

222 223 224

225 226 227 228

XVII 1981

AWARD: ABOUT UNEXPECTED RESULTS OF CONDITIONS IN 1980 By Mike B. Peters, Dayton Daily News

229

"CAN YOU GUESS WHICH ONE'S BEEN BANNED?" 230 "LOOK, LADY - YOU'RE THE ONE WHO ASKED FOR A FAMOUS MOVIE STAR WITH DARK HAIR, STRONG NOSE AND DEEP SET EYES..." ... 231 "HE'S GROWN A FOOT SINCE I SAW HIM LAST..." 232

1982 AWARD: ABOUT WAR RELICTS AND DEFENSE ASPECTS IN 1981 By Ben Sargent, The Austin American-Statesman

1983

233

"WELCOME HOME HOSTAGES" "U.S. GUNS IN EL SALVADOR" "DEFENSE SYSTEM"

234 235 236

AWARD: ABOUT PRESIDENT REAGAN'S PUBLIC APPEARANCE IN 1982 By Richard E. Locher, Chicago Tribune

237

"DIPLOMACY IN ACTION" "RONALD REAGAN'S WEATHER MAP" "WATT"

238 239 240

1984 AWARD: ABOUT POLITICAL EMOTIONS AND ATTITUDES IN 1983 By Paul F. Conrad, Los Angeles Times "PLAY IT AGAIN, RON...' "WELL, TELL HIM TO TURN UP HIS HEARING AID!" "THE DAY AFTER"

241 242 243 244

1985 AWARD: ABOUT TOP AMERICAN POLITICAL FIGURES IN 1984... 245 By Jeffrey K. MacNelly, Chicago Tribune "ASK YOURSELVES..." "CABINET MEETINGS" OKAY, SENATOR GARN..."

1986 AWARD: ABOUT BASIC ATTITUDES OF AMERICANS IN 1985 By Jules Feiffer, The Village Voice, New York "REAGAN CRITICIZES RACISM..." "THE U.S. IS NOT GOING..." "THE MEDIA REPORTS..."

246 247 248

249 250 251 252

XVIII 1987

AWARD: ABOUT REALISTIC PROBLEMS OF AN UNREALISTIC WORLD IN 1986

253

By Berke Breathed, The Washington Post

1988

'MILO'S MEADOW "69,9 CENT A GALLON!" •GOOD MORNING, MADAM'

254 255 256

AWARD: ABOUT EXCUSES AND ILLUSIONS IN THE U.S. IN 1987

257

By Doug N. Marlette, The Charlotte Observer / The Atlanta Constitution •THATS RIGHT-JIM AND TAMMY WERE EXPELLED FROM PARADISE AND LEFT ME IN CHARGE!' "TO ERR IS HUMAN..." 'PRESIDENT?... NO, CHILD, BUT YOU CAN GROW UP TO BE FRONTRUNNER!"

258 259 260

1989 AWARD: ABOUT THEMES AND TABUS IN AMERICAN LIFE IN 1988

261

By Jack Higgins, Chicago Sun-Times

1990

"HOW ABOUT MORE BLACKS..." 'BEST ACTRESS...' '...ALL CONGRESSMEN...'

262 263 264

AWARD: ABOUT REAGAN LEAVING BUSH ENTERING THE STAGE IN 1989

265

By Tom G. Toles, The Buffalo News "WE WONT FORGET YOU!" "FIRST AMENDMENT" 'THE EDUCATION PRESIDENT'

1991

266 267 268

AWARD: ABOUT CONFLICTS AND GERMANY'S REUNIFICATION

IN 1990

269

By Jim M. Borgman, The Cincinnati Enquirer •DOMINO THEORY" "NOW WE WAIT...' "ACTUALLY, ITS SO WE ALWAYS KNOW WHERE THEY ARE"

1992

270 271 272

AWARD: ABOUT HUMAN NEEDS AND SOCIAL CONDITIONS

IN 1991

273

By Signe Wilkinson, Philadelphia Daily News "PULL THE PLUG?!!" •HELLO, WASHINGTON?" •HOME ALONE'

274 275 276

XIX 1993 AWARD: ABOUT U.S. PRESIDENTIAL ELECTION CAMPAIGNING IN 1992 By Stephen R. Benson, The Arizona Republic, Phoenix "I HOPE I CAN GET THIS TURNED AROUND..." "HANG IN THERE" •MY ELECTION STRATEGY IS SIMPLE..."

1994 AWARD: ABOUT VARIOUS INTERNATIONAL CONFLICT AREAS IN 1993 By Michael P. Ramirez, The Commercial Appeal, Memphis "NEVER AGAIN ..." "AS THE SMOKE CLEARED..." "SOMALIA"

277 278 279 280

281 282 283 284

1995 AWARD: ABOUT AMERICAN BEHAVIOR IN KEY SITUATIONS IN 1994 By Mike Luckovich, The Atlanta Constitution

285

"PIE-EATING CHAMPIONSHIP..." "MOMENT OF SILENT PRAYER AT BEGINNING OF CLASS" "WHEN YOUR BIRTHDAY'S ON CHRISTMAS..."

286 287 288

1996 AWARD: ABOUT TOPICS OF THE CLINTON ADMINISTRATION IN 1995 By Jim Morin, The Miami Herald OPINION POLLS" "WHO CARES ABOUT BOSNIA?" "FACE LIFTS AND COSMETIC SURGERY"

1997 AWARD: ABOUT FACETS OF THE WASHINGTON ESTABLISHMENT IN 1996 By Walt Handelsman, The Times-Picayune, New Orleans "... WELFARE REFORM ..." " . . . I LIED, I CHEATED..." "FBI SEEKS NEW SUSPECTS..."

289 290 291 292

293 294 295 296

WINNERS OF THE EDITORIAL CARTOON AWARD, 1998-2008

297

INDEX

299

THIS VOLUME IS DEDICATED TO

EDMUND DUFFY (1899-1962) PULITZER PRIZE WINNER 1931, 1934 AND 1940ON HIS 100TH BIRTHDAY

XXI

INTRODUCTION HISTORY AND DEVELOPMENT OF THE PULITZER PRIZE FOR EDITORIAL CARTOON by Heinz-Dietrich Fischer

As Joseph Pulitzer (1847-1911) explicitly laid down in his will to establish a prize for editorial,1 he was thus exclusively referring to editorial texts as being eligible for the awards named after him. Editorial cartoons, though, were not included. However, on another occasion Pulitzer stated in a "Creed for Newspaper Writing": "What a newspaper needs in its news, in its headlines, and on its editorial page is terseness, humor, descriptive power, satire, originality, good literary style, clever condensation and accuracy, accuracy, accuracy!"2 With these words, on the other hand, he did not refer to editorial writing alone, but he described the whole editorial page as being an important part of every press organ. Thus, editorial cartoons were included at least indirectly. Furthermore, illustrations, which complemented and supported the content of editorial texts visually had a long tradition in America's press history.3 Strangely enough and hard to explain in retrospect though, was that Pulitzer did not mention a prize for editorial cartoons besides the one for editorial writing in his will.4 Due to these circumstances, there was only a category for "editorial writing" awards in the early years of the Pulitzer Prizes, the first of which were awarded in 1917. As from the year 1921, this situation was to change. This occasion was brought about by another award category being defined as "for the best paper about the school of journalism, which had been outlined in Pulitzer's will..., but which had not drawn enough worthy candidates in the first years of the prizes' existence."5 "Owing to the fact that no papers have ever been written for this prize," the jurors of that category resignly stated 1 Cf. Heinz-D. Fischer/Erika J. Fischer, The Pulitzer Prize Archive - Political Editorial 1916-1988, Munich - London - New York - Paris 1990, pp. XIX ff. 2 Quoted from Alleyne Ireland, An Adventure With a Genius - Recollections of Joseph Pulitzer, New York 1914, p. 116. 3 Cf. Stephen Becker, Comic Art in America. A Social History of the Funnies, the political Cartoons, Magazine Humor, Sporting Cartoons and Animated Cartoons, New York 1959, pp. 302 ff. 4 Cf. DeForest O'Dell, The History of Journalism Education in the United States, New York 1935, pp. 108 f. 5 Letter from Edward M. Kliment, The Pulitzer Prize Office at Columbia University, New York, to the author, September 24, 1998, p. 1.

XXII "the jury considered the advisability of discontinuing this prize and substituting a prize of some other kind in its place."6 The official files indicate that, as a result, "Mr. Joseph Pulitzer Jr., suggested that the Board consider offering a prize for the best cartoon published during the year," and it goes on to read: "On motion it was unanimously resolved, that... the terms of the award of this prize to be considered and drawn up by the Chairman of the Board and Mr. Joseph Pulitzer Jr."7 The official wording of this newly established Pulitzer Prize read, in the end, that: "For a distinguished example of a cartoonist's work published in an American newspaper during the year, the determining qualities being that the cartoon shall embody an idea made clearly apparent, shall show good drawing and striking pictorial effect, and shall be intended to be helpful to some commendable cause of public importance, due account being taken of the whole volume of the artist's newspaper work during the year." It is not known how many applications there were to compete for the new Pulitzer Prize when the first jury (Walter P. Eaton, Walter B. Pitkin and Ashley H. Thorndike) met in early April of 1922 in order to nominate a prize-winner. Their report simply states that they "beg to nominate unanimously Mr. Rollin Kirby of the New York World, several of whose cartoons seem to fulfill the requirements of the award better than those by any other artist. The jury is divided in opinion," the report goes on to read, "between the cartoon... entitled Ά Hat that was made in Germany', and the cartoon... entitled On the Road to Moscow1."8 The Advisory Board of the Pulitzer Prize accepted the jurors' vote and awarded the prize to Rollin Kirby for his drawng "On the Road to Moscow."9 Thus, this thereby marked the first time that the reputable award was bestowed to a member of that group among newspaper people , "whose profession it is to mould or reflect public opinion with pen or brush or crayon."10 In choosing Rollin Kirby, a well-known cartoonist was honored for a drawing which was not counted among his very best works by someone, who also added that "Pulitzer Prizes are not awarded arbitrarily for, say, excellence in draftsmanship. For one thing, they are awarded in a political and social climate."11 This fundamental problem was to influence the awarding of the cartoon prizes in the following years as well. 6 From: Pulitzer Prize Advisory Board's Records, New York, May 24, 1921. 7 Ibid. 8 Walter P. Eaton/Walter B. Pitkin/Ashley H. Thorndike, Report of the Pulitzer Prize Cartoon Jury, New York, April 3,1922, p. 1. 9 Columbia University (Ed.), The Pulitzer Prizes 1917-1991, New York 1991, p. 40. 10 Dick Spencer ΙΠ, Pulitzer Prize Cartoons. The Men and Their Masterpieces, 2nd. ed., Ames, la., 1953, p. 4. 11 Stephen Becker, Comic Art in America, op. at., p. 312.

XXIII When the prize was awarded in 1923 the four jurors (William P. Beazell, Herbert E. Hawkes, Walter B. Pitkin and Ashley H. Thorndike) once again also focused on a well-known cartoonist. "The... jury... unanimously recommends," the report indicates, "that the prize be awarded to Mr. Jay Norwood Darling, whose cartoons have been appearing for some years in the New York Tribune. The majority of the jury prefer the cartoon... entitled 'Perhaps it's as Well They're All Well Tied Down', but that... entitled 'Groping in the Dark' also appears to the jury to be of high excellence."12 In spite of this clear vote the Advisory Board did not accept the jury's decision, and settled on "no award."13 When a jury of three members (Herbert E. Hawkes, Walter B. Pitkin and Ashley H. Thorndike) was responsible for selecting and giving its expert opinion in the year 1924, it wrote in its report, among other things: "that we favor awarding the prize... to Mr. J. N. Darling." Thereby, last year's favorite was suggested once again and the chairman of the jury added: "I should like to call attention again to the great difficulty of selecting a single cartoon which will comply with the conditions of award. We have been specially interested in the work of D. R. Fitzpatrick of the St. Louis Post-Dispatch, as well as in that of Mr. Darling."14 This time the Advisory Board fundamentally accepted the jury's vote and bestowed the Pulitzer Prize on Jay N. Darling for his cartoon "In Good Old U.S.A."15 When the jurors of the year 1925 (Herbert E. Hawkes, Walter B. Pitkin and Ashley H. Thorndike) sifted through the submitted material, the first thing to be stated in their report was that there were fewer cartoons taking part in the competition than in the preceding years. "The committee is unanimous in recommending for the prize," it goes literally, "Mr. Rollin Kirby, of the New York World, who submits thirty-eight cartoons," four of which the jurors considered to be particularly prizeworthy. "Mr. Kirby has received this prize once before," the jury admitted, "but the examination of the cartoons confirms our opinion that there is no cartoonist whose work is superior to his."16 Shortly after this determination, Joseph Pulitzer Jr. intervened and additionally brought the cartoonist Daniel R. Fitzpatrick of the St. Louis Post-Dispatch into consideration. Pulitzer Jr. also pointed out that Rollin 12 William P. Beazell/Herbert E. Hawkes/Walter B. Pitkin/Ashley H. Thorndike, Report of the Pulitzer Prize Cartoon Jury, New York, April 13, 1923, p. 1. 13 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 14 Herbert E. Hawkes/Walter B. Pitkin/Ashley H. Thorndike, Report of the Pulitzer Prize Cartoon Jury, New York, March 17,1924, p. 1. 15 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 16 Herbert E. Hawkes/Walter B. Pitkin/Ashley H. Thomdike, Report of the Pulitzer Prize Cartoon Jury, New York, March 9,1925. p. 1.

XXIV Kirby, as suggested by the jury, had already won the Pulitzer Prize.17 One of the jurors replied that "unfortunately the best of Fitzpatrick's cartoons are so violently partisan in politics that they are ruled out of the contest" and that among his non-political cartoons just one, in fact, is to be considered as extraordinary.18 The jury found itself in a difficult situation and took it into consideration to also declare the drawing "Why Young Men Go Wrong" by Daniel R. Fitzpatrick as prizeworthy. In the end, it was left up to the Advisory Board to make a decision.19 This committee, though, proved to be unimpressed by the intervention and declared Rollin Kirby to be the prizewinner again - specifically for his cartoon "News from the Outside World."20 When the prize was awarded in 1926, complications were again to arise and, in their vote, the jurors (Philip A. Payne, Walter B. Pitkin and Ashley H. Thorndike) asked for understanding "to make a divided report. The majority of the committee," it states literally, "are in favor of awarding the prize to Mr. Fitzpatrick of the Si. Louis Post-Dispatch," while the minority report suggested Nelson Harding of the Brooklyn Daily Eagle. "The committee is unanimous in feeling," it can be read in the jury report "that both Mr. Fitzpatrick and Mr. Harding have done work of a high degree of artistic merit. Moreover, in the cartoons submitted by these gentlemen, there are a number of drawings which conform successfully to the particular requirements set forth by Mr. Pulitzer... For several years this committee has been interested in the work of Mr. Fitzpatrick of the St. Louis Post-Dispatch but his work, though excellent, has usually been of a satirical or political import, that did not quite conform with Mr. Pulitzer's desire."21 Although the jurors thus qualified their vote in favor of Fitzpatrick, the Advisory Board accepted the recommendation of said cartoonist, who had already been taken into consideration a year before without being successful. This time the Pulitzer Cartoon Prize went to Daniel R. Fitzpatrick for his drawing "The Laws of Moses and the Laws of Today. "22 In 1927, when a partially newly composed jury (F. Fräser Bond, Newbold Moyes and Walter B. Pitkin) sifted through the "several hundred speci17 Letter from Joseph Pulitzer Jr. to Nicholas M. Butler, President of Columbia University, April 3, 1925, p. 1. 18 Letter from Walter B. Pitkin to John W. Cunliffe, Director, School of Journalism, Columbia University, New York, April 6, 1925, p. 1. 19 Letter from Ashley H. Thomdike to Frank D. Fackenthal, Secretary of Columbia University, New York, April 17,1925, p. 1. 20 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 21 Philip A. Payne/Walter B. Pitkin/Ashley H. Thomdike, Report of the Pulitzer Prize Cartoon Jury, New York, March 11,1926, p. 1. 22 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.

XXV

mens," it came to the following suggestion: "The best one, in our opinion, is the cartoon by Herbert Johnson in the Saturday Evening Post... The second best is one by Fitzpatrick of the St. Louis Post-Dispatch... The third best is one by Orr, in the Chicago Tribune... The different members of the jury," the report goes on, "have been most favorably impressed by three other cartoons," one of which was also by Fitzpatrick and two drawings by Nelson Harding of the Brooklyn Daily Eagle. "The jury," the concluding recommendation in the report went, "calls the attention of the Advisory Board to the fact that its first choice is a cartoon that appeared in a weekly periodical, not a newspaper. Mr. Johnson submitted his cartoons to this jury on special requests from Mr. Landfield,23 who feels that any high grade cartoons in periodicals deserve consideration. While the jury agrees with this opinion it realizes that there may be some difficulties in making an award to a periodical that can in no sense be considered as a newspaper."24 Obviously, the Advisory Board shared this opinion, since it did not give the prize to Herbert Johnson. But it also did not award the two cartoonists placing second and third in the jury report. The winner was among the also-rans: It was Nelson Harding of the Brooklyn Daily Eagle, who received the Pulitzer Prize for his drawing "Toppling the Idol."25 When the prize was awarded in 1928 the jurors (F. Fräser Bond, Walter B. Pitkin and E. Robert Stevenson) filtered out the following three cartoonists and their works from "the large number of cartoons submitted" as being prizeworthy: 1. Nelson Harding of the Brooklyn Daily Eagle, 2. W. J. Enright of the New York World, 3. D. R. Fitzpatrick of the St. Louis PostDispatch.26 In spite of the high number of submissions, the report literally states, one had to lament "the singularly low artistic quality of the vast majority of the cartoons submitted..., at least three-quarters of the entire lot are both crudely conceived and crudely executed. They scarcely rank about amateur performances."27 In view of this judgment the Advisory Board stuck to the list of recommendations and, like the year before, gave the Pulitzer Prize to Nelson Harding for the second time. This time he received

23 Jerome Landfield was working as the executive secretary of the Advisory Board from 1925 to 1929; cf. John Hohenberg, The Pulitzer Prizes. A History of the Awards in Books, Drama, Music, and Journalism, New York - London 1974, p. 84. 24 F. Fräser Bond/Newbold Moyes/Walter B. Pitkin, Report of the Pulitzer Prize Cartoon Jury, New York, March 15, 1927, p. 1. 25 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 26 F. Fräser Bond/Walter B. Pitkin/E. Robert Stevenson, Report of the Pulitzer Prize Cartoon Jury, New York, March 20, 1928, p.l. 27 Ibid., p. 2.

XXVI

the award for his cartoon "May His Shadow Never Grow Less."28 The jurors of 1929 (John H. Finley, Walter B. Pitkin and Merryle S. Rukeyser) considered just one cartoon as being prizeworthy, that is to say Daniel R. Fitzpatrick of the St. Louis Post-Dispatch, who had already received the honor three years before. "It is the unanimous opinion of the committee," this jury lamented as well, "that the general run of cartoons available for consideration was not very high."29 The Advisory Board, though, did not decide in favor of the recommended D. R. Fitzpatrick, but rather awarded Rollin Kirby of the New York World (who was not mentioned in the jury report) his third Pulitzer Prize instead - this time for his drawing "Tammany."30 Before the jury of the year 1930 (Dwight Marvin, Walter B. Pitkin and Merryle S. Rukeyser) took up work, a circular letter from the Secretary of Columbia University had pointed to the problem of multiple awards, as had become quite obvious in the previous year when Rollin Kirby received his third prize. As a solution the letter suggested, among other things, "to declare publicly that any paper or individual which has received a prize should be ineligible for another award of the same prize within a five-year period..."31 It can only be indirectly proven, as to whether the jury's decision was influenced by this proposal in the Spring of 1930, for it was Charles R. Macauley of the Brooklyn Daily Eagle who was suggested as prize-winner. "In reaching this decision," the jury members said in their report, "we were influenced considerably by the large number of... cartoons by this... artist which in our opinion rank very high. Macauley's total output for the year would, in our judgment, average considerably above the work of any other cartoonist."32 Below Macauley's, other works ranking were by Nelson Harding of the New York Journal and Jay N. Darling of the New York Herald Tribune as well as works by Dorman H. Smith of the San Francisco Examiner?3 The Advisory Board accepted Charles R. Macauley as the winner, and he received the Cartoon Pulitzer-Prize for his drawing "Paying for a Dead Horse,"34 a drawing that was widely reprinted in other newspapers of the country. 28 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 29 John H. Finley/Walter B. Pitkin/Merryle S. Rukeyser, Report of the Pulitzer Prize Cartoon Jury, New York, March 18, 1929, p. 1. 30 Columbia University (Ed.), The Pulitzer Prizes, op. cif., p. 40. 31 Letter of Frank D. Fackenthal to the members of the Advisory Board, New York, November 25, 1929, p. 1. 32 Dwight Marvin/Walter B. Pitkin/Merryle S. Rukeyser, Report of the Pulitzer Prize Cartoon Jury, New York, March 6, 1930, p. 1. 33 Ibid. 34 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.

XXVII In the year 1931 a cartoon by the two-time prize-winner Nelson Harding of the New York Journal was placed first on the list of recommendations by the jurors (Carl W. Ackerman, Charles M. Morrison and Walter B. Pitkin). Alternatively, they suggested a caricaturist of the Boston Transcript?5 The Advisory Board, however, saw this quite completely and declared Edmund Duffy of the Baltimore Sun to be the prize-winner for his cartoon "An Old Struggle Still Going On. "36 The jury of 1932 (Carl W. Ackerman, Charles M. Morrison and Walter B. Pitkin) did not come up with a joint vote, frankly stating in its report "that complete agreement as to any single cartoon has not developed, after some correspondence and extra long searching. We have, however, compromised somewhat by recommending for the award" H. M. Talburt of the New York World Telegram, while John T. McCutcheon of the Chicago Tribune was mentioned as a "close second." A cartoonist of the Boston Herald was also briefly mentioned as well as one of the Detroit News. "It is impossible," it reads in the report, "to list all of the powerful pictures" of the past year. Thereby, the nominations on hand were certified a high quality altogether.37 The Advisory Board decided in favor of the man placed second on the jurors' list, and therefore the Pulitzer Price went to John T. McCutcheon for his drawing "A Wise Economist Asks a Question."38 In the year 1933 the jurors (Oliver O. Kühn, Walter B. Pitkin and M. Lincoln Schuster) had only one name at the top of the list of favorites. H. M. Talburt, who had already been placed first in last year's competition and was working for the Washington Daily News in the meantime, again was suggested "unhesitatingly" as prize-winner because of "the significance of his powerful art."39 This time the jury's proposal was accepted by the Advisory Board and the prize went to H. M. Talburt for his cartoon "The Light of Asia."40 The jury of 1934 (John S. Hamilton, Grove Patterson and Henry F. Pringle) "examined three hundred ninety-four exhibits by thirty-eight American cartoonists before reaching its decision," it can be taken from the report. Elsewhere the report goes on to read: "The jury first individually and without consultation examined all the cartoons and each member selected as most worthy of the award... Edmund Duffy of the Baltimore Sun... There35 Carl W. Ackerman/Charles M. Morrison/Walter B. Pitkin, Report of the Pulitzer Prize Cartoon Jury, New York. March 11, 1931, p. 1. 36 Columbia University (Ed.), The Pulitzer Prizes, op. cii., p. 40. 37 Carl W. Ackerman/Charles M. Morrison/Walter B. Pitkin, Report of the Pulitzer Prize Cartoon Jury, New York, March 22, 1932, p. 1. 38 Columbia University (Ed.), The Pulitzer Prizes, op. cii., p. 40. 39 Oliver O. Kühn/Walter B. Pitkin/M. Lincoln Schuster, Report of the Pulitzer Prize Cartoon Jury, New York, February 27, 1933, p. 1. 40 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.

XXVIII A PULITZER PRIZE-WINNER'S EARLY YEARS

\ "The kind of cartoon for which John T. McCutcheon first became nationally famous - 'Sunday Clothes'; and probably the kind for which he will be longest remembered. This was done in about 1903." Source: Stephen Becker, Comic Art in America, New York 1959, p. 305.

XXIX

upon the three jurors, in conference, re-examined the cartoons submitted and unanimously confirmed their individual first opinions."41 Faced with this clear vote the Advisory Board did not raise any objections and made Edmund Duffy Pulitzer Prize-winner, this time for his cartoon "California Points with Pride-!!"42 When the prize was awarded in 1935 the jury (Carl W. Ackerman, Roscoe E. Brown, Herbert Brucker, Charles P. Cooper and Oliver J. Keller) presented a list with five prizeworthy cartoonists in the following order of precedence: 1. Clarence D. Batchelor ot the New York Daily News; 2, Ross A. Lewis of the Milwaukee Journal; 3. Paul R. Carmack of the Christian Science Monitor; 4. Gene Elderman of the Washington Post; 5. Lute Pease of the Newark Evening News.43 The Advisory Board selected the runner-up, Ross A. Lewis, to receive the award for his cartoon "Sure, I'll Work for Both Sides."44 In 1936 the same jurors (Carl W. Ackerman et al.) once again drew up a list of five cartoonists, having provided a short explanation with his reasons for each of these. C. D. Batchelor of the New York Daily News who "has done excellent work during the year" was placed first. The runner-up was Herbert L. Block of the Newspaper Enterprise Association who submitted 30 cartoons for consideration. The third best was John H. Cassel of the Brooklyn Daily Eagle with seven samples of his work handed in. The fourth best was Gene Elderman of the Washington Post on the basis of "a large number of cartoons." Daniel Bishop of the St. Louis Star Times, of whom "many cartoons"45 were submitted, came fifth. The Advisory Board was not that convinced by any of the five cartoonists mentioned above so as to grant any one of them a Pulitzer Prize, but decided - for the second time in the history of the cartoon category - on "no award."46 In 1937 the jury (Carl W. Ackerman, Roscoe E. Brown, Herbert Brucker, Charles P. Cooper and Oliver J. Keller) in fact only put one suggestion forth, which was: "The members agreed to recommend that the cartoon prize be awarded to C. D. Batchelor of the New York Daily News." Besides this, it was proposed to give "an award of honorable mention" to John F. Knott of 41 John S. Hamilton/Grove Patterson/Henry F. Pringle, Report of the Pulitzer Prize Cartoon Jury, New York, March 23, 1934, p. 1. 42 Columbia University (Ed.). The Pulitzer Prizes, op. cit., p. 40. 43 Carl W. Ackerman et al.. Report of the Pulitzer Prize Cartoon Jury, New York, March 30, 1935, pp. 2f. 44 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 45 Carl W. Ackerman et al., Report of the Pulitzer Prize Cartoon Jury, New York, undated (April 1936), pp. 1 ff. 46 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.

XXX

the Dallas News.47 The Advisory Board did not follow the latter recommendation, but rather decided in favor of the jury's favorite C. D. Batchelor awarded for his cartoon "Come on in, I'll treat you right. I used to know your Daddy."48 In 1938 the same jurors (Carl W. Ackerman et al.) drew up the following list featuring five suggested cartoonists: 1. Gene Elderman of the Washington Post; 2. Vaughn Shoemaker of the Chicago Daily News; 3. Herbert L. Block of the Newspaper Enterprise Association; 4. William S. Warren of the Buffalo Evening News; 5. C. D. Batchelor of the New York Daily News.49 The Advisory Board selected the runner-up, Vaughn Shoemaker, to be awarded for his cartoon "The Road Back?"50 The same jury (Carl W. Ackerman et al.) also was responsible51 in 1939 for awarding the Pulitzer Prize to Charles G. Werner of the Daily Oklahoman on the basis of his cartoon "Nomination for 1938."52 Whereas in the past half-decade there were always five jurors, exclusively recruited lecturers of the School of Journalism of the Columbia University, in charge, this system was immediately changed after the beginning of World War II. In 1940, for the first time, the cartoon jury consisted of only one person (Eleanor Carroll) who had to examine 4,765 cartoons sorting these beforehand according to the following themes: "War and Peace", "Censorship and Propaganda", "Keep out of War", "U.S. Domestic Affairs", "Presidential Pre-views", "War and Religion", "Axis Powers", "The Victims", "Great Britain" and "Germany". "It has been the aim of the committee," the report states, "to emphasize the idea and its graphic expression in each instance, minimizing such information as the newspaper, the artist's name and his volume of work."53 Based on these criteria of selection, 19 cartoons "of prize-winning calibre" by 18 caricaturists were eventually put on the short-list. Amongst them were works by Vaughn Shoemaker of the Chicago Daily News, H. M. Talburt of the Scripps Howard Newspaper Alliance, D. R. Fitzpatrick of the St. Louis Post-Dispatch, Edward Kuekes of the Cleveland Plain Dealer, Ross A. Lewis of the Milwaukee Journal, C. D. Batchelor of the New York Daily News, Robert York of the Louisville Times, 47 Carl W. Ackerman et al., Report of the Pulitzer Prize Cartoon Jury, New York, undated (April 1937), p. 4. 48 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 49 Carl W. Ackerman et al., Report of the Pulitzer Prize Cartoon Jury, New York, undated (April 1938), p. 7. 50 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 51 Carl W. Ackerman et al.. Report of the Pulitzer Prize Cartoon Jury, New York, undated (April 1939), p. 1. 52 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40. 53 Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, April 12, 1940, p. 1.

XXXI Rube Goldberg of the New York Sun, Edmund Duffy of the Baltimore Sun and Rollin Kirby of the New York Post.54 The vote of the Advisory Board was in favor of Edmund Duffy, thereby already winning his third Pulitzer Prize, this time for the cartoon "The Outstretched Hand."55 When the prize was awarded in 1941 the jury (Eleanor Carroll) put together a short-list filtered out of the works of 41 cartoonists. Altogether 12 drawings were considered as prizeworthy, among them cartoons by Jacob Burck of the Chicago Times, Vaughn Shoemaker of the Chicago Daily News, C. D. Batchelor of the New York Daily News, Clifford Berryman of the Washington Evening Star, Gene Elderman of the Washington Post, and Herbert L. Block who adopted the pseudonym Herblock since the early 40s.56 The Advisory Board decided to bestow the award on Jacob Burck, who won the prize for his cartoon "If I Should Die before I Wake..."57 No fewer than 841 cartoons by 44 caricaturists were submitted to the jury (Eleanor Carroll) in the year 1942, "a majority," of which, as the report says, "... appeared after Pearl Harbor, i. e., within a very brief period at the end of the year... Cartoons in the pre-Pearl Harbor period were weak because American cartoonists were often confused and almost always on the defensive... Not unnaturally, therefore, within the few weeks remaining in 1941, American cartoonists began to acquire a new simplicity and vigor."58 The jury primarily put those cartoons on its short-list which corresponded to this trend, amongst them ten outstanding works by a few prominent drawers who had already applied for the prize in the preceding years.59 The Advisory Board chose Herbert L. Block (Herblock) of the Newspaper Enterprise Association from altogether ten finalists and gave him the Pulitzer Prize for his drawing "British Plane."60 The jurors of the year 1943 (Robert E. MacAlarney and Wirt M. Mitchell) stated at the beginning of their report that "as a whole, the quality of work examined was unimpressive." Nevertheless, they chose the following five caricaturists for further consideration: Elmer R. Messner of the Rochester Times Union, Jay N. Darling (Ding) of the Des Moines Register and Tribune, Herbert L. Block (Herblock) of the Newspaper Enterprise Association, Jacob Burck of the Chicago Times, and Vaughn Shoemaker of the Chicago 54 55 56 57 58 59 60

Ibid., pp. 2 f. Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, March 30, 1941, ρ. 1. Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1942), pp. 2 f. Ibid., p. I . Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.

XXXII Daily News.61 The Advisory Board was especially taken with Jay N. Darling's work who, 20 years after his first Pulitzer Prize, now won the second one for the caricature "What a Place For a Waste Paper Salvage Campaign."62 The jury of 1944 (Robert E. MacAlarney and Fred J. Pannwitt) had to examine the works of 49 caricaturists, each of them having submitted several drawings. The following eight cartoonists made the final draw: C. D. Batchelor of the New York News, Jacob Burck of the Chicago Times, William H. Crawford of the Newark Evening News, Jay N. Darling of the Des Moines Register and Tribune, Walter J. Enright of the Miami Herald, Jack Lambert of the Chicago Sun, Tom Little of the Nashville Tennessean, and Vaughn Shoemaker of the Chicago Daily News.63 The Advisory Board did not accept any of the artists mentioned above, but rather gave the Pulitzer Prize to Clifford Berryman of the Washington Evening Star for his cartoon "But Where Is the Boat Going?"64 Applications by 51 caricaturists were submitted for consideration to the one person jury (Arthur S. Rudd) of the year 1945, the following thirteen of which were on the short-list: Jerry Costello of the Knickerbocker News, Jay N. Darling of the Des Moines Register and Tribune, Bums Jenkins Jr. of the Hearst Publications, Cecil Jensen of the Chicago Daily News, Edward Kuekes of the Cleveland Plain Dealer, Tom Little of the Nashville Tennessean, Paul S. Loring of the Providence Journal Bulletin, William H. Mauldin of the United Features Syndicate, Silvey J. Ray of the Kansas City Star, William Summers of the Buffalo Evening News, Keith Temple of the New Orleans Times Picayune, Harold T. Webster of the New York Herald Tribune, and Charles G. Werner of the Chicago Sun65 The prize was awarded to William H. (Bill) Mauldin, who was still serving in the army as a sergeant at the time, being especially honored by the Advisory Board for his cartoon "Fresh, spirited American troops..."66 being part of a series. In the year 1946 the jury (Richard F. Crandell and Roscoe Ellard) selected from 38 applications the works of these six caricaturists: Newton Pratt of the Sacramento Bee, Dorman H. Smith of the Newspaper Enterprise Association, Vaughn Shoemaker of the Chicago Daily News, Paul Battenfield of the 61 Robert E. MacAlarney/Wirt M. Mitchell, Report of the Pulitzer Prize Cartoon Jury, New York, March 15, 1943, p. 1. 62 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. 63 Robert E. MacAlamey/Fred J. Pannwitt, Report of the Pulitzer Prize Cartoon Jury, New York, March 20, 1944, p. 1. 64 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. 65 Arthur S. Rudd, Report of the Pulitzer Prize Cartoon Jury, New York, March 1, 1945, pp. 1 f. 66 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.

XXXIII Self-portrait of a Pulitzer Prize-winning Cartoonist

Symbolic of more than half a century of cartooning, this Mlf-portralt of Clifford K. Berryman. Star cartoonist, depicts the 10 Chief Executives of the United States he has known. In order the Presidents are Benjamin Harrison, Cleveland. McKinley, Theodore Roosevelt, Taft, Wilson, Harding, Coolldge, Hoover and Franklin D. Roosevelt.

Source: The Sunday Star (Washington, D.C.), No. 36,223, July 4, 1943, p. A 2, cols. 3-5.

Chicago Times, Roy B. Justus of the Minneapolis Star-Journal and Jacob Burck of the Chicago Times.61 Nobody, however, from this circle was awarded the prize, but rather Bruce A. Russell of the Los Angeles Times won the prize on the basis of his drawing "Time to Bridge That Gulch."68 "The impact of the cold war on the American public," Hohenberg once stated, "also was registered picturesquely in the work of the Pulitzer Prize 67 Richard F. Craiidell/Roscoe Ellard, Report of the Pulitzer Prize Cartoon Jury, New York, April 5, 1946, pp. I f . 68 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.

XXXIV cartoonists" of the early post-war years.69 On the list of the jurors (Walker Stone and Basil L. Walters) of 1947 there was also a cartoon by Vaughn Shoemaker of the Chicago Daily News entitled "Still Racing His Shadow," on the basis of which he won his second Pulitzer Prize.70 Cartoons with a similar theme were also submitted to the jury of 1948 (Marvin Creager and Verne E. Joy) for the Advisory Board chose Reuben L. Goldberg of the New York Sun to be the winner for his drawing called "Peace Today."71 When the prize was awarded in 1949 the works submitted to the jurors (Clayton Fritchey and James Kerney Jr.) were also partly concerned with the cold war problem. On top of the list was Tom Little of the Nashville Tennessean, followed by Jacob Burck of the Chicago Sun-Times, John Chase of the New Orleans States, D. R. Fitzpatrick of the St. Louis Post-Dispatch and Lute Pease of the Newark Evening News.12 The works of the latter most impressed the Advisory Board, so that the Pulitzer Prize of the cartoon-category went to Lute Pease for his drawing "Who, Me?"73 In the beginning of their report, the jurors of 1950 (Jack Foster and Michael A. Gorman) presented some thoughts concerning their procedure of selection. "We felt," they stated, "that the cartoon that required extensive wordage, intricate drawing to project its message, no matter how sound and logical it might be, was not nearly as compelling as the one that relied almost completely on the power of the drawing itself."74 Based on these principles only five caricaturists and their works made the final draw, on top the drawing "What Peace?" by Reuben L. Goldberg of the New York Sun. "In our opinion this cartoon, as far as the craftsmanship is concerned, is the most skillfully drawn of those submitted by any artist," the members of the jury praised. Besides, one cartoon by each of the caricaturists mentioned below was on the following places: Vaughn Shoemaker of the Chicago Daily News, Roy B. Justus of the Minneapolis Star, Charles G. Werner of the Indianapolis Star and John C. Chase of the New Orleans States.75 The Advisory Board, however, did not accept anyone of these five caricaturists, but decided in favor of another application. So in the end the prize was awarded to James T. Berryman of the Washington Evening Star for his cari69 70 71 72

John Hohenberg, The Pulitzer Prizes, op. cit., p. 190. Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. Ibid. Clayton Fritchey/James Kemey Jr., Report of the Pulitzer Prize Cartoon Jury, New York, March 15, 1949, p. 3. 73 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. 74 Jack Foster/Michael A. Gorman, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1950), p. 1. 75 lbid.,fp. 2ff.

XXXV cature which focused on domestic policy entitled "All Set for a Super-Secret Session in Washington."76 The early 50s were considerably shaped by the Korean Conflict, which is also reflected in the caricatures of the period. In 1951 six finalists were short-listed by the jury (Felix R. McKnight and H. D. Paulson) and acknowledged as follows: Fred L. Packer of the New York Daily Mirror submitted a cartoon that had "all the qualities necessary to attract attention and serve the purposes of editorial cartooning." Vaughn Shoemaker of the Chicago Daily News handed in an entry "designed to shake the shoulder of every American." John F. Knott of the Dallas Morning News took part in the competition with a drawing that was characterized as "one of the most widely reprinted cartoons of 1950." A work by Jacob Burck of the Chicago Sun-Times was felt as very precise in detail. About a drawing of James T. Berryman of the Washington Evening Star was said: "The penwork is outstanding." And concerning a work of Reginald W. (Reg) Manning of the Arizona Repuplic it was said: "With a minimum of ink, Mr. Manning has created a maximum of expression."77 The caricature concerned was called "Hats," on the basis of which Reg Manning finally won the Pulitzer Prize.78 Among the works which had to be examined by the jury of 1952 (Henry B. Hough and Sam L. Latimer Jr.) the Advisory Board chose Fred Packer of the New York Daily Mirror to be the winner on the basis of his cartoon "Your Editors Ought to Have More Sense Than to Print What I Say!"79 In their report, the jurors of 1953 (John M. O'Connell Jr. and William M. Pepper Jr.) gave only the names of some finalists, but not of the papers they worked for. "We have selected Bruce Alexander Russell's cartoon "Eisenhower's Jacket" as outstanding and recommend it for the winner," the jury's report says and continues: "The drawing, as well as that of all other entries of Mr. Russell, is of the highest quality. The pictorial effect is particularly striking because of its omission of unnecessary details... We have decided to list three other cartoons that we think could have won first place in the absence of 'Eisenhower's Jacket'. Either Don Hesse's Over a Barrel', or John Fischetti's Ί Cover the Waterfront' could stand in second place, and we express no preference between them for the second and third spots. In fourth position we have selected Eldon Fletcher's 'The Supreme Court'." Moreover 76 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. 77 Felix R. McKnight/H. D. Paulson, Report of the Pulitzer Prize Cartoon Jury, New York, March 20, 1951, pp. I f f . 78 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. 79 ibid.

XXXVI TWO PULITZER PRIZE CARTOON-WINNERS AT WORK

Reg Manning, award winner of 1951

Source: Current Biography, Vol. 1951, p. 404.

Edward D. Kuekes, award winner of 1953

Source: Current Biography, Vol. 1954, p. 390.

XXXVII works by Edward D. Kuekes, Tom Little and L. D. Warren were given as worth mentioning.80 The Advisory Board selected one of the latter, and so the prize, went to Edward D. Kuekes of the Cleveland Plain Dealer for his cartoon "Aftermath."81 Among the applications that were submitted to the jury of 1954 (William M. Pepper Jr. and Walter J. Pfister), it was Herbert L. Block of the Washington Post who was chosen as the winner by the Advisory Board. He was already being awarded his second Pulitzer Prize, this time for the drawing "You Were Always A Great Friend of Mine, Joseph."82 In their report, the jurors of 1955 (Sylvan S. Byck and George A. Smallsreed Sr.) stated in principle that "we... suggest strict enforcement of the rule limiting the number of entries by each contestant to twelve. This year many cartoonists limited their submissions to the prescribed number and even fewer. On the other hand, some presented as high as fifty, which gave them an unfair advantage."83 Although more than 500 entries were submitted, there were only relatively few cartoons "that ranked over the acceptable level." One of these finalists was Bruce Russell of the Los Angeles Times, who came first, followed by the "very close second" Tom Little of the Nashville Tennessean. Next on the list were Don Hesse of the St. Louis Globe Democrat, Edward D. Kuekes of the Cleveland Plain Dealer, Cecil Jensen of the Chicago Daily News, and Hugh Hutton of the Philadelphia Inquirer*4 After that decision, Joseph Pulitzer II turned to the Pulitzer Prize Board and proposed that the drawings of D. R. Fitzpatrick of the St. Louis Post-Dispatch, whose works were also still in the competition also be taken into consideration. This suggestion was followed.85 As Hohenberg tells, "the Pulitzer Board had to reverse the cartoon jury to grant their late chairman's request."86 So D. R. Fitzpatrick won his second Pulitzer Prize for a cartoon called "How Would Another Mistake Help?"87 When the prize was awarded in 1956 the suggestion of the jury (Stanley P. Barnett, Edmund Duffy and Sam L. Latimer Jr.) was, for the most part, to be followed. Robert York of the Louisville Times was put in first place. "The 80 John M. O'Connell Jr./William M. Pepper Jr., Report of the Pulitzer Prize Cartoon Jury, New York, March 10, 1953, p. 1. 81 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41. 82 Ibid. 83 Sylvan S. Byck/George A. Smallsreed Sr., Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1954), p. 2. 84 Ibid., pp. 1 f. 85 Letter from John Hohenberg, New York, to Joseph Pulitzer II, St. Louis, March 17, 1955, p. 1. 86 John Hohenberg, The Pulitzer Diaries. Inside America's Greatest Prize, Syracuse, N.Y., 1997, p. 315. 87 Columbia University (Ed.), The Pulitzer Prizes, op. cil., p. 42.

XXXVIII jurors feel that Mr. York's work meets all of the conditions set forth for a winner," says the vote in the report, "Mr. York deserves first place not only for the individual cartoon..., but because of supporting evidence of his work otherwise." John Fischetti of the Newspaper Enterprise Association was the runner-up "for the general day-by-day excellence of his output." The artists placing next closest were: Herbert L. Block of the Washington Post, Bruce Shanks of the Buffalo Evening News, Cy Hungerford of the Pittsburgh PostGazette, and Robert N. Palmer of the Springfield Leader and Press** The Advisory Board accepted the jury's favorite, so that Robert York was honored for a cartoon with the title "Achilles."89 In 1957, when the jurors (Raymond J. Fanning and Burnett O. McAnney) were "impressed by the high calibre of all cartoons," five caricaturists made the short-list: 1. Bums Jenkins Jr., of the New York Journal-American, 2. John Stampone of the Army Times Publishing Company, 3. Tom Little of the Nashville Tenne ssean, 4. Hugh Haynie of the Greensboro Daily News, and 5. Roy Justus of the Minneapolis Star.90 The jury's first choice, however, was not accepted by the Advisory Board, but rather it was the third placed artist who won. Tom Little, who had already been among the finalists several times in the past years, won the Pulitzer Prize for a cartoon entitled "Wonder Why My Parents Didn't Give Me Salk Shots?"91 which was also often used in a health campaign. The report of the jury of 1958 (Edmund Duffy, Sam L. Latimer Jr. and Burnett O. McAnney) only contained a list of suggested finalists as follows: 1. Don Hesse of the St, Louis Globe Democrat, 2. Newton Pratt of the Sacramento Bee, 3. Edmund Valtman of the Hartford Times, 4. John Fischetti of the Newspaper Enterprise Association, 5. William H. Crawford of the Newark News.92 The members of the Advisory Board did not accept anyone mentioned above, but,rather bestowed the Pulitzer Prize on Bruce M. Shanks of the Buffalo Evening News for his cartoon "The Thinker."93 In 1959, too, the jurors (D. Tennant Bryan and Weidman W. Forster) submitted only a brief report saying: "Clarence Batchelor of the New York Daily News... is our

88 Stanley P. Barnett/Edmund Duffy/Sam L. Latimer Jr., Report of the Pulitzer Prize Cartoon Jury, New York, March 12, 1956, p. 1. 89 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 90 Raymond J. Fanning/Burnett O. McAnney, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1957), p. 1. 91 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 92 Edmund Duffy/Sam L. Latimer JrTBumett O. McAnney, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1958), p. 1. 93 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.

XXXIX RETIREMENT OF THE 1958 PULITZER CARTOON-WINNER AFTER 23 YEARS OF SERVICE Good Luck, Bruce! Bruce Shanks is a ηο-nonsen e type of man who togged off from an ostentatious round of farewells to mark his retirement as News cartoonist. He probably takes a dim view of the big splash elsewhere in today's paper outlining the high points of his remarkable career. But Bruce Shanks is one person who doesn't need any such announcement of his departure, for he'll be missed—day

in. day out—by the host of admirers of his work in the area and around ihe nation. In fact, for the past 23 years, we have no doubt that the editorials on this side of the page hive waged an uneven contest (or reader attention wiih the daily Shanks cartoon. All of us at The News will miss him, too. not only for his flawless craftsmanship and dedication, but for his genial good nature and ready wit. Our best wishes go with him on his retirement.

'Smatter, Shanks, Run Out of Ideas?' Source: Buffalo Evening News (Buffalo, N.Y.), Vol. CLXXXVIII/No. 10, April 22, 1974, p. 28.

XL

No. 1 selection." Besides, the report shortly mentioned the following names: William H. Mauldin of the St. Louis Post-Dispatch, Vaughn Shoemaker of the New York Herald Tribune, William B. Robinson of the Indianapolis News, Edmund Valtman of the Hartford Times, Arthur Poinier of the Detroit News and James J. Dobbins of the Boston Traveler.94 The Advisory Board again did not confirm the jury's favorite, but gave the honor to William H. (Bill) Mauldin, thus receiving his second Pulitzer Prize; this time for the drawing "I won the Nobel Prize for Literature. What was your crime?"95 The jury of the year 1960 (Daniel R. Fitzpatrick, Michael J. Ogden and Miles H. Wolff) reported "that the best work has been submitted by Newton Pratt of the Sacramento Bee... Next to Mr. Pratt our vote was for Herbert L. Block of the Washington Post... We had two other cartoonists in the final running: William H. Crawford of the Newark News and Paul F. Conrad of the Denver Post."9(> Because of these very short comments the Advisory Board did not feel the need to award anyone mentioned above, and decided for the third time in the history of this category on "no award."97 In 1961, too, the opinions of the jurors (J. Q. Mahaffey, Colbert A. McKnight and William P. Steven) and the Advisory Board differed enormously. The jury put four caricaturists, namely William H. (Bill) Mauldin of the St. Louis Post-Dispatch, Roy Justus of the Minneapolis Star, Paul Conrad of the Denver Post and Hugh Haynie of the Louisville Courier-Journal, on their short-list. "The jurors," citing their report literally, "found it difficult to select one of these as substantially stronger than the others. However, ... the three jurors were unanimous that Bill Mauldin's work best adhered to the high traditions of the Pulitzer awards for cartooning."98 However, the members of the Advisory Board were once again not convinced by the jurors' suggestions and declared someone else as winner, namely Carey Orr of the Chicago Tribune who was honored for his complete works. His drawing "The Kindly Tiger" was considered an especially good example of his work.99 The year 1962 was to bring another surprise, for the jury (Virgil M. Newton Jr., Frank F. Orr and Dwight E. Sargent) had only one favorite in

94 D. Tennant Bryan/Weidman W. Forster, Report of the Pulitzer Prize Cartoon Jury, New York, March 12,1959, p. 1. 95 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 96 Daniel R. Fitzpatrick/Michael J. Ogden/Miles H. Wolff, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1960), p. 1. 97 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 98 J. Q. Mahaffey/Colbert A. McKnight/William P. Steven, Report of the Pulitzer Prize Cartoon Jury, New York, March 9, 1961, p. 1. 99 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.

XLI

their report, namely Tom Little of the Nashville Tennessean who had already been awarded the prize five years before. "Mr. Little has demonstrated the power and persuasiveness of the pen when held by a craftsman of conscience and dedication to the highest of journalistic ideals," as the report goes, "many of the other entries were excellent, but we feel that Mr. Little's cartoons are in a class by themselves."100 The Advisory Board, however, was not impressed by this laudatio, but rather chose Edmund S. Valtman of the Hartford Times as winner, who received the prize for his cartoon "What You Need, Man, Is a Revolution Like Mine!"101 In 1963 the jurors (John S. Gillen, Lee Hills and Victor O. Jones) selected from 77 entries Paul F. Conrad of the Denver Post, Herbert L. Block (Herblock) of the Washington Post, William Mauldin of the Chicago Sun-Times, Frank Miller of the Des Moines Register and Tribune and last year's winner Edmund S. Valtman of the Hartford Times as possible winners.102 Finally, the Advisory Board declared itself to be willing to accept one of the artists mentioned above. The Pulitzer Prize in this category went this time to Frank Miller "for his distinguished editorial cartoons during the year, a notable example of which" was "I said - we sure settled that dispute, didn't we!"103 The jury of the year 1964 (Frank R. Ahlgren, Donald K. Baldwin, Jim Fain, John B. Oakes and Vermont C. Royster) drew up a list of four candidates as described in the following statement: "The committee recommends for the Pulitzer Cartoon Prize Paul Conrad of the Denver Post for the general excellence of his entry... The second choice was Charles Werner of the Indianapolis Star... The third choice was Gene Basset of the Scripps Howard Newspapers... The fourth choice was Bill Mauldin of the Chicago SunTimes."104 Without protest on the part of the Advisory Board the prize went to Paul Conrad "for his editorial cartooning during the year."105 There were just three names on the jury's (Arthur R. Bertelson, Hugh N. Boyd, William Dwight Sr. and John N. Popham) list of finalists for the year 1965, namely: "1. Hugh Smith Haynie of the Louisville Courier-Journal... The jury was favorably impressed by the general content of Mr. Haynie's work throughout 100 Virgil M. Newton Jr./Frank F. Orr/Dwight E. Sargent, Report of the Pulitzer Prize Cartoon Jury, New York, March 8, 1962, p. 1. 101 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 102 John S. Gillen/Lee Hills/Victor O. Jones, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1963), p. 1. 103 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 104 Frank R. Ahlgren/Donald K. Baldwin/Jim Fain/John B. Oakes/Vermont C. Royster, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1964), p. 1. 105 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.

XLII

the man Edmund & Valtman, editorial cartooieilüHpe ÄWIU4 Time· once 1951. the prize Winner of the 1961 Pulitzer Prize fattfoKidal cartoone in the Times. the paper The Hartford Times, Connecticut's largest daily newspaper and New England's Top Award Winner. We're mighty proud of our Eld Valtman and the many other Times employees who have won awards in the past. We prize these people and their talents. They and their associates, are responsible for placing The Hartford Times among the outstanding newspapers in the country today.

Source: Editor & Publisher (New York), Vol. 95/No. 21, May 26, 1962, p. 33.

XLIII

the year as submitted... 2. Herbert L. Block of the Washington Post... Herblock portrays powerfully the grim prospects facing the world as the proliferation of atomic capability grows... 3. Clifford H. Baldowski of the Atlanta Constitution... Baldy points out with judicious restraint that the burden of integration must be shouldered by all citizens on the premise that equal rights carry equal responsibilities if opportunity for allies to be attained."106 Despite the detailed praisings for all three artists the Advisory Board did not choose a winner, but instead decided on "no award" in this category.107 The jury of 1966 (John E. Leard, John B. Oakes, John Strohmeyer and Thomas Winship) worked out a very detailed report with the following places and explanations: 1. Don Wright of the Miami News. His entry was picked as the unanimous first choice... His work shows a variety of style marked consistently by simplicity and impact; a broad range of ideas; meaning made clearly apparent by use of the original rather than the obvious; and more effective humor than is offered by almost any other candidate... 2. Eugene Gray Payne of the Charlotte Observer. This was the jury's unanimous choice for second place. He combines a distinctively bold style with instant focus... 3. Joaquin de Alba of the Washington Daily News. European-born, he uses effectively the humor that is distinctive of European editorial cartoonists, a refreshing change of pace from the increasingly grim American commentary... 4. John Fischetti of the New York Herald Tribune. The jury felt it was important to call the Advisory Board's attention to this fresh approach, almost unique in its departure from traditional editorial cartooning. The heavy reliance on the written punch line might bar Fischetti from consideration for the top honor under the present rules..."108 This view was obviously shared by the Advisory Board that voted for the jurors' first choice. Thus, Don Wright was awarded the prize "for his editorial cartooning... as exemplified by his cartoon 'You Mean You Were Bluffing?'"109 In 1967 it was again a jury of five (Harding Christ, William J. Foote, John R. Harrison, John D. Maurice and Warren H. Phillips) which had to examine the entries of the works from the year before. It drew up a short-list featuring the artists in alphabetical order: Jacob Burck of the Chicago Sun-Times -

106 Arthur R. Bertelson/Hugh N. Boyd/William Dwight Sr./John N. Popham, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1965), pp. 1 f. 107 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 108 John E. Leard/John B. Oakes/John Strohmeyer/Thomas Winship, Report of the Pulitzer Prize Cartoon Jury, New York, March 4, 1966, pp. 1 f. 109 Columbia University (Ed.), The Pulitzer Prizes, op. cif., p. 42.

XLIV this was the second choice by the committee by 3-to-2 vote. Cecil Leon Jensen of the Chicago Daily News... Patrick B. Oliphant of the Denver Post... This was the unanimous selection of the committee to receive the award. Raymond Harold Osrin of the Cleveland Plain Dealer... Bruce McKinley Shanks of the Buffalo Evening News... This was third choice of (the) committee. Robert Stevens of the Sioux City Evening Tribune was the last of the alphabetical list. "The Oliphant cartoon," it was additionally emphasized about the first choice, "in the opinion of the committee, consists of an original concept dramatically expressed. His style is fresh and highly individualistic. This also is reflected in his other work... The cartoon we favored was helpful to a commendable cause of public importance in a global rather than just local or national sense. The cartoon, by pointing up alternatives, dramatizes not one but two issues of overriding importance today."110 In view of the high merits Patrick B. Oliphant received the Pulitzer Prize "for his cartoons during the year as exemplified by "They Won't Get Us To The Conference Table... Will They?"111 When the prize was awarded in 1968 the jurors (Frank R. Ahlgren, Don Carter, Jim Fain, William H. Fitzpatrick and Larry Jinks) drew up a list of a group of finalists in order of preference with the following names: "First: Bill Mauldin of the Chicago Sun-Times for the overall quality of his work... Second: Jules Feiffer of the Village Voice... Third: Paul F. Conrad of the Los Angeles Times. Fourth: Eugene Gray Payne of the Charlotte Observer."112 Later on, there are some explanations in the report for this selection pointing at first to "Mauldin's ability to capture in a few strokes issues of a great moment," whereas stating about Jules Feiffer that "his judgments are uncompromising, and his captions are the work of an accomplished writer. Paul Conrad," the report goes on, "is not only an incisive discursionist, but he has a gentle humor that should be in every cartoonist's portfolio. He has an awareness of the global situation and he sizes up the local scene with perceptiveness and sometimes devastating strokes. He is, indeed, a man for all seasons. Eugene Payne combines stark, clean draftsmanship with forceful ideas and fresh wit. The jury was especially impressed by his cartoon... epitomizing the upstaging of the civil rights issue by the Vietnamese War."113 The Advisory Board was most impressed by the latter artist, Eugene Gray 110 Harding Christ/William J. Foote/John R. Harrison/John D. Maurice/Warren H. Phillips, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1967), p. 1. 111 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42. 112 Frank R. Ahlgren/Don Carter/Jim Fain/William H. Fitzpatrick/Larry Jinks, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1968, p. 1. 113 Ibid., pp. 2 f.

XLV

"They won'»· get US to the conference table... will they."

Los Angeles Times Syndicate heartily congratulates

editorial cartoonist of THE

DENVER POST

on winning the 1966 PULITZER PRIZE for EDITORIAL CARTOONING Previous honors showered on this young cartoonist include the 1966 Sigma Delta Chi award for editorial cartooning. Syndicated internationally by

j£os Singles Cities SYNDICATE Times Mirror Square / Lot Audits, Cnlifornin 90053 / Telephone: 2/3-625-2311

Source: Editor & Publisher (New York), Vol. 100/No. 18, May 6, 1967, p. 3.

XLVI Payne being only number four on the jury's list, but he was awarded the Pulitzer Prize "for his editorial cartooning" in the past year.114 Without any further reasons given for their selection the jury of 1969 (Glen A. Boissonneault, Rene Cazenave, Robert Mason, Everett T. Rattray and William T. Shelton) mentioned on its finalists' list six "recommendations in alphabetical order because it was unable to agree on a single outstanding cartoon or cartoonist." Nominated were Paul Conrad of the Los Angeles Times, Lewis Erickson of the Atlanta Journal, John Fischetti of the Chicago Daily News, Bill Mauldin of the Chicago Sun-Times, Patrick B. Oliphant of the Denver Post and Raymond H. Osrin of the Cleveland Plain Dealer.115 The Advisory Board's choice was the third one mentioned among the finalists. Thus the Pulitzer Prize went to John Fischetti "for his editorial cartooning" during the last year.116 When the prize was awarded in 1970 the jury (Clayte Binion, Max Frankel, Vance H. Trimble and Donald C. Wilder) drew up a list "on the work of four men, in this order: 1. Thomas F. Darcy of Newsday, 2. Don Wright of the Miami News, 3. Herbert L. Block of the Washington Post, 4. Patrick B. Oliphant of the Denver Post."111 "Mr. Darcy's work is the most deserving of honor this year," the jurors reported and added: "He has a fresh, bold and broad style of cartoon commentary, yet commands attention also for the subtlety and sophistication of his messages... He uses pictures and words, in effective combination, for a clear and vigorous impact on the reader. Messrs. Wright, Block and Oliphant remain the old pros in our judgment; worthy of honor yet in some small way less commanding of it than Mr. Darcy."118 The Advisory Board did not raise any objections and chose Thomas F. Darcy as winner "for his editorial cartooning" of the preceding year.119 In 1971, when once again five jurors (George Fattman, Stuart R. Paddock Jr., Wendell C. Phillippi, John C. Quinn and Charles B. Seib) were in charge of selecting the finalists, they mentioned in their report "arranged in order of preference: 1. Don Wright of the Miami News. We were greatly impressed by his whole exhibit... 2. Paul Michael Szep of the Boston Globe... 3. Herbert L. Block of the Washington Post... 4. Bill Mauldin of the Chicago 114 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43. 115 Glen A. Boissonneault/Rene" Cazenave/Robert Mason/Everett T. RattrayAVilliam T. Shelton, Report of the Pulitzer Prize Cartoon Jury, New York, March 6, 1969, p. 1. 116 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43. 117 Clayte Binion/Max Frankel/Vance H. Trimble/Donald C. Wilder, Report of the Pulitzer Prize Cartoon Jury, New York, March 5, 1970, p. 1. 118 Ibid. 119 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.

XLVH Sun-Times... 5. Paul Conrad of the Los Angeles Times.120 The latter of the list, Paul Conrad, was awarded the Pulitzer Prize "for his editorial cartooning" during the year. It was the second time for him to receive this honor.121

THE TRUSTEES OF COLUMBIA UNIVERSITY IN THE CITY OF NEW YORK MAKE KNOWN TO ALL MEN BY THESE PRESENTS THAT

PAUL CONRAD HAS BEEN AWARDED

THE PULITZER PRIZE IN JOURNALISM FOR

EDITORIAL CARTOONING IN WITNESS WHEREOF WE HAVE CAUSED THIS CERTIFICATE TO BE SIGNED BY THE PRESIDENT OF THE UNIVERSITY AND OUR CORPORATE SEAL TO BE HERETO AFFIXED ON THE

THIRD

DAY OF

MAY

IN THE YEAR OF OUR LORD

ONE THOUSAND N I N E HUNDRED AND

SEVENTY-ONE

Pulitzer Prize Certificate for the Editorial Cartoon-Winner of 1971 A short-list of three nominees was suggested by the jury of 1972 (Charlotte Curtis, Robert L. Hudson, Harold E. Hutchings, Perry Morgan and William O. Walker) featuring: "1. Jeffrey K. MacNelly of the Richmond News-Leader. This young man has a striking ability to embody an idea with striking pictorial effect... His cartoons demonstrate, as well, a refreshing and engaging sense of humor... 2. Paul Conrad of the Los Angeles Times: ... He demonstrates ability to make constructive commentary quickly with cartoons that reflect excellent drawing... 3. Steven B. Miller of the Honolulu Starno

George Fattman/Stuart R. Paddock Jr./Wendell C. Phillippi/John C. Quinn/Charles B. Seib, Report of the Pulitzer Prize Cartoon Jury, New York, March 4, 1971, p. 1. 121 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.

XLVIII Bulletin: Mr. Miller's work is marked by a sparkling versatility of style and a constant sense of humor..."122 The Advisory Board was convinced by the works of Jeffrey K. MacNelly, who received the Pulitzer Prize "for his editorial cartooning" done in 1971.123 The jurors of the year 1973 (Frank W. Barndollar, Lucile H. Bluford, Paul F. Conrad, Kenneth MacDonald and Abraham M. Rosenthal) did not see themselves as having been given an easy task when they reported to the Advisory Board: "The committee regrets that it cannot make a recommendation... in the field of cartoons. Many interesting nominations were presented. But there were none that the committee felt contained what it believed should be the criteria for a Pulitzer Prize in this field."124 In view of this difficult situation the Advisory Board also had no other solution than to decide on "no award" in this category.125 The jury of 1974 (Richmond A. Dalton, James Geehan, Harold V. Listen, Carl T. Rowan and Eileen Shanahan) did not have any problems in selecting their favorites. "The jurors... are unanimous in recommending," as the report says, "that a Pulitzer Prize... be granted to Paul Szep of the Boston Globe... We note that the body of Mr. Szep's work throughout the year has been courageous and relevant. (2.) Hugh Smith Haynie of the Louisville Courier-Journal consistently produced cartoons of high visual impact and deep intellectual and emotional content. (3.) William W. Sanders of the Milwaukee Journal produced several outstanding cartoons."126 However, the Advisory Board's and Jury's undisputed favorite remained Paul Szep, who was awarded the Pulitzer Prize for his complete "editorial cartooning" of the year before.127 The jury of 1975 (Robert L. Healy, Elvin Henson, Norman E. Isaacs, Maxwell McCrohon and William J. Woestendiek) had to grapple with certain classification problems when it presented and interpreted its choices "in terms of preference" as follows: " 1. Garry Trudeau, whose work is syndicated through the Universal Press Syndicate, and which appears as 'Doonesbury'. Many newspapers publish his work on comics pages, which the jury considers a definite misplacement; 2. Ranan Lurie, syndicated nationally by

122 Charlotte Curtis/Robert L. Hudson/Harold E. Hutchings/Perry Morgan/William O. Walker, Report of the Pulitzer Prize Cartoon Jury, New York, March 10, 1972, p. 1. 123 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43. 124 Frank W. Bamdollar/Lucile H. Bluford/Pau! F. Conrad/Kenneth MacDonald/Abraham M. Rosenthai, Report of the Pulitzer Prize Cartoon Jury, New York, March 8, 1973, p. 1. 125 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43. 126 Richmond A. Dalton/James Geehan/Harold V. Liston/Carl T. Rowan/Eileen Shanahan, Report of the Pulitzer Prize Cartoon Jury, New York, March 7, 1974, p. 1. 127 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.

XLIX the Los Angeles Times Syndicate; 3. Paul Conrad of the Los Angeles Times; 4. Douglas N. Marlette of the Charlotte Observer, 5. William W. Sanders of the Milwaukee Journal."12* "It has been the considered view of the jury," as the list mentioned above was justified, "that Mr. Trudeau's work is marked by a brilliance in ideas and that he has had enormous impact among the young. The jury is cognizant that by selecting Mr. Trudeau as its first-place choice it has departed from what has seemed to be a habit of selecting only editorial page work. Some few editors have recognized the editorial thrust of 'Doonesbury' and have plucked his work out of the standard sections and placed it in strong editorial positions."129 The Advisory Board was convinced by this new approach to interpreting editorial cartoons in the way the jury explained it. So the Pulitzer Prize was bestowed on Garry Trudeau "for his cartoon strip 'Doonesbury'" of the preceding year.130 Of the ninety-six entries submitted to the jurors of 1976 (Luke Feck, Frank F. Orr, Wendell C. Phillippi, William J. Raspberry and William D. Snider) it was Jeffrey MacNelly of the Richmond News-Leader, who was unanimously put in first-place by the jury. "We are particularly impressed by the power of his ideas," the report states, "the quality of his draftsmanship, his penchant for the unexpected twist and the bite of his wit... The jury also commends strongly the work of Pat Oliphant of the Washington Star, Tony Auth of the Philadelphia Inquirer and Wayne Stayskal of the Chicago Tribune"131 However, the Pulitzer Prize went to Tony Auth "for his editorial cartooning during the year, as exemplified by the cartoon "O beautiful for spacious skies, For amber waves of grain..."132 Among other things, the jury of 1977 (Judith W. Brown, Christy C. Bulkeley, Robert B. Frazier, Edward Lehman and Garth C. Reeves Sr.) praised the "Strength, of caricatures, drawings and points" by Paul Szep of the Boston Globe, the "Direct, strong drawings and points" by Richard Locher of the Chicago Tribune, the "Clear and direct points" by Doug Marlette of the Atlanta Constitution, the "Good imagery; range of images and subjects" by Tony Auth of the Philadelphia Inquirer, and "Timeliness" by Don Wright of the Miami News,"133 On the

128 Robert L. Healy/Elvin Henson/Norman E. Isaacs/Maxwell McCrohon/William J. Woestendiek, Report of the Pulitzer Prize Cartoon Jury, New York, March 6,1975, p. 1. 129 Ibid. 130 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43. 131 Luke Feck/Frank F. Orr/Wendell C. Phillippi/William J. Raspberry/William D. Snider, Report of the Pulitzer Prize Cartoon Jury, New York, March 4, 1976, p. 1. 132 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43. 133 Judith W. Brown/Christy C. Bulkeley/Robert B. Frazier/Edward Lehman/Garth C. Reeves Sr., Report of the Pulitzer Prize Cartoon Jury, New York, March 4, 1977, p. 1.

"There are only three major vehicles to keep us informed as to what is going on in Washington: the electronic media, the print media, and Doonesbury... not necessarily in that order" - Gerald R. Ford President. United States Radio ;' won a Heywood Broun Honorable Mention for outstanding journalistic achievement in 1947, the Broun Award in 1948, a Sigma Delta Chi A war.! in 1949, and shared the 1950 Broun Award with a New York Post reporiei In 1954, Herbert L. Block earned his second Pulitzer Cartoon Pn/e for a drawing entitled "You Were Always A Great Friend of Mine, Joseph/'

128

"YOU WERE ALWAYS A GREAT FRIEND OF MINE, JOSEPH"

[Source: Herbert L. Block: You Were Always A Great Friend Of Mine, Joseph, in: The Washington Post (Washington, D.C.), No. 28,021, March 5, 1953, p. 14, cols. 3-5.]

Interpretation: Cartoon refers to the death of Soviet dictator Joseph V. Stalin, The sinister drawing shows the leader of the Soviet Union as lifetime companion of the grim reaper, Stalin's sickle is dripping with blood which underlines this bond as well. Starving two million peasants to death is another prove for Stalin being Death's mate.

129

"ERA OF THE MECHANICAL MAN"

[Source: Herbert L. Block: Era Of The Mechanical Man, in: The Washington Post (Washington, D.C.), No. 28,023, March 7, 1953, p. 8, cols. 3-5.]

Interpretation: Cartoon shows a robot, symbolizing the Central Committee of the Communist Party of the Soviet Union, replacing the deceased Joseph V. Stalin with Comrade Georgi M. Malenkov who was known as devote, robot-like Stalin admirer and therefore got his nickname as seen in the title.

130

"ANY OTHER IMPORTANT FUNERALS COMING UP?"

[Source: Herbert L. Block: Any Other Important Funerals Coming Up?, in: The Washington Post (Washington, D.C.), No. 28,026, March 10, 1953, p. 12, cols. 3-5.]

Interpretation: Cartoon illustrates an imaginary scene inside the Kremlin. The question behind the drawing's title is whether new President Georgi M. Malenkov will be able to establish himself as a worthy successor of Joseph V. Stalin even though he assured everyone there would be no change in any policies initiated by his predecessor.

131

1955 AWARD ABOUT EAST-ASIAN ZONES OF CRISIS IN 1954 BY

DANIEL R. FITZPATRICK St. Louis Post-Dispatch

Daniel Robert Fitzpatrick (bora on March 5, 1891, in Superior, Wi.) attended Superior High School until the age of 16. He then left school in order to pursue his interest in art. For a while he studied at the Chicago Art Institute - his only other training consisted of a summer spent studying with Henry Varnum Poor. In 1911, he got his first job, doing comic-page drawings for the Chicago Daily News. This lasted less than a year, for when the editorial cartoonist became ill, Fitzpatrick took his place, and before he was 21 he was doing front-page cartoons. His work was highly appreciated and got him the position of editorial cartoonist on the St. Louis Post-Dispatch in 1913. Since then his career has unfolded. In numerous cartoons he dealt with economic, political or social issues. The day Prohibition began he produced his most startling sketch, the Statue of Liberty diving into the Atlantic, and for years he campaigned violently against the dry laws. In 1924 Fitzpatrick became the winner of the John Frederick Lewis Prize of the Philadelphia Academy of Fine Arts, and two years later, in 1926, one specific cartoon made him the recipient of the Pulitzer Prize in the cartoon category. During the following years the cartoonist protested against Hitler, war, war-profiteering rackets, holding companies and anti-unionists. Another Pulitzer Prize, awarded to Daniel R. Fitzpatrick in 1955 for his cartoon "How Would Another Mistake Help?," showed the great recognition the artist received.

132

"HOW WOULD ANOTHER MISTAKE HELP?"

[Source: Daniel R. Fitzpatrick: How Would Another Mistake Help?, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol. 76/No. 157, June 8, 1954, p. 2 C, cols. 4-6.]

interpretation: Cartoon warns the United States not to interfere constantly in other country's affairs. Current issue was Indochina where the French military had been fighting against native communists who were supported by Red Chinese forces.

133

"SLOGAN PAINTER'S TROUBLES"

[Source: Daniel R. Fitzpatrick: Slogan Painter's Troubles, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol. 76/No. 247, September 8, 1954, p. 2 E, cols. 4-6.]

Interpretation: Cartoon shows why slogan painters cannot keep up with current events. 'Peace1 is outmoded in the face of the latest news: President Dwight D. Eisenhower decided to lift the U.S. 7th Fleet's blockade of Taiwan, making possible Nationalist attacks against the Chinese mainland.

134

"IT STOPPED THE RED RASH IN EUROPE, DOCTOR"

f

'·

·

[Source: Daniel R. Fitzpatrick: It Stopped The Red Rash In Europe, Doctor, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol. 76/No. 334, December 5, 1954, p. 2 F, cols. 4-6.]

Interpretation: Cartoon depicts U.S. contemplating on initializing a SouthEast Asian version of the Marshall Plan which not only helped Europe recover after the Second World War but also worked as a means to push back Soviet influence, in this drawing compared to an illness.

135

1956 AWARD ABOUT DEFICITS DURING PROSPERITY TIMES IN 1955 BY

ROBERT YORK The Louisville Times

Robert York (born on August 23, 1909, in Minneapolis, Mn.) first attended Drake University from 1927-28. He then entered the Cummings School of Art, where he studied during 1928, and in 1930 he took classes at the Chicago Academy of Fine Arts. The same year he started to work as an assistant comic strip artist for the Chicago Tribune, with which he stayed until 1935. The following year he took the post of the political cartoonist with the Nashville Banner and after a year he switched to the Louisville Times, where he worked until 1943. Between 1943 and 1945 York was sergeant artist with the United States Army Air Force. After the war he returned to the Louisville Times, where he stayed the following years. In 1956 Robert York was made the recipient of the Pulitzer cartooning award for his drawing "Achilles."

136

"ACHILLES"

[Source: Robert York: Achilles, in: The Louisville Times (Louisville, Ky.), Vol. CXLIII/No. 117, September 16, 1955, p. 8, cols. 4-6.]

Interpretation: Cartoon draws an allegory of the old myth of Achilles, being invulnerable except for his heel, to modem-day economy in the United States who's weak spot is farm pricing. Prosperity is shown as obese but also headless which implies an absence of reason.

137

"CONSTRUCTION BOOM"

[Source: Robert York: Construction Boom, in: The Louisville Times (Louisville, Ky.), Vol. CXLIII/No. 150, October 25, 1955, p. 8, cols. 4-6.]

Interpretation: Cartoon criticizes the uneven distribution of post-war U.S. economic boom: factories and other enterprises that promise soon profits are generously founded but there is little money for education that - although immensely important - will only pay off years later.

138

"SOME ARE STRANDED ON THE LEDGES"

[Source: Robert York: Some Are Stranded On The Ledges, in: The Louisville Times (Louisville, Ky.), Vol. CXLIV/No. 49, December 29, 1955, p. 6, cols. 4-6.]

Interpretation: Cartoon points out the fact that the economic boom of the fifties has left out some groups in the U.S. society. While most Americans can climb one prospertity peak after the other some only can sit by a modest camp fire and wait for help.

139

1957 AWARD ABOUT HEALTH QUESTIONS AND LIFE RISKS IN 1956 BY

TOM LITTLE The Nashville Tennessean

Tom Little (born on September 27, 1898, near Franklin, Tn.) was an art student at Watkins Institute in Nashville between 1912 and 1915. From 1913 until 1916 Little also did private cartooning under Carey Orr. In 1916 he started to work as a reporter for the Nashville Tennessean. The following year he entered Montgomery Bell Academy in Nashville, where he stayed for one year. After having been on the staff of the Nashville Tennessean for seven years, Little started to work for the New York Herald-Tribune Syndicate in 1923. But the following year he switched back to the Nashville Tennessean, whose city editor he became in 1931, a post he held until 1937. That year Little, who had also started to work for King Features Syndicate in New York City in 1934, became the paper's cartoonist. In 1947 Little became recipient of the National Headliners' award for outstanding editorial cartoons. While still on staff of the Nashville Tennessean Little began to draw cartoon illustrations for the New York Times Magazine in 1951. In addition to the Christopher Award, which he received in 1953, the cartoonist was granted the Freedoms Foundation medal twice, in 1955 and 1956. The following year Tom Little was made the recipient of the Pulitzer Cartoon Prize for his drawing "Wonder Why My Parents Didn't Give Me Salk Shots?"

140

"WONDER WHY MY PARENTS DIDN'T GIVE ME SALK SHOTS?"

[Source: Tom Little: Wonder Why My Parents Didn't Give Me Salk Shots?, in: TTie Nashville Tennessean (Nashville, Tn.), Vol. 49/No. 259, January 12, 1956, p. 10, cols. 3-6.]

Interpretation: Cartoon shows an extremely moving scene of what might happen if not all children are given the Salk vaccine against polio. Right after its publication the drawing became the main part of a large state-wide campaign for immunization - important since many parents for some reason feared that the shot could in fact harm their child.

141

"EVERY TIME I START TO DOZE OFF, HE DROPS ΈΜ'

[Source: Tom Little: Every Time I Start To Doze Off, He Drops 'Em', in: The Nashville Tennessean (Nashville, Tn.), Vol. 50/No. 93, July 29, 1956, p. 4 B, cols. 3-6.]

Interpretation: Cartoon symbolizes President Dwight D. Eisenhower being in hospital for an infected ileitis. The operation went fine but to his fellow patients the press covered his recovery closely. The drawing has another twist since many Americans worried if he was fit enough to run for re-election.

142

"THINK YOU'LL MAKE IT?"

[Source: Tom Little: Think You'll Make It?, in: The Nashville Tennessean (Nashville, Tn.), Vol. 50/No. 128, September 2, 1956, p. 4 A, cols. 3-6.]

Interpretation: Cartoon deals with the high rate of accidents as a result of drunk driving. The grim reaper's skinny hand can't keep up writing down all the names of people injured or involved in accidents during Labor Day weekend. The title of the drawing is a subtle hint to everybody to be careful.

143

1958 AWARD ABOUT SOCIAL AND POLITICAL CONDITIONS IN 1957 BY

BRUCE M. SHANKS Buffalo Evening News

Bruce McKinley Shanks (born on January 29, 1908, in Buffalo, N.Y.) attended Buffalo State Normal School and Lafayette High School. Having worked as a copy boy, artist and cartoonist for the Buffalo Express and the Buffalo Times he became a staff member of the Buffalo Evening News in 1933. He stayed with that paper for the following more than three decades. In 1951 he became the paper's editorial cartoonist. Among the numerous recognitions with which Shanks was honored were several awards from the Freedoms Foundation, a honorary mention award from the Los Angeles National Editorial Cartoon Competition, a Page One award from the Buffalo Newspaper Guild, and a Christopher award. For his cartoon "The Thinker" Bruce M. Shanks received the Pulitzer Cartoon award in 1958.

144

"THE THINKER"

[Source: Bruce M. Shanks: The Thinker, in: Buffalo Evening News (Buffalo, N.Y.), Vol. CLIV/No. I l l , August 20,1957, p. 22, cols. 3-5.]

frtterprewtiw: Cartoon shows an American union member posing like Auguste Rodin's famous sculpture "The Thinker", The workers saw their leaders taking the fifth amendment in a congressional investigation which made them look dishonest. Now the union members were trying to figure out what to do in the future.

145

"LITTLE ROCK"

·..>-..,« .:.·:.·.: ·*'·:

^ί.Ό"-

[Source: Bruce M. Shanks: Little Rock, in: Buffalo Evening News (Buffalo, N.Y.), Vol. CLFWNo. 126, September 7, 1957, Magazine Section, p. 2, cols. 3-5.]

Interpretation: Cartoon depicts Governor Orval E. Faubus of Arkansas attacking the American constitution as he has sent the National Guard to the Central High School of Little Rock because of "evidence of disorder and threats of disorder." This intended to prevent Afro-American students from entering schools in his state, but the Supreme Court finally ruled in their favor.

146

"VOX POP"

- THE PeOPLS SHOULD KNOW

[Source: Bruce M. Shanks: Vox Pop, in: Buffalo Evening News (Buffalo, N.Y.), Vol. CLV/No. 50, December 9, 1957, p. 26, cols. 3-5.]

Interpretation: Cartoon refers to the American citizen's ambivalent wish for knowledge, i.e. they only want to know about successful endavours by the Federal Government and other important institutions. The drawing explains that the U.S. failed in its first attempt to launch an earth satellite when the Viking rocket vehicle blew up at the Space Center of Cape Canaveral.

147

1959 AWARD ABOUT ACTIVITIES OF THE SOVIET UNION IN 1958 BY

WILLIAM H. MAULDIN St. Louis Post-Dispatch

William Henry Mauldin (born on October 29,1921, in Mountain Park, N. M.) took, while still in high school, a correspondence course in cartooning, paying for it by doing drawings, posters, any other work for local industrial, commercial, or individual clients. In 1939 he studied cartooning at the Chicago Academy of Fine Arts. Moving to Phoenix, Mauldin tried his hand at gag cartoons for national magazines, and some of these were bought by Arizona Highways. In 1940 he did drawing work for the Texas gubernatorial campaign, and then, in September, began his service with the United States Army. During his service he did cartoons for the Forty-fifth Division News, the Oklahoma City Oklahoman and also joined the Mediterranean edition of Stars and Stripes, the Army's wartime newspaper. His cartoons were brought together in several collections. In 1945 Mauldin was granted the Pulitzer Prize in cartooning for his outstanding work. Released from the Army in June 1945, Mauldin continued drawing cartoons, that the United Feature Syndicate distributed to more than one hundred and eighty newspapers. In 1958 he became editorial cartoonist with the St. Louis Post-Dispatch. The following year William H. Mauldin won his second Pulitzer Prize for cartooning for a drawing with the caption "I won the Nobel Prize for Literature. What was your crime?"

148

"I WON THE NOBEL PRIZE FOR LITERATURE. WHAT WAS YOUR CRIME?"

[Source: William Η. Mauldin: I Won The Nobel Prize For Literature. What Was Your Crime?, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol. 80/No. 299, October 30, 1958, p. 2 F, cols. 4-6.]

Interpolation: Cartoon depicts an absurdity derived from the Cold War: Soviets being sent to prison camps because their achievements had been praised by Western nations. In this case, the Soviet author Boris L. Pasternak had won the Nobel Literature Prize; however, officials denounced the prize as 'politically motivated' and had him reject the award.

149

"DON'T PUSH YOUR LUCK, MISTER"

[Source: William H. Mauldin: Don't Push Your Luck, Mister, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol. 80/No. 325, November 25, 1958, p. 2 B, cols. 4-6.]

Interpretation: Cartoon explains the USSR attempting to enlarge their influence on other nations. The title of the drawing suggests that the Soviet Union is claiming an advantage in Asia but that U.S. forces would not allow any violation of the borders of West Berlin.

150

"GOOD MORNING, COMRADES!"

[Source: William H. Mauldin: Good Morning, Comrades!, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol. 80/No. 358, December 30, 1958, p. 2 B, cols. 4-6.]

Interpretation: Cartoon criticizes the Chinese regime for exploiting their own people. The drawing depicts them working as busily and ceaselessly as insects. The scene gains an additional irony letting one of the inmates greet the ants on even terms.

151

1960 AWARD ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1959 BY

THE ADVISORY BOARD Columbia University (New York)

Although the members of the 1960 Pulitzer Prize Cartoon Jury in their report made the suggestion that the prize be awarded to Newton Pratt of the Sacramento Bee, the Advisory Board rejected the proposal of the jurors and gave "no award" in this category.

152

NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

Barry Bingham Sr.

Louisville Times & Courier-Journal

Erwin D. Canham

Christian Science Monitor

W. Hodding Carter

Delta Democrat-Times, Greenville, Ms.

Turner Catledge

The New York Times

Norman Chandler

Los Angeles Times

J. Donald Ferguson

The Milwaukee Journal

John Hohenberg

Columbia University

Grayson Kirk

Columbia University

Kenneth MacDonald

The Des Moines Register & Tribune

William D. Maxwell

Chicago Tribune

Benjamin McKelway

The Evening Star, Washington, D.C.

Paul Miller

Gannett Newspapers Inc.

Joseph Pulitzer Jr.

St. Louis Post-Dispatch

Louis B. Seltzer

Cleveland Press

153

1961 AWARD ABOUT KHRUSHCHEV'S ROLE IN WORLD POLITICS IN 1960 BY

CAREY ORR Chicago Daily Tribune

Carey Orr (born on January 17, 1890 in Ada, Oh.) graduated from the Chicago Academy of Fine Arts. During 1912 he worked for the Chicago Examiner, Orr then became a member on the staff of the Nashville Tennessean and the American. He stayed with these papers until 1917. The cartoonist then began to work for the Chicago Tribune. The following year he was awarded the U.S. Government gold medal. Other prizes followed. In addition to three Freedoms Foundation awards, which he received in 1950, 1952 and 1953, Carey Orr was granted the 1961 Pulitzer Prize for cartooning for his distinguished career as an artist as exemplified by the drawing "The Kindly Tiger."

154

"A WARNING FROM THE JUNGLE"

[Source: Carey Orr: A Warning From The Jungle, in: Chicago Daily Tribune (Chicago, II.), Vol. CXIX/No. 80, April 2,1960, p. 1, cols. 3-5.]

Interpretation: Cartoon ridicules the USSR by comparing the Soviet Union to a jungle and communism to a gorilla. Nikita S. Khrushchev's idea of a 'peaceful co-existence' included threads of having nuclear weapons. The drawing shows one power system warning France against the other.

155

"HIT BACK! HIT BACK! YOU CANT WIN COVERING UP!"

[Source: Carey Orr: Hit Back! Hit Back! You Can't Win Covering Up!, in: Chicago Daily Tribune (Chicago, II.), Vol. CXIX/No. 219, September 12, 1960, p. 1, cols. 3-5.]

Interpretation: Cartoon criticizes the State Department's defensive and seemingly weak attitude concerning the competition in space: the Soviet Union was leading in many things: the first to get on the moon, for example. The notes on the floor indicate that the artist thought that the U.S. had already taken too many defeats.

156

"THE KINDLY TIGER" VV

HAY I GIVE YOU A RIPE?'

[Source: Carey Orr: The Kindly Tiger, in: Chicago Daily Tribune (Chicago, II.), Vol. CXIX/No. 242, October 8, 1960, p. 1, cols. 4-6.]

Interpreiaiion: Cartoon demonstrates a special way of Nikita S. Khrushchev's often proclaimed "peaceful coexistence" with Western nations: it meant that they should not attempt to influence any parts of East Europe while the USSR should be able to convince at the same time several African states.

157

1962 AWARD ABOUT INTENTIONS OF SOCIALIST COUNTRIES IN 1961 BY

EDMUND S. VALTMAN The Hartford Times

Edmund Siegfried Valtman (born on May 31, 1914, in Tallinn, Estonia) began his career doing free lance cartooning and commercial art in his home country between 1936 and 1942. He then became a student at the Tallinn Art and Applied Art School, where he stayed the following two years. During that time he held the post of an editiorial cartoonist with the Eesti Sona and the Maa Sona, both daily newspapers for the capital city of Tallinn. Between 1945 and 1949 Valtman was cartoonist for the Estonian weekly Eesti Post in Germany. He then left Germany to move to the U.S., where he became editorial cartoonist for the Hartford Times in 1951. Two years later he entered the Hartford Art School in Connecticut, where he studied parttime painting during the following four years. In 1958 the cartoonist was made the recipient of the National Safety Council award. Another great honor was granted to Edmund S. Valtman in 1962 when he was awarded the Pulitzer Prize for cartooning for his outstanding work during the previous year, illustrated with the drawing "What You Need, Man, Is a Revolution Like Mine!"

158

"BY GOVERNMENT DECREE EVERY MEMBER OF THE COMMUNE IS ENTITLED TO A PRIVATE LOT"

[Source: Edmund S. Valtman: By Government Decree Every Member Of The Commune Is Entitled To A Private Lot, in: The Hartford Times (Hartford, Ct.), Vol. CXXI/No. 58, March 9, 1961, p. 18, cols. 36.]

Interpretation: Cartoon illustrates how Red China, twelve years after its founding, had to face its severest crisis: 650 million Chinese were starving. There are some reasons for this catastrophe, which left the government to provide people with single graves instead of mass graves. Prior, the regime had focused on building factories, luring people into the urban areas. Only one tenth of public planning had been invested in agriculture. Monsoon contributed its share to the crisis: the winds did not push rainclouds to the inlands but to the Pacific coast. Above all, the Chinese did not get as much help from the Soviet Union as they had hoped for. Instead, Soviet leader Nikita S. Khrushchev threatened to cut all deliveries to China, as the latter failed to meet a $300 million trade debt. So the government of the People's Republic of China had to resume exporting nutritious foods such as meat, soya beans and vegetable oil to the USSR.

159

"I WOULD HAVE PREFERRED IT WELL-DONE"

[Source: Edmund S. Valtman: I Would Have Preferred It Well-Done, in: The Hartford Times (Hartford, Ct.), Vol. CXXI/No. 75, March 29, 1961, p. 18, cols. 3-6.]

Interpretation: Cartoon explains how absurd the situation about and in Laos had become by that time. Based on the theory that once the Asian country was 'lost' to communism, South Viet Nam, Cambodia and Thailand would be, too, the U.S. had invested $ 300 million into in Laos order to prevent communist take-over by either Red China or the USSR. Conflict flickered in late 1960 nevertheless. In March of the following year Laos' guerillas, backed by Russia's proxy North Viet Nam, controlled nearly half the country. The drawing shows that the U.S. attempted to end the open conflict in Laos. The Soviets, however, had no intentions of losing in peace talks what they had won in combat before. Presenting Soviet leader Nikita S. Khrushchev as maitre with the grinning comment, it is obvious that he does not care about the Laos people - to him this conflict is only about power. On the other hand, the drawing expresses deep mistrust in the usefulness of American policy: one can see the American secretary of state accompanied by a fireman, both of them not looking too superior or clever.

160

"WHAT YOU NEED, MAN, IS A REVOLUTION LIKE MINE!"

[Source: Edmund S. Valtman: What You Need, Man, Is A Revolution Like Mine!, in: The Hartford Times (Hartford, Ct.), Vol. CXXI/No. 207, August 31, 1961, p. 18, cols. 3-5.]

interpretation: Caitoon interprets Latin-America's general struggle to reform, while incumbent regimes were trying to keep up the status quo by providing money for welfare programs. The threat of a violent putsch was always there, nevertheless: Either by conservatives or Army-backed groups or by radical peasant. Fidel Castro, the leader of Cuba* presented another kind of reform concept communism as we can see in this drawing. The Brazilian on the carriage, however, sees this offer with scepticism, as a step into the wrong direction. Actually, Castro had won sympathy in many LatinAmerican countries due to his promises of social reform. But as the drawing suggests, the Brazilian people already must have known what Castro, however successful he claimed to be, had done to the Cubans including an expanding relationship and cooperation-with the Soviet Union.

161

1963 AWARD ABOUT NUCLEAR WEAPONS AND WORLD POLITICS IN 1962 BY

FRANK A. MILLER The Des Moines Register

Frank Andrea Miller (born on March 28, 1925, in Kansas City, Mo.) spent three years in Europe during World War II and afterwards he attended the University of Kansas for one year between 1946 and 1947. During the following year he studied at the Kansas City Art Institute. After working as an artist for the Kansas City Star from 1948 until 1950 Miller for two years was in the Army during the Korean War. Afterwards he became artist and cartoonist for the Des Moines Register in 1953. The numerous prizes the cartoonist gained in the course of his career include several Freedom Foundation awards, the 1957 National Headliners award and the Pulitzer award for cartooning in 1963, which Frank A. Miller was granted for his distinguished work during the previous year, as exemplified by the cartoon "I said - we sure settled that dispute, didn't we!"

162

"I SAID-WE SURE SETTLED THAT DISPUTE, DIDN'T WE!"

Interpretation: Cartoon drastically shows how the dispute between capitalist and communist points of view after a catastrophe can be settled for good. By executing the Cold War to the bitter end, the drawing is an appeal to find a better solution to existing differences.

163

"A NEEDLE IN A HAYSTACK IS EASY"

[Source: Frank Miller: A Needle In A Haystack Is Easy, in: The Des Moines Register (Des Meines, Ia.), Vol. 113/No. 300, April 20, 1962, p. 1, cols. 3-5.]

Interpretation: Cartoon mockingly demonstrates how difficult it is to find a way to disarm and thus to end the Cold War if one is looking for it in piles of bombs. There is another idiom besides the one in the title that fits this drawing saying: they can't see the wood for the trees.

164

"A WALL!"

\

[Source: Frank Miller: A Wall!, in: The Des Meines Register (Des Moines, la.), Vol. 114/No. 121, October 23, 1962, p. 1, cols. 3-5.]

Interpretation: Cartoon illustrates the U.S. blockade of Cuba what later should become known as the Cuban Missile Crisis. After U.S. intelligence had learned that the Soviet Union was constructing offensive nuclear missile bases in Cuba, President John F. Kennedy ordered a quarantine of all ships to Cuba containing cargoes of offensive weapons.

165

1964 AWARD ABOUT ATTITUDES AND HOPES TOWARD INTEGRATION IN 1963 BY

PAUL F. CONRAD The Denver Post

Paul Francis Conrad (born on June 27, 1924, in Cedar Rapids, la.) attended the University of Iowa, from which he graduated with a B.A. degree in 1950. The same year he started to work for the Denver Post, where he held the post of an editorial cartoonist for the following fourteen years. In 1964 the cartoonist received the Editorial Cartoon award from the Sigma Delta Chi journalism fraternity. During his years with the Denver Post Conrad - commissioned by the Cooke-Daniels Lecture Tours - also taught at the Denver Art Museum. For his work as a cartoonist throughout the previous year Paul F. Conrad was made the recipient of the 1964 Pulitzer cartooning award as exemplified by the drawing "Stand back everybody! He's got a bomb.!!"

166

"STAND BACK EVERYBODY! HE'S GOT A BOMB.!!"

[Source: Paul Conrad: Stand Back Everybody! He's Got A Bomb.!!, in: The Denver Post (Denver, Co.), Vol. 71/No. 277, May 6, 1963, p. 22, cols. 3-5.]

Interpretation: Cartoon ridicules police forces' panic over the integration of Afro-Americans by having them mistake a simple balloon for a bomb. The bird perspective of the drawing as well as the child-like figure of the black person intensify this impression.

167

"NO CHEEKS LEFT TO TURN"

[Source: Paul Conrad: No Cheeks Left To Turn, in: The Denver Post (Denver, Co.), Vol. 7I/No. 291, May 20, 1963, p. 18, cols. 3-5.]

Interpretation: Cartoon points out the frustration of Afro-Americans concerning integration. With the biblical reference of the drawing's title the face of the man is virtually plastered with band aids bearing the name of violent incidents from the recent past. It is noteworthy that all cited towns are Southern. His gaze turned downwards, the man - standing for the whole black minority - does appear completely hurt and frustrated.

168

"PROFILE IN COURAGE"

[Source: Paul Conrad: Profile In Courage, in: The Denver Post (Denver, Co.), Vol. 72/No. 114, November 24, 1963, section AA, p. l AA, cols. 3-5.]

Interpretation: Cartoon is a silent, somber tribute to John F. Kennedy. The silhouette indicates the late President's bold commitment for the integration of minorities, especially blacks. The drawing's headline also refers to Kennedy's 1957 Pulitzer Prize-winning book "Profiles in Courage."

169

1965 AWARD ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1964 BY

THE ADVISORY BOARD Columbia University

Although the members of the 1965 Pulitzer Prize Cartoon Jury in their report praised the drawings of three cartoonists as finalists, the Advisory Board did not choose a winner but decided to give "no award" in this category for work done during the previous year.

170

NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

Barry Bingham Sr.

Louisville Times & Courier-Journal

Sevellon Brown 3rd

The Providence Journal-Bulletin

Erwin D. Canham

Christian Science Monitor

Turner Catledge

The New York Times

Norman Chandler

Los Angeles Times

John Hohenberg

Columbia University

Grayson Kirk

Columbia University

Kenneth MacDonald

The Des Moines Register &. Tribune

William D. Maxwell

Chicago Tribune

Paul Miller

Gannett Newspapers Inc.

Newbold Noyes Jr.

Washington Star-News

Joseph Pulitzer Jr.

St. Louis Post-Dispatch

Louis B. Seltzer

Cleveland Press

171

1966 AWARD ABOUT CONFLICT PHANTASIES AND REALITIES IN 1965 BY

DON C. WRIGHT The Miami News

Don Conway Wright (born on January 23, 1934, in Los Angeles, Ca.) attended Florida public schools. After working as a copy boy for the Miami News Wright became staff photographer in 1952. From 1956 to 1958 he was Signal Corps photographer in the Army. Afterwards he returned to the Miami News and got the post of a graphics editor. Two years later, in 1960, he started to work as a political cartoonist and soon became editorial cartoonist of his paper in 1963. Wright was made the recipient of the Outstanding Young Man in Communications Media award of the Young Democrats of Florida in 1965. The same year he was granted the award of the National Catholic Press. In 1966 the Pulitzer Prize for cartooning was presented to Don C. Wright for his outstanding work as exemplified by the drawing "You Mean You Were Bluffing?"

172

"YOU MEAN YOU WERE BLUFFING?"

[Source: Don Wright: You Mean You Were Bluffing?, in: The Miami News (Miami, Fl.), 69th Year/No. 337, May 9, 1965, p. 6 A, cols. 3-4.]

Interpretation: Cartoon presents a highly ironic ending of the Cold War: both sides bluffing each other until total destruction is reached. With the race for world power between the U.S. and the U.S.S.R* still going on that year, Vietnam more and more became a prestige war for the two nations.

173

"ANYBODY SEE A PLACE TO GET OFF?"

^^^^^^^^^?Ά^·^~^,

[Source: Don Wright: Anybody See A Place To Get Off?, in: The Miami News (Miami, Fl.), 69th Year/No. 365, June 11, 1965, p. 6 A, cols. 3-4.]

Interpretation: Cartoon illustrates that the U.S. were already too involved in the Vietnam conflict to draw back easily as the soldier - who is obviously President Johnson - in his remark indicates. A week earlier, the U.S. government admitted for the first time that U.S. troops were in active combat.

174

"HOW THE WAR WENT TODAY"

HOW THE m WENT TOMY

Wir c OMB

[Source: Don Wright: How The War Went Today, in: The Miami News (Miami, Fl.), 70th Year/No 145 November 23, 1965, p. 6 A, cols. 3-4.]

Interpretation: Cartoon criticizes the restricted information policy of the U.S. administration concerning Vietnam. By covering up the heavy losses on their own side they attempt to maintain public's support. By year's end, American losses already were double the figure on the board in the drawing.

175

1967 AWARD ABOUT SOUTH-EAST ASIAN TROUBLE ZONES IN 1966 BY

PATRICK B. OLIPHANT The Denver Post

Patrick Bruce Oliphant (bom on July 24, 1935, in Adelaide, Australia) worked as a copyboy for the Adelaide Advertiser since 1953. He passed an artist trainee and got the post of the paper's editorial cartoonist in 1955. Four years later, in 1959, he started a world tour to study cartooning techniques. Oliphant worked for the Adelaide Advertiser until 1964. After moving to the USA, he was engaged as an editorial cartoonist for the Denver Post. Since 1965 his cartoons were syndicated by Universal Press Syndicate and appeared in more than eighty U.S. newspapers. Among his numerous awards with which Oliphant was honored was the Professional Journalism award from the Sigma Delta Chi journalism fraternity in 1966. In 1967, Patrick B. Oliphant was made the recipient of the Pulitzer Prize in the cartoon category, exemplified by his drawing "They Won't Get Us To The Conference Table... Will They?"

176

"THEY WONT GET US TO THE CONFERENCE TABLE ... WILL THEY?"

Interpretation: Cartoon illustrates Preside«! Ho Chi Minh of North Vietnam being cruelly stubborn: carrying a dead body of a Vietnamese on his arms. and he still rejects an invitation to peace talks, thus putting pride and principles above humanity and reason. He called the U.S. offer for unconditional peace talks "an effort to fool public opinion." He further stated that if the U.S. really aspired peace they would have to recognize the National Front for the Liberation of South Vietnam as the sole representative of UK people of that country. The same day when the drawing was published, Ho CM Minh received a letter from the Soviet Union supporting his position, and several days later, the French government expressed the malt to find a compromise to end the war, But it took two more years before peace talks between the U.S. and Vietnam began in Paris.

177

"YOU WANT US TO SIT DOWN AND DISCUSS OUR PROBLEMS? / DON'T HAVE ANY PROBLEMS!"

[Source: Patrick B. Oliphant: You Want Us To Sit Down And Discuss Our Problems? / Don't Have Any Problems!, in: The Denver Post (Denver, Co.), Vol. 74/No. 261, April 19, 1966, p. 20, cols. 3-5.]

Interpretation: Cartoon demonstrates what dramatic extent Mao Tse-tung's stubborn attitude can take: everybody else involved in the Vietnam conflict - Amercican soldiers, Uncle Sam, the Viet Cong and even Buddhists are desperatly clinging to the brim. They are virtually attempting to fulfill the saying about the bridge over the gap that threatens to divide the country of Vietnam. Mao Tse-tung as leader of People's Republic of China and supporter of North Vietnam, plainly ignores the existence of a conflict. And since the U.S. never declared officially war to Vietnam, there is no reason for official peace talks, according to Mao Tse-tung's reason. However, since one can already see stones and rocks falling down the scene gains even more immediate tension, meaning the on-going combat is increasing the gap more and more.

178

"PROPOSALS..."

[Source: Patrick B. Oliphant: Proposals..., in: The Denver Post (Denver, Co.), Vol. 75/No. 53, September 23, 1966, p. 20, cols. 3-6.]

Interpretation: Cartoon criticizes the stubborn attitude of both the Vietnamese and the American governments by showing how a peace dove is exhausted to death while having to transmit uncountable proposals. In contrast to the marathon man who was able to proclaim the Greeks' victory over the Persians, before he collapsed, this bird is entirely used up by endless counter proposals which were getting increasingly absurd. For example, for a long time both sides could not agree on the size and shape of the conference table. Which shows how the 'unconditional peace talks' offered by the North-American administration at the beginning of the year, turned out to be: both sides being extremely meticulous and stubborn. This kind of behavior was perplexing, because so many people's lives were at stake while politicians on both sides were quarreling over details.

179

1968 AWARD ABOUT PRESIDENT JOHNSON AND SENATOR KENNEDY IN 1967 BY

EUGENE G. PAYNE The Charlotte Observer

Eugene Gray Payne (born on January 29, 1919, in Charlotte, N.C.) was educated at Public Schools in Charlotte, Fishburne Military Academy and Syracuse University where he majored in fine arts. During the second World War he spent four years as a pilot in the Air Force and worked afterwards as a commercial artist and portraitist in his hometown for several years. Payne joined Foremost Dairies and was employed in the sales department for ten years. During this time he continued to teach water color classes and do portraits. In 1956 he started his cartooning career at the Charlotte Observer on a free-lance basis. Payne switched to the Birmingham News, Alabama, in 1959 but returned to the Charlotte Observer one year later and worked as a staff artist and editorial cartoonist. In 1968 Eugene G. Payne was granted the Pulitzer Prize for editorial cartoons during the pervious year as exemplified by the drawing "Dr. King says, would You please move to the Back of the Bus?"

180

"DR. KING SAYS, WOULD YOU PLEASE MOVE TO THE BACK OF THE BUS?"

[Source: Eugene G. Payne: Dr. King Says, Would You Please Move To The Back Of The Bus?, in: The Charlotte Observer (Charlotte, N.C.), 82nd Year/No. 15, April 6, 1967, p. 2 B, cols. 3-5.]

Interpretation: Cartoon uses the famous incident of Rosa Parks' experience with public transportation to demonstrate how times have changed. Her being arrested for sitting in the "white" section of the bus ied to Martin Luther King's leadership position. His call for a complete pull-out of U.S. troops from Vietnam earlier that year indicates how powerful his civil-rights movement had grown. The questioning of the drawing's headline is directed to President Lyndon Β Johnson sitting in the non-violence section.

181

"THE WAR IS GOING VERY WELL-PASS IT ON"

[Source: Eugene G. Payne: The War Is Going Very Well - Pass It On, in: The Charlotte Observer (Charlotte, N.C.), 82nd Year/No. 129, August 8, 1967, p. 2 B, cols. 3-5.]

Interpretation: Cartoon depicts the obvious helplessness of the American administration as to what to do in the Vietnam war. All that is left for them, it seems, is to convince themselves everything is going great. President Lyndon B. Johnson even tried to start some kind of a whispering campaign at the Cabinet Council, secretly hoping the message would improve itself while being passed on. Since North Vietnam showed no interest in peace talks, all they could do was increase the number of troops and keep on fighting.

182

"IT'S TERRIBLE THE WAY TOBACCO ADVERTISING IS SLANTED TOWARDS YOUNG PEOPLE"

[Source: Eugene G. Payne: It's Terrible The Way Tobacco Advertising Is Slanted Towards Young People, in: The Charlotte Observer (Charlotte, N.C.), 82nd Year/No. 215, November 2, 1967, p. 3 D, cols. 3-5.]

Interpretation: Cartoon characterizes Senator Robert F. Kennedy as being very unconventional and almost sloppy. Five years earlier he had said that U.S. troops were staying in Vietnam till they win. But with the Vietnam war by that time still continuing, i.e. obviously going nowhere, the Senator appearantly turned to other issues less urgent, but therefore safe for his upcoming election campaign.

183

1969 AWARD ABOUT WAR OUTSIDE AND WITHIN THE U.S. IN 1968 BY

JOHN FISCHETTI Chicago Daily News

John Fischetti (born on September 27, 1916, in Brooklyn, N.Y.) was a student of the Pratt Institute from 1937 to 1940 where he majored in art. He worked on animated films for the Disney Studios in Los Angeles for nine months. He then free-lanced for the Chicago Sun where his first editorial cartoons were published. He also drew illustrations for Coronet, Esquire, Saturday Evening Post, Collier's, and the New York Times. Fischetti joined the Army for three years during World War II and became cartoonist on the Stars & Stripes. His first postwar employment was with the New York HeraldTribune for two years. In 1950 Fischetti became syndicated cartoonist of the Newspaper Enterprise Association and his work went out to approximately five hundred newspapers. He returned to the New York Herald-Tribune as a staff cartoonist in 1962, and then moved to the Chicago Daily News. The numerous prizes the cartoonist gained in the course of his career include the Sigma Delta Chi award in 1954 and 1956 and the 1969 Pulitzer Prize for cartooning presented to John Fischetti for his outstanding work during the previous year, exemplified by the drawing "Speaking from a position of strength..."

184

"SPEAKING FROM A POSITION OF STRENGTH..." . iio i.i,r.ts ot.it

[Source: John Fischetti: Speaking From A Position Of Strength..., in: Chicago Daily News (Chicago, II.), 93rd Year/No. 87, April 11, 1968, p. 10, cols. 3-5.]

Interpretation: Cartoon depicts both sides on the Vietnam war, which has been going on now for a number of years, Neither U.S. President Lyndon B. Johnson nor North Vietnamese leader Ho Chi Minh is in a 'position of strength' but by now they are actually willing to bring an end to this war. Nevertheless combat would proceed for another five years. Ten days before this drawing had been published, President Johnson stunned the nation by announcing that he had the bombings halted. Despite all the losses on either side and the combat situation being hopelessly stuck, both nations remained quite stubborn, as the following background will show: The North Vietnamese government proposed diplomatic contacts in Cambodia's capital Phnom Penh. However, the U.S. rejected the offer. North Vietnam then proposed Warsaw, Poland, but the American government insisted on neutral grounds. It would take them another four weeks to come to an agreement as to where they should meet for peace talks, which finally was in May that year in Paris, France.

185

"AMERICAN STYLE"

[Source: John Fischetti: American Style, in: Chicago Daily News (Chicago, II.), 93rd Year/No. 134, June 6, 1968, p. 12, cols. 3-6.]

Interpretation: Cartoon bitterly points out how savage-like the United States seem to be handling people with a different opinion: they should be assassinated. By having the Grim Reaper wearing the American flag, the drawing cynically depicts the true meaning of "American Style", as the drawing's title suggests. The paper the reaper is holding, might either be a newspaper in which he - like a psychopath - is studying the reports about his job, but the paper might also be a morbid 'hit list' of his achievements he's keeping track of. To the artist, it must seem like the constitution of the U.S. has no value or power any more, freedom of speech is no longer guaranteed and with the leaders of non-violent integretation movements dead and gone, the American's dream of a better society have deceased as well. The artist's impression was confirmed when Senator Robert F. Kennedy was seriously wounded in Los Angeles by a gunman after winning the California Primary. He died the next day and with him hope for a peaceful living together.

186

"TRAMP, TRAMP, TRAMP, THE BOYS ARE MARCHING..."

[Source: John Fischetti: Tramp, Tramp, Tramp, The Boys Are Marching..., in: Chicago Daily News (Chicago, II.), 93rd Year/No. 288, December 5, 1968, p. 10, cols. 3-6.]

Interpretation: Cartoon criticizes the superpowers' reckless governing by focusing only on weapons and neglecting the well-being of their respective people. The only issue they seem concerned with is to outrun the other nation. The fact that both men on the drawing, though representing different countries and systems, look alike indicates that they are not that different from each other after all, even more so when it comes to power and influence. To the artist, it must have seemed like nothing else was ever on the agenda. The civilian, who is overrun by the two men and too stunned to move out of his bathtub, as shown at bottom right of the drawing however, adds humor to the serious message of the cartoon.

187

1970 AWARD ABOUT AMERICANS DURING THE VIETNAM WAR IN 1969 BY

THOMAS F. DARCY Newsday (Garden City, N.Y.)

Thomas Francis Darcy (born on December 19, 1932, in Brooklyn, N.Y.) attended the Terry Art Institute in Florida from 1953 to 1954 and passed the School of Visual Arts in New York City in 1956. He started to work as a political cartoonist for Newsday, N.Y., in 1958. Darcy switched to the Phoenix Gazette in 1959 but left it the following year for working as an art director for an advertising concern. In 1965 he joined the Houston Post where he stayed for two years. He then switched to the Philadelphia Bulletin. In 1968 Darcy got the post of an editorial cartoonist at Newsday. In the same year Newsday Specials started to syndicate his cartoons. The 1970 Pulitzer Prize for editorial cartooning was presented to Thomas F. Darcy for his distinguished work during the year before as exemplified by the drawing "Good news, we've turned the corner in Vietnam!"

188

"GOOD NEWS, WE'VE TURNED THE CORNER IN VIETNAM!"

[Source: Thomas F. Darcy: Good News, We've Turned The Corner In Vietnam!, in: Newsday (Garden City, N.Y.), Vol. 30/No. 11, September 13, 1969, p. 13, col. 2.]

Interpretation: Cartoon illustrates the ambiguous policy making of the American military. The title of the drawing implies both the literal as weil as the metaphorical meaning after the fact that the North Vietnamese leader Ho Chi Minh had died early in September.

189

"PRISONER OF WAR"

[Source: Thomas F. Darcy: Prisoner Of War, in: Newsday (Garden City, N.Y.), Vol. 30/No. 14, September 17, 1969, p. 1 B, col. 2.]

Interpretation: Cartoon depicts President Richard M. Nixon as a prisoner of war. However, he is a special kind of prisoner, since he - the new President of the U.S. - would like to leave the Vietnam war behind him and deal with other issues. Former Presidents John F. Kennedy and Lyndon B. Johnson got tangled up in this conflict. Right after his election, Richard M. Nixon focused on the peace talks in Paris, pursuing a speedy end to the conflict, for which a declaration of war has never been issued. He even goes so far as to release the Nixon Doctrine which said that the U.S. would tend to avoid situations like Vietnam from now on. A day before this drawing was released, President Richard M. Nixon announced the second draw-back of U.S. troops. Yet he did not want to be known as the president who accepted defeat, that's why he fell back on his earlier parole of 'peace with honor'. The title of the drawing, however, indicates that Nixon will not be able to leave the war in Asia behind him that easily.

190

"SORRY FELLAS ... BUT THAT'S THE ONLY WAY OUT"

[Source: Thomas F. Darcy: Sorry Fellas... But That's The Only Way Out, in: Newsday (Garden City, N.Y.), Vol. 30/No. 31, October 7,1969, p. 1 B, col. 2.]

Interpretation: Cartoon explains some thoughts about the withdrawal of U.S. troops from Vietnam in its own cruel way: President Nguyen Van Thieu of South Vietnam will only let them out of the country when they are dead. Here the artist uses the pun of ground: Nguyen Van Thieu intends to grind the American soldiers first to ground meat before they are permitted to get out of the region. This drawing underlines Nguyen Van Thieu's basic unwillingness to negotiate with North Vietnam and thus to find a way to end this war which did cost many thousands of killed soldiers on both sides.

191

1971 AWARD ABOUT WAR CONDITIONS AND WAR VICTIMS IN 1970 BY

PAUL F. CONRAD Los Angeles Times

Paul Francis Conrad (born on June 27, 1924, in Cedar Rapids, la.) attended the University of Iowa, from which he graduated with a B.A. degree in 1950. The same year he started to work for the Denver Post, where he held the post of an editorial cartoonist for the following fourteen years. During his first year with that paper Conrad - commissioned by the Cooke-Daniels Lecture Tours - also taught at the Denver Art Museum. For his work as an outstanding cartoonist throughout the previous year Conrad was made the recipient of the 1964 Pulitzer cartooning award. The same year Conrad moved to the Los Angeles Times. Other awards the cartoonist won in the course of his career include three Editorial Cartoon awards from the Sigma Delta Chi journalism fraternity and the Overseas Press Club award. In 1971 Paul F. Conrad was granted his second Pulitzer Prize in the cartoon category for his work performed during the previous year as exemplified by the drawing "The Operation Was a Complete Success... As The Autopsy Will Show!"

192

"THE OPERATION WAS A COMPLETE SUCCESS... AS THE AUTOPSY WILL SHOW!"

»"» >«* *«***»*·«*. ·«·>·.

[Source: Paul Conrad: The Operation Was A Complete Success... As The Autopsy Will Show!, in: Los Angeles Times (Los Angeles, Ca.), Vol. LXXXIX/No. 211, July 2, 1970, part II, p. 6, cols. 3-4.]

Interpretation: Cartoon criticizes the U.S. government's attempt to cover up the consequences of the invasion of Cambodia, Henry A, Kissinger's order to make it look successful as well as the blood on Richard M. Nixon's hands seem to be deeply cynical to the artist who also wants to express the fact that the blood on the President's hands is also of four American students killed while demonstrating against me invasion.

193

"FROM HERE TO ETERNITY"

[Source: Paul Conrad: From Here To Eternity, in: Los Angeles Times (Los Angeles, Ca.), Vol. LXXXIX/No. 338, November 6, 1970, part Π, p. 8, cols. 3-4.]

Interpretation: Cartoon illustrates the common feeling of America's society concerning the Vietnam war: the conflict never seems to come to an end, it keeps dragging on "to eternity", and with that, wasting the lives of many American soldiers. The message on the back of one soldier adds strong irony, for how can a death rate be acceptable with peace talks going on and on? This detail expresses the artist's view of the U.S. administration's cool calculation of losses which do not stand in any relation to the U.S. forces' successes in Vietnam.

194

"THE U.S. ARMY..."

[Source: Paul Conrad: The U.S. Army..., in: Los Angeles Times (Los Angeles, Ca.), Vol. XC/No. 15, December 18, 1970, part Π, p. 8, cols. 3-4.]

Interpretation: Cartoon discusses the new task of the U.S. military: at the end of the Vietnam war, they were not mainly concerned with fighting and hiring people but with observing American students and hippies demonstrating against the war. Many underground magazines, for example, assumed that the government was an illegal authority and could therefore be opposed freely. The drawing's main element, showing Uncle Sam's pointing forefinger, became one of the most popular and often adapted cartoons since the early seventies.

195

1972 AWARD ABOUT AMERICAN POLITICS AND ECONOMY IN 1971 BY

JEFFREY K. MACNELLY The Richmond News Leader

Jeffrey Kenneth MacNelly (born on September 17, 1947, in New York City) attended the University of North Carolina after his graduation from Phillips Academy in Andover, Massachusetts, in 1965. Four years later, in 1969, he started to work as a staff artist and editorial cartoonist for the Chapel Hill Weekly. In the same year he won the National Newspaper Association award for cartooning. He left the Chapel Hill Weekly in December of 1970 to work as an editorial cartoonist for the Richmond News Leader. Already two years later, Jeffrey K. MacNelly was granted the 1972 Pulitzer Prize for his editorial cartoons during the previous year as exemplified by the drawing "The Economy."

196

"GEORGE?..."

[Source: Jeffrey K. MacNelly: George?..., in: The Richmond News Leader (Richmond, Va.), No. 24,913, August 23, 1971, p. 12, cols. 3-5.]

Interpretation: Cartoon demonstrates George Meany's turning away from the Democratic party and its presidential candidate Richard M. Nixon. George Meany as leader of the AFL and CIO labor union federation had supported the Democrats so far but was angered by their party reforms. He decided not to support Nixon as one can see by his taking the supposedly wrong direction in a football line-up. Some observers, however, attribute Nixon's success at the elections to Meany's decline to support him. Later on, George Meany was an early advocate of Nixon's removal from office - a fact which adds new and originally unintended meaning to this drawing.

197

"FEDERAL FLOATING NOTE"

9985874476 . D. C,

[Source: Jeffrey K. MacNelly: Federal Floating Note, in: The Richmond News Leader (Richmond, Va.), No. 24,920, August 31, 1971, p. 10, cols. 3-5.]

Interpretation: Cartoon illustrates people's worries about the new economic policy program that President Richard M. Nixon had announced. It included a ninety-day wage and price freeze, reductions in federal spendings and a temporary surcharge on imports by ten per cent. The dollar would be allowed to float from its formerly fixed exchange rate per ounce of gold. The drawing takes this floating literally for George Washington on the one-dollar bill has already equipped himself with a lifevest. This conveys the deeprooted scepticism of Americans toward federal governmental regulating of the economy, especially this program. The artist seems to expect the measure to backfire, thus leaving the dollar weaker than before.

198

"THE ECONOMY"

[Source: Jeffrey K. MacNelly: The Economy, in: The Richmond News Leader (Richmond, Va.), No. 24,986, November 17, 1971, p. 14, cols. 3-5.]

Interpretation: Cartoon demonstrates President Richard M. Nixon's unsuccessful measures to boost the American economy with the next phase of his economic program, here drawn as the second box of matches. His matches in this round were: A pay board which was responsible for establishing standards for wage increases set a 5,5 per cent guideline. A proce commission established a 2,5 per cent guideline for annual price increases. The staple of further match boxes indicate Nixon's persistent, yet hapless efforts to lighten the piece of wood which obviously is way too large for him and his economic policy in general.

199

1973 AWARD ABOUT THE DECISION TO WITHHOLD THE PRIZE FOR WORK DONE IN 1972 BY

THE ADVISORY BOARD Columbia University

Since the members of the 1973 Pulitzer Prize Cartoon Jury in their report could not single out any cartoonist deserving the award, the Advisory Board accepted the juror's recommendation and gave "no award" in this category for work done the year before.

200

NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD"

Benjamin C. Bradlee

The Washington Post

Wallace Carroll

Winston-Salem (N.C.) Journal-Sentinel

John Cowles Jr.

The Minneapolis Star & Tribune

Price Day

The Baltimore Sun

William B. Dickinson

The Philadelphia Bulletin

Robert J. Donovan

Los Angeles Times

Lee Hills

Knight Newspapers, Inc.

John Hohenberg

Columbia University

William J. McGill

Columbia University

Sylvan Meyer

The Miami News

Newbold Noyes Jr.

Washington Star-News

Joseph Pulitzer Jr.

St. Louis Post-Dispatch

James B. Reston

The New York Times

Vermont C. Royster

The Wall Street Journal

201

1974 AWARD ABOUT WATERGATE AND ITS FOLLOW-UP IN 1973 BY

PAUL M. SZEP The Boston Globe

Paul Michael Szep (born on July 29, 1941, in Hamilton, Ontario, Canada) started to work as a newspaper cartoonist for the Hamilton Spectator while visiting high school from 1958 to 1961. He was educated at the Ontario College of Art in Toronto and graduated in 1964. He then free-lanced as a book and fashion illustrator in Toronto. In 1965 he was engaged for a job as a graphics designer for the Financial Post of Toronto. Szep moved to the USA and got the post of an editorial cartoonist at the Boston Globe in 1966. His cartoons appeared nationally through the McNaught Syndicate. Szep also published three cartoon books entitled "In Search of Sacred Cows," 1967; "Keep Your Left Hand High," 1969, and "At This Point in Time," 1973. For his outstanding work during the previous year Paul M. Szep was granted the Pulitzer Prize for cartooning in 1974 as exemplified by the drawing "I've decided not to tell you about the alleged shipwreck."

202

"SOME OF THE STARS HAVE JUST ARRIVED"

[Source: Paul Szep: Some Of The Stars Have Just Arrived, in: The Boston Globe (Boston, Ma.), Vol. 203/No. 137, May 17, 1973, p. 18, cols. 3-5.]

Interpretation: Cartoon illustrates today's news journalists with focus on politics having turned reporting on the Watergate scandal into a show like a movie premiere in Hollywood. The star here, however, is the government itself. The drawing criticizes that the media as well as the people do not take the affair seriously enough as one can see, for example, from the old ladies waiting for an autograph. On the day this drawing was published, Senator Samuel J. Ervin Jr. who headed the Committee on Presidential Campaign Acitivities opened the hearings to explore the alleged cover-ups of the administration and its involvement in the Watergate break-in which had occured the preceding year in Washington, D.C.

203

"I'VE DECIDED NOT TO TELL YOU ABOUT THE ALLEGED SHIPWRECK"

[Source: Paul Szep: I've Decided Not To Tell You About The Alleged Shipwreck, in: The Boston Globe (Boston, Ma.), Vol. 204/No. 11, July 11, 1973, p. 12, cols. 3-5.]

Interpretation: Cartoon ridicules Richard M, Nixon's denial of being involved in the Watergate affair: just as the ship has sunk he knew about the break-in. James McCord, who was the security consultant of the Commitee to Reelect the President and was one of the burglars turned Nixon's denies into lies, handed a letter to the judge who sentenced the Watergate burglars. The letter said that perjury had occurred, political pressure had been exerted on the defendants and that the truly guilty men had not been named yet. The Watergate burglars were also involved in the break-in of Daniel Elisberg's office.

204

"YOU'RE SURROUNDED NIXON GIVE UP THE TAPES!"

[Source: Paul Szep: You're Surrounded Nixon... Give Up The Tapes!, in: The Boston Globe (Boston, Ma.), Vol. 204/No. 61, August 30, 1973, p. 18, cols. 3-5.]

Interpretation: Cartoon depicts Richard M. Nixon's refusal to comply and hand out the tapes, although everybody involved knew that these sources existed. Previously, a White House aide, Alexander Butterfield, had testified that there was a comprehensive taping system in the oval office. Independent Counsel Archibald Cox got a subpoena from Judge John J. Sirica who presided over the lawsuit of the Watergate burglars. The same month this drawing was published, President Nixon said in a television address that he had executive privilege in regard to the tapes. Only after the Supreme Court unanimously ordered him to release them did he do so.

205

1975 AWARD ABOUT POLITICS OF THE POST-WATERGATE ERA IN 1974 BY

GARRY TRUDEAU Universal Press Syndicate (New York)

Garry Trudeau (born on July 21, 1948, in New York City) started to draw a comic strip for the Yale Daily News in 1968, when he was an undergraduate at Yale University. It was called "Bull Tales" and soon attracted national attention. With his comic strip Trudeau invented a new genre of political and social commentary. In 1970 the Universal Press Syndicate changed the title into "Doonesbury," the name of the main character in the strip, Michael J. Doonesbury, and distributed it to more than three hundred newspapers. Also a number of collections of "Doonesbury" were published. As the editor of "Sheed and Ward's Cartoons for New Children" series the cartoonist published his own book in 1974. Garry Trudeau was made the recipient of the 1975 Pulitzer Cartoon Prize as the first non-editorial-page artist for his "Doonesbury" strip as exemplified by the drawings "The President Fights Back," published in the year before.

206

"THE PRESIDENT FIGHTS BACK"

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Interpretation: Cartoon shows President Richard M. Nixon's curious ways to fight his dwindling popularity in the Watergate case. The drawing suggests L Patrick Gray, who was head of the FBI until he had to admit being involved in the affair, workittg »ow as the President's devout aide.

207

"CONGRESS GROWS RESPONSIVE"

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[Source: Garry Trudeau: Congress Grows Responsive, in: The Washington Post (Washington, D.C.), 97th Year/No. 145, April 29, 1974, p. D 10, cols. 5-8.]

Interpretation: Cartoon characterizes an average Congressman as selfcentered and unscrupulous: what this unknown representative is most concerned about is his re-election. He even attempts to use Watergate to his benefit, by assuring his voters that he, in contrast to Nixon, has principles.

208

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[Source: Tom Toles: First Amendment, in: The Buffalo News (Buffalo, N.Y.), Vol. CCXVUI/No. 83, July 2, 1989, p. Η 10, cols. 3-5.]

Interrelation: Cartoon refers to a decision of the Supreme Court by which the burning of the American flag was defi ed within the realms of the first amendment of the constitution. With this judgement, the Supreme Court confirmed the acquittal of the Texan Gregory Johnson who had burnt a flag during a Republican convention in Dallas five years ago. The Supreme Court had explained its decision by saying that the government may not forbid an expression of personal opinion just because it did not approve it. The little comment by the artist in the right bottom expresses his rationale by that even this cartoon might have been called subversive, had the Supreme Court decided otherwise. Three months prior to that Congress had voted 97 to zero that even the knowingly or wiilfull laying down of a flag was a crime. The house of representatives expresseed their deep concern over or with the decision, too.

268

"THE EDUCATION PRESIDENT"

[Source: Tom Toles: The Education President, in: The Buffalo News (Buffalo, N.Y.), Vol. CCXVIII/No. 115, August 3, 1989, p. B 2, cols. 3-5.]

Interpretation: Cartoon illustrates the public' growing concern with their new president, George Bush. The promises he made during the election campaign included the famous line: "Read my lips - no new taxes." He obviously had raised hopes and expectations of the voters and he also had big ideas for his first term. On the other hand, he had assured the nation to continue Reagan's policy on many issues and he had also inherited the huge budget deficit. Now, seven months after his inauguration, the people were starting to wonder how George Bush was going to solve this highly difficult equation. Already in January experts had criticized the new president that his estimations of the budget were too optimistic and that the deficit would be at least 30 billion larger than Bush had said. With all that in mind, so the cartoonist fears, there would not be enough money left to reform the education system of the U. S.

269

1991 AWARD ABOUT CONFLICTS AND GERMANY'S REUNIFICATION IN 1990 BY

JIM M. BORGMAN The Cincinnati Enquirer

James Mark (Jim) Borgman (born on February 24, 1954, in Cincinnati, Oh.) attended Kenyon College where he worked for the Kenyan Collegian. He graduated from college in 1976. The artist started his career for the Cincinnati Enquirer as an editorial cartoonist under the name Jim Borgman in 1976. His cartoons reached wide popularity because of their distribution to more than two hundred newspapers through the King Features Syndicate since 1980. Bergman's work was exhibited at the International Salon of Cartoons at Haslem Gallery and at Art Pac Shows. The cartoonist published several books over the years. The numerous prizes Borgman gained in the course of his career include the 1978 Sigma Delta Chi award for editorial cartooning and the award for the Best Editorial Cartoonist from the National Cartoonists Society in 1987, 1988, and 1989. James M. Borgman was made the recipient of the Pulitzer Prize in the cartoon category in 1991 for work from the year before, as exemplified by the drawing "Domino Theory."

270

"DOMINO THEORY"

[Source: Jim Bergman: Domino Theory, in: The Cincinnati Enquirer (Cincinnati, Oh.), 149th Year/No. 296, January 30, 1990, p. A 8, cols. 3-5.]

interpretation: Cartoon offers a new version of die domino theory which was popular and widely discussed during the Vietnam war, i.e. America's fight against the spread of communism in the world, in this version, however, the question is not which and whether Asian countries would fall for communism. In the current context both questions are rendered superfluous for one can see the domino buttons - standing for all the alligned Soviet states who seceded from the USSR - akeady falling over so that is it only a matter of time when President Gorbatchev, symbolizing the mother country Russia, will tumble down as well The expression on his face indicates that he, too, knows his fate and that of his country. He also knows there is nothing he could do to stop this process. The fall of the communist empire was observed with caution and worry in other countries because no-one knew what would come next The irony of it all is that Mikhail Gorbatchev is known as a reformer of the old marxist structures and that it was him who set off the domino stones.

271

"NOW WE WAIT..."

[Source: Jim Borgman: Now We Wait..., in: The Cincinnati Enquirer (Cincinnati, Oh.), 150th Year/No. 147, September 3, 1990, p. A 12, cols. 3-5.]

Interpretation: Cartoon shows the fateful decision of President George Bush to halt the invasion and set-up blockades instead to bring Saddam Hussein of Iraq down. In doing so, Bush complied to a plea made by the other Arabian countries to put a stop to combat. This decision gave way to a still continuing quarrel between the United Nations and Iraq because the blockade was very hard on the Iraqi people but did not have any effect on Hussein's power. The blockade which were to bring Hussein down only had the people suffer because there were not enough food stocks or medicine supplies. In fact, Hussein used the blockade to present himself and his people as victims of the cruel and merciless West and thus turned himself into a martyr. With respect to the later incidents and attacks of Iraqi violation of the no-fly zones, it remains interesting to wonder if Hussein would still be in power if President Bush had not complied to the wish of the Arabian countries.

272

"ACTUALLY, IT'S SO WE ALWAYS KNOW WHERE THEY ARE"

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[Source: Jim Borgman: Actually, It's So We Always Know Where They Are, in: The Cincinnati Enquirer (Cincinnati, Oh.), 150th Year/No. 174, September 30, 1990, section I, p. 1, cols. 2-5.]

Interpretation: Cartoon characterizes the U.S.1 attitude towards the reunification of the two Germany s: on the one hand, they certainly felt it as a victory over the communist system, ever since Ronald Reagan called out to Gorbatchev during his visit in Berlin to "come to this gate and tear down this wall." In August 1990, the parliament of the (East) German Democratic Republic decided to join the Federal Republic of Germany on October 3, four days after this drawing was published. On the other hand, the United States were not too certain what direction the new Germany would take, in fact no-one knew that although the foreign minister as well as other high officials of Germany assured everyone that the new republic would maintain the amicable relationships to all foreign countries. The point, however, was that no-one knew how the unification would proceed in detail and in reality as this development was unprecedented. All this is expressed in the tradition of tying cans to the vehicle of the newly wed. The honeymoon, to stick to the metaphor, would be over soon when it became clear just how much money and effort the realization of the unification would cost in the future.

273

1992 AWARD ABOUT HUMAN NEEDS AND SOCIAL CONDITIONS IN 1991 BY

SIGNE WILKINSON Philadelphia Daily News

Signe Wilkinson (born on July 25, 1950, in Wichita Falls, Tx.) graduated from the University of Denver, where she majored in English. She continued her studies at the Pennsylvania Academy of the Fine Arts in Philadelphia and the University of Strasbourg in France. Then she worked as a reporter, art director and peace activist. For nine months, she was in Cyprus, engaged on a housing project and work camp for young Greek and Turkish Cypriots. In 1982 Wilkinson started at the San Jose Mercury News in California as an editorial cartoonist. Three years later, in 1985, she switched to the Philadelphia Daily News. In the following years she was a vice president of the Association of American Editorial Cartoonist. Signe Wilkinson was the first wormen ever awarded a Pulitzer Cartoon Prize when she earned that honor in 1992 on the basis of her works from the previous year, as exemplified by the drawing "Hello, Washington?"

274

"PULL THE PLUG?!!"

örara *ifctfkJe*J

[Source: Signe Wilkinson: Pull The Plug?!!, in: Philadelphia Daily News (Philadelphia, Pa.), Vol 66/No. 239, January 11, 1991, p. 71, cols. 3-4.]

Interpretation: Cartoon satirically criticizes today's use of life-proloning measures in high tech hospitals. The cruelty that is implied with the doctor's response shows how commericialized the medicine sector has become. The patient's chart at the end of his bed hints at the physician's motivation: his billable hours rise steadily with every day the patient stays in the coma. However, it also illustrates where the difficult ethical debate on when to decide that there is no chance of recovery, i.e. to actually pull the plug, has taken not only the Americans. The fact that the physician estimated his patient's life in dollars indiciates that this crucial discussion has taken a wrong turn indeed.

275

"HELLO, WASHINGTON?"

[Source: Signe Wilkinson: Hello, Washington?, in: Philadelphia Daily News (Philadelphia, Pa.), Vol. 66/No. 260, February 5, 1991, p. 22, cols. 2-4.]

Inierpretaiion: Cartoon refers to the nationwide crisis of the numerous American savings and loan institutes which cost the government more than 200 billion dollars in bail-out help, ϊη fact, in the course of the breaking »* cession many savings and loan association went broke because &ey had invested in the wrong realties, Shirley is just one of the thousands of little savings and loan associations that went bust and called out for help. The details, however, also indicate that die situation has already worsened a lot for the small-size businesses such as Shirley's Savings and Loans obviously is: The kid is playing with a rat, the walls have fissures and the water is leaking. To help them out, the government had to make a budget compromise with Congress which included savings but also tax raises.

276

"HOME ALONE"

[Source: Signe Wilkinson: Home Alone, in: Philadelphia Daily News (Philadelphia, Pa.), Vol. 66/No. 274, February 21. 1991, p. 25, cols. 3-4.]

Interpretation: Cartoon is informing about the fact that for the first time ever, women soldiers were stationed in the Gulf war as well. With the U.N. resolution 678 from November 29 of the previous year, the operation "Desert Shield" began and next to the leading nation of the United States 27 countries participated. Ten per cent of the American troops were women. Two days after this drawing was published Operation "Desert Storm" commenced and freed Kuwait of its Iraqi garrison. This fact may be considered a victory for women's liberation but on the other hand it does have the disadvantage the drawing shows, when both parents are fighting: their kid(s) stays home alone just as Macauley Culkin did in the then famous and popular movie of the same title. In that blockbuster the young hero creatively fought against burglars. The difference being that in reality, the neglectance of one's child is neither exciting nor funny.

277

1993 AWARD ABOUT U.S. PRESIDENTIAL ELECTION CAMPAIGNING IN 1992 BY

STEPHEN R. BENSON The Arizona Republic (Phoenix)

Stephen R. Benson (born on January 2, 1954, in Sacramento, Ca.) attended Art Instruction Schools in Minneapolis until 1973. He then went to Brigham Young University from which he graduated with a B.A. degree in political sciences in 1979. In 1980 he started his career at the Arizona Republic. His work was first syndicated by the Washington Post Writer's Group, from 1981 to 1984, and subsequently by the Tribune Media Services. From 1990 to 1991 Benson worked for the Morning News Tribune of Tacoma, Wa., but then turned back to the Arizona Republic in 1991. The cartoonist won numerous recognitions, among them the first prize of the Arizona Press Club in 1980, 1981, 1984, and 1985 and the Headliner award in 1984. Stephen R. Benson was granted the 1993 Pulitzer Prize in the cartoon category for his work from the year before, as exemplified by the drawing "I hope I can get this turned around..."

278

"I HOPE I CAN GET THIS TURNED AROUND..."

[Source: Stephen R. Benson: I Hope I Can Get This Turned Around..., in: The Arizona Republic (Phoenix, Az.), 102nd Year/No. 336, April 18, 1992, p. A 14, cols. 3-5.]

interpretation: Cartoon depicts the race between the two presidential candidates, George Bush and Bill Clinton, The main focus during the campaign was on the recession which kept the nation's economy straggeling. Bush had lost a good amount of his popularity from the Gulf War again. His deal with Congress to help out the savings and loan institutes had him break a promise the incumbent president had made: he had promised not to introduce any new taxes. The recession was a major burden for the Bushcampaign because it came about during his incumbency -- recession was literally his race horse. Going the wrong direction, backwards instead of forward, George Bush indeed had to worry about his chances of being reelected. Bill Clinton as the outside opponent had the opportunity to choose his 'race horse' and had many supporters as early as in April of that year when only a few primaries had already been held so far.

279

"HANG IN THERE"

[Source: Stephen R. Benson: Hang In There, in: The Arizona Republic (Phoenix, Az.), 103rd Year/No. 65, July 22, 1992, p. A 8, cols. 3-5.]

Interpretation: Cartoon characterizes Ross Perot's way of dropping out of the presidential election race. The multi-millionaire from Texas had announced his candadicy as late as in February. His aides obviously did not have enough time to even lay out a decent strategy let alone paint billboards before Perot changed his mind and stepped back on July, 16, of that year. He was not a member of any party so he run as independent but was regarded as fairly conservative. His popularity, which surged in May but then kept declining, was due to his populist statements and his simple solutions to the United States' problems. When he announced to pull out of the race because it was obvious he did not stand a realistic chance of winning, he added that he might enter the competition again - hence the "hang in there" in the drawing - which he did on October 1. On the elections he did not win a single state but 19 per cent of the electorate. Clinton won 43 per cent and Bush 38 per cent. Perot's defeat might also be due to the fact that he said during a television debate that he wanted to raise taxes on fuel.

280

"MY ELECTION STRATEGY IS SIMPLE..." M.y election strategy 16 State tfeft will -the ro>st

[Source: Stephen R. Benson: My Election Strategy Is Simple..., in: The Arizona Republic (Phoenix, Az.), 103rd Year/No. 79, August 5, 1992, p. A 10, cols. 3-5.]

Interpretation: Cartoon shows incumbent President George Bush retreat to an old, almost traditional measure to boost one's popularity: focus on foreign policy. The war in the Gulf of Persia against the Iraqi troops of Saddam Hussein indeed let Bush' popularity rates surge - in 1991. However, by August of this year the idea might come too late. By characterizing Bush's campaign strategy as that simple, the drawing also indicates that the president did not have much stratedy to fall back on. On July 22, George Bush demonstrated the American determination not to tolerate any more resistance from Iraq. The United Nations had numerously accused the Iraq of not abiding by the cease fire resolution. Foreign minister James Baker had assured the leaders of the Iraqi opposition that the United States would further support them. He was warned, however, that bombing Bagdad would not help the opposition. This warning, how common sense and logic it was, did not help Bush, on the other hand, who would have liked to strike another military operation against Hussein to boost his own populartity.

281

1994 AWARD ABOUT VARIOUS INTERNATIONAL CONFLICT AREAS IN 1993 BY

MICHAEL P. RAMIREZ The Commercial Appeal (Memphis)

Michael Patrick Ramirez (born on May 11, 1961, in Tokyo, Japan) started to work for the Sutton News Group in 1979 including the Newport Ensign, the Irvine Today, and the Costa Mesa News. In 1982 he switched to Baker Communications/Λζ/σί Verdes Peninsula News, Ca., and graduated from the University of California at Irvine, in 1984, with a B.A. degree in Fine Arts/ Studio Painting. Ramirez got the post of an editorial cartoonist at the Daily Sun/Post in San Clemente, Ca., in 1989. The following year he was engaged by the Commercial Appeal in Memphis. The 1994 Pulitzer Prize in the cartoon category went to Michael P. Ramirez for his work published during the previous year, as exemplified by the drawing "As the smoke cleared..."

282

"NEVER AGAIN..."

BOSNIAHtRZEGOODCAUST

BOSNIAΗΙΚΖΕΟΟΥΙϋΓΝΛΜ

[Source: Michael P. Ramirez: Never Again..., in: The Commercial Appeal (Memphis, Tn.), 154th Year/No. 113, April 23, 1993, p. A 10, cols. 3-5.]

Interpretation: Cartoon illustrates the motives for the U.N. member states, Germany and the United States, for getting involved in the Bosnia-Herzegovina war: both countries had been traumatized in recent history: Germany by the Holocaust, the United States by the Vietnam debacle. Their pleads to never again let this happen, is therefore understandable. However, the drawing implies that these motives let them neglect the current situation. Reality seems to be overshadowed by the past. The previous months had been filled with peace conferences on the one hand and frequently erupting fights and attacks on the other hand. The U.S. urged the United Nations to introduce a tribunal for wartime criminals. The notion of ethical clearings was a cynic euphemism for the massakers that the serbs conducted to erase the Muslims. The day the drawing was published, President Bill Clinton underlined that the United States should be the leading nation in this operation in Yugoslavia. He hesitated to draw a direct comparison to the Holocaust but saw the similarities.

283

"AS THE SMOKE CLEARED..." I6TVE SMOKE CLEARED, SUDCCHLX I * TH&Y RKOGNtZED £*CH OTMBUJB

[Source: Michael P. Ramirez: As The Smoke Cleared .... in: The Commercial Appeal (Memphis, Tn.), 154th Year/No. 246, September 3, 1993, p. A 10, cols. 3-5.]

Interpretation: Cartoon shows the alienation of the two long-terra adversaries, Palestinian leader Yasser Arafat and Yitzak Rabin of Israel. Standing on a huge pile of used weapons, they only get the opportunity to talk to each other face-to-face when all armaries are used up and the air is literally clear again. In summer the tenth round of middle-east peace talks took place in Washington. During the last week of July, "Operation Requital" of the Israelis in South Libanon caused the death of more than 130 people. American foreign minister Warren Christopher went to Israel on August 3 and a month later, in early September, Israel and the PLO acknowledged each others existence. This included the founding of an autonomous status for parts of the area occupied by the Israelis. Within the PLO the peace agreement was fiercely discussed on September 4, however, the Fatah agreed and the smoke was actually clearing for some common sense. The agreement was the first milestone in the long and difficult peace process that these two groups worked out

284

"SOMALIA"

[Source: Michael P. Ramirez: Somalia, in: The Commercial Appeal (Memphis, Tn.), 154th Year/No. 281, October 8, 1993, p. A 10, cols. 3-5.]

Interpretation: Cartoon cynically discusses the desperate situation of Somalia and the unseemly involvement of the United Nations. By comparing the country, which had to suffer immensely not only under a civil war but also from a series of droughts, as a sea, the artist adds a metaphorical meaning of drawing in sorrow to his illustration. In December 1992 the United Nations decided to sent humanitarian aid troops to Somalia. This included more than 20,000 American soldiers. By August of the next year, rebells were attacking not only the suppressive regime in their home country but also U.N. troops. On the other hand, reports were published according to which U.N. troops were responsible for violent acts. The following month, the tensions between UNOSOM troops and Somalians continued. Numerous U.S. troops were killed. On September 9, a massacre at Mogadishu caused the death of 200 Somalian women and children. The day before the drawing was published, President Clinton announced that the American troops were drawn out of Somalia even though peace had not been achieved so far.

285

1995 AWARD

ABOUT AMERICAN BEHAVIOR IN KEY SITUATIONS IN 1994 BY

MIKE LUCKOVICH The Atlanta Constitution

Mike Luckovich (born on January 28, 1960, in Seattle, Wa.) studied political sciences at the University of Washington from which he graduated in 1982. He started his career at the Greenville News, S.C., as a cartoonist and switched to the New Orleans Times-Picayune in 1984 where he took the post of an editorial cartoonist. In 1989 Luckovich started to work for the Atlanta Constitution. His cartoons were nationally distributed in more than one hundred and fifty newspapers around the nation by Creators Syndicate. In the course of his career Luckovich was granted with numerous prizes including the 1990 Overseas Press Club Award for the best cartoon on foreign affairs in the previous year and the National Headliners Award from the Press Club of Atlantic City in 1991. The 1995 Pulitzer Prize for editorial cartooning was presented to Mike Luckovich for his work published in the year before, as exemplified by the drawing "Pie-eating championship..."

286

"PIE-EATING CHAMPIONSHIP..."

theft \rtjnt be 3 Y/ofU Seiles this year.-

[Source: Mike Luckovich: Pie-Eating Championship..., in: The Atlanta Constitution (Atlanta, Ga.), Vol. 127/No. 32, August 2, 1994, p. A 6, cols. 3-5.]

Interpretation: Cartoon illustrates an on-going strike of the American professional baseball league. The comment of the drawing concerning the season is in fact correct, since the season of 1994/95 was completely not played which of course angered many fans. The quarrel between owners and players did not find too much understanding from the part of the public. The drawing characterizes the nature of the conflict as basically one of greed professional baseball does not seem to be about the playing ball anymore but only about the profits that could be reapt. The game now was about who got the biggest piece of the turnover-cake. The cynic comment of the drawing to this strike was that while fans could not watch any games, they could watch the competition of owners and players which took just as long as a regular baseball world series.

287

"MOMENT OF SILENT PRAYER AT BEGINNING OF CLASS"

[Source: Mike Luckovich: Moment Of Silent Prayer At Beginning Of Class, in: The Atlanta Constitution (Atlanta, Ga.), Vol. 127/No. 49, August 25, 1994, p. A 16, cols. 3-5.]

Interpretation: Cartoon presents its own mocking version of the school prayer which has at least two motives behind it: While children naturally do not want the holidays to be over, their parents all are relieved when their offspring is finally back to a regular schedule and does not come home before three or four in the afternoon. Secondly, the drawing refers to a decision of the Supreme Court concerning the obligatory school prayer. Since the constitution guarantees freedom of religion, the Supreme Court ruled that students of other denominations could not be made say the Christian school prayer. Thus, the parents take over the tradition of school prayer - but they formulate their own version. Naturally, the ruling stirred up vivid controversities among the most various groups. Atheists as well as religious minorites praised the decision of the Supreme Court as protecting their rights given by the first amendment of the constitution. Religious activists however, argued that freedom of religion did not mean freedom from religion in general.

288

"WHEN YOUR BIRTHDAY'S ON CHRISTMAS..."

Wjffl yxr Urthdays on

[Source: Mike Luckovich: When Your Birthday's On Christmas..., in: The Atlanta Constitution (Atlanta, Ga.), Vol. 127/No. 118, December 6, 1994, p. A 10, cols. 3-5.]

Interpretation: Cartoon criticizes the growing commercialization of the Christmas season. With the shopping season - traditionally opened the day after Thanksgiving, - the weeks before Christmas Eve are spent with buying and ordering gifts and finding the best offers. Thus people easily forget the reason for the celebration - Jesus being born. Focusing on the material side of the season, people do not only forget Jesus' birthday but also the birthdays of other people on that date. The irony is that most people hate to go shopping for Christmas and would rather skip the holiday altogether. But at the same time, people fell compelled to go along with the crowd and spend a lot of money on gifts for persons they may or may not like. The fear behind this is that without having gifts to exchange, Christmas might not be as jolly and happy and that those who do not join the gift exchange are outsiders. Both groups, i.e. those who buy gifts and those who do not, fail to remember the true meaning of Christmas.

289

1996 AWARD ABOUT TOPICS OF THE CLINTON ADMINISTRATION IN 1995 BY

JIM MORIN The Miami Herald

Jim Morin (bora on January 30, 1953, in Washington, D.C.) started to draw cartoons for the student newspaper Daily Orange while attending college at Syracuse University. The cartoonist was first engaged by the Beaumont Enterprise and Journal in Texas and then by the Richmond Times-Dispatch in Virginia. In 1978 Morin switched to the Miami Herald. His work was syndicated by King Features. Morin published several books, including a volume of cartoons. In the course of his career the cartoonist won numerous prizes, among them the Overseas Press Club awards in 1979 and 1990, the 1992 National Cartoonist Society award and the 1996 Berryman award. Jim Morin was also made the recipient of the 1996 Pulitzer Cartoon Prize for his work done during the previous year, as exemplified by the drawing "Who cares about Bosnia?"

290

"OPINION POLLS"

OJNIONCUT5 CLINTON &*& ECONOMIC eeONTH REMWNSSH3DN6

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RESCUES MEXICO

[Source: Jim Morin: Opinion Polls, in: TVie Miami Herald (Miami, Fl.), 85th Year/No. 64, February 2, 1995, p. 18 A, cols. 3-5.]

Interpretation: Cartoon implies a double irony: on one hand, it demonstrates how little the impact of politics is on every-day life and the economy. Most Americans do not regard politics all that important as only 39 per cent of all eligible voters actually voted in the last election. So to them, it just does not matter much what President Bill Clinton is doing, whether in foreign relations or concerning domestic issues. Although Clinton improved many things in his first term and summarized these in his State of the Union speech. Apparently they do not have any impact on his approval rate. But as soon as he manages to resolve the baseball strike and gets the games on again, his popularity is thriving. The impish self-irony behind this, is of course, that Americans do not need much to be happy but they definetely need games to watch. The other irony is that the drawing also indicates that opinion polls sometimes are not worth being taken for they simply cannot reflect on people's minds and opinions accurately.

291

"WHO CARES ABOUT BOSNIA?" TMFRE« CONGER

1WEUÄ»

[Source: Jim Morin: Who Cares About Bosnia?, in: The Miami Herald (Miami, Fl.), 85th Year/No. 338, November 3, 1995, p. 22 A, cols. 3-5.]

interpretation: Cartoon deals with the Americans' indifference to the war in Bosnia, Still being traumatized by the humbling experience during the Vietnam war, the general public does not seem to be interested in the least as to what is happening in Bosnia-Herzegovina because it might turn out to be a similar disaster. On the other hand, vast parts of the American public in the early 1970s also tried to blank out the war which dragged on in Vietnam. Or another Somalia or Lebanon, for that matter. In recent times, there had been some military involvements that had turned out negatively for the United States. As a result, the only thing that might increase their attention now and then is when a relative, here their son, is serving in the area of crisis. Personal interest overweighs everything else. As part of a NATO operation, the United States planned to send 20,000 troops to Bosnia in order to control a 12-miles-wide disengagement zone. Polls showed that 52 per cent of the Americans opposed the involvement.

292

"FACE LIFTS AND COSMETIC SURGERY"

Facelifts*^ Cosmetic Surgay

FMN4JN«B«N» CLINTON

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HBÄ5-L [Source: Jim Morin: Face Lifts And Cosmetic Surgery, in: The Miami Herald (Miami, Fl.), 85th Year/No. 340, Novembers, 1995, p. 2 M, cols. 3-5.]

Interpretation: Cartoon lampoons Bill Clinton's versatility and refers to the famous photo of Clinton taking the same posture as J. F. Kennedy whom he adored. The drawing also mockingly illustrates how Clinton deploys other president's good ideas for his own purpose. Just as Franklin Delano Roosevelt introduced the new deal and bailed the nation out of the Great Depression, Clinton managed to balance out the budget and let the economy recover again. Like Abraham Lincoln, Clinton wanted pragmatic integration of black people. And like Ronald Reagan, Clinton was extremely photogenic and able to walk off scandals undamaged. The drawing shows two things at the same time: on the one hand, Bill Clinton's striving to really improve the situation for every citizen. But also on the other hand, his lack of profile and character which makes him be a frequent costumer of the cosmetic surgent, i.e. the political advisors - especially when he is getting ready for another campaign, this time his campaign to be re-elected President.

293

1997 AWARD ABOUT FACETS OF THE WASHINGTON ESTABLISHMENT IN 1996 BY

WALT HANDELSMAN The Times-Picayune (New Orleans)

Walt Handelsman (born on December 3, 1956, in Baltimore, Md.) attended the University of Cincinnati in Ohio. He started his cartooning career at a chain of thirteen suburban Baltimore and Washington weeklies in 1982. Three years later, in 1985, Handelsman began working for the Scranton Times, Pa., where he stayed for four years. He then switched to the TimesPicayune in New Orleans where he received the post of an editorial cartoonist. His cartoons were distributed to more than one hundred papers and were frequently published in the New York Times, Newsweek, Time and USA Today. Handelsman won numerous awards, among them the 1992 Sigma Delta Chi award and the Robert F. Kennedy Journalism award in 1996. Afterwards Walt Handelsman was granted the 1997 Pulitzer Prize for editorial cartooning, based on his work in the year before, as exemplified by the drawing "...I lied, I cheated..."

294

"...WELFARE REFORM..."

[Source: Walt Handelsman: ...Welfare Reform..., in: The Times-Picayune (New Orleans, La.), 160th Year/No. 192, August 2, 1996, p. B 6, cols. 4-5.]

Interpretation: Cartoon caricatures one of Bill Clinton's television addresses. Here, he was motivating people to get off from welfare checks. The background was that the welfare reform had been passed by Congress. The reform included a law that no American was allowed welfare support for more than five years in his or her lifetime. Congress rather saw people work full-time for the same amount of money - taken that they get a minimumwage job - they would be else getting from the state, even if that meant that child care had to be provided for. The mind bubble "Mine" adds another political aspect to the drawing: during the time it was published, election campaigning was in full blast. The artist indicates that Clinton was using every motion to advertise his own re-election and that his true motive for this motion is not the country's well-being but foremost, his own.

295

"...I LIED, I CHEATED..."

[Source: Walt Handelsman: ...I Lied, I Cheated..., in: The Times-Picayune (New Orleans, La.), 160th Year/No. 231, September 10, 1996, p. B 6, cols. 4-5.]

Interpretation: Cartoon lampoons die famous book deal signed by scandalized presidential adviser Dick Morris. He resigned from his position as adviser to Bill Clinton who was in the midst of the re-election campaign, because the tabloid magazine Star revealed that Dick Morris had told secrets about the campaign to a prostitute he saw regularly. A week before this drawing was published, Sherry Rowlands, the catlgirl Dick Morris was with often, revealed her identity and also stated that he had paid her to keep silent about the issue. Soon after this affair had become public Dick Morris signed the book deal and published thetitle Behitui the Oval Office, a background scene account of the 1996 Clinton campaign. The book was oat of print soon. The drawing seems to expect another political adviser or polititian to be involved in an affair and criticizes mem for even employing this embarrassment for personal enrichment.

296

"FBI SEEKS NEW SUSPECTS..."

[Source: Walt Handelsman: FBI Seeks New Suspects..., in: The Times-Picayune (New Orleans, La.), 160th Year/No. 281, October 30, 1996, p. B 6, cols. 4-5.]

Interpretation: Cartoon refers to the infamous Atlanta bombing in the summer of that year. As the drawing suggests, the FBI has had a hard time solving this case. On the grounds of the Olympic games, two people had been killed, a hundred had been injured. Their first suspect was Richard Jewell, the security guard who had discovered the bomb. The FBI put him under surveillance for three months. The day this drawing was published, a court cleared him for lack of evidence. The drawing criticizes the FBI for working unprofessionally - three months after the bombing it appeared as if anybody who wants some attention can be a serious suspect to the FBI. Two years later, the FBI decided to file charges against Eric Rudolph. The investigators claimed to have amassed enough evidence to prove a connection of Rudolph with the bombing and five other attacks in the South of the U.S. The suspect was hiding in the inaccessible woods of North Carolina, and people appeared to help Rudolph in hiding from the federal forces.

297

WINNERS OF THE EDITORIAL CARTOON AWARD, 1998 - 2008* - Space for Notes -

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2000 Winner: Artist's Name Cartoon Title Newspaper 2001 Winner: Artist's Name Cartoon Title Newspaper 2002 Winner: Artist's Name Cartoon Title Newspaper * The listings of the annual Pulitzer Prize-winners as well as further background information about the awards will be available in the New York Times, New York, N.Y., during April of each year; the information also can be found in the Internet.

298 2003 Winner: Artist's Name Cartoon Title Newspaper 2004 Winner: Artist's Name Cartoon Title Newspaper 2005 Winner: Artist's Name Cartoon Title Newspaper

2006 Winner: Artist's Name Cartoon Tide Newspaper 2007 Winner: Artist's Name Cartoon Title Newspaper 2008 Winner: Artist's Name Cartoon Title Newspaper

299

INDEX

Abraham, Tony, VI Ackerman, Carl W., XXVII, XXIX, XXX, 58 Ahlgren, Frank R., XLI, XLIV Alba, Joaquin de, XLIII Alexander, J. D., LVII Allen, Dale, LVIII Allen, Jodie T., LIX, LXI Andrews, Caesar, LXI Arafat, Yasser, 283 Aregood, Richard, LXI Ariail, Robert L., LXIII Arnold, Edwin, 46 Asimov, Stanley P., LI Auth, Tony, XLIX, LIII, 209, 210, 211, 212 Baker, James, 280 Baker, Russell, LI Bakker, Jim, 257, 258 Bakker, Tammy, 257, 258 Baldowski, Clifford H., XLUI Baldwin, Donald K., XLI Barndollar, Frank W., XLVffl Barnes, Andrew, LXVII Barnett, Stanley P., XXXVII Barry, Dave, LIX Bascom, Lionel C., LIV Basset, Gene, XLI Batchelor, Clarence D., XXIX, XXX, XXXI, XXXII, XXXVIII, 57, 59, 60, 61,62 Battenfield, Paul, XXXII Beazell, William P., ΧΧΙΠ Becker, Stephen, 2 Bell, Montgomery, 139 Benson, Stephen R., LIV, LIX, LXI, LXUI, 277, 278, 279, 280 Berryman, Clifford K., XXXI, ΧΧΧΠ, LXV I, 87, 88, 89, 90, 289 Berryman, James T., XXXIV, XXXV, 111, 112, 113,114 Bertelson, Arthur R., XLI Bjngham, Barry Sr., 152, 170 Binion, Clayte, XLVI Bishop, Daniel, XXIX Block, Herbert L. (Herblock), XXIX, XXX, XXXI, XXXVn, XXXVJJI, XL, XLI, XLIII, XLVI, LI, LXVHI, 79, 80, 81, 82, 127, 128, 129, 130,221,222,223,224 Bluford, Lucile H., XLVIII Boccardi, Louis D., LXVH Boehnck, Daniel, VI Boissonneault, Glen A., XLVI

Bok, Chip, LXIV Bond, F. Fr ser, XXIV, XXV Boone, Raymond H., LI Borah, William E., 16 Borgman, James M. (Jim), LVI, LIX, LXI, LXIII, LXIV, 269, 270, 271, 272 Boyd, Hugh N., XLI Bradlee, Benjamin C., 200 Bradwell, Myra, 63, 99 Breathed, Berke, LVIII, 253, 254, 255, 256 Breen, Stephen P., 297 Brezhnev, Leonid L, 210 Broun, Heywood, 127 Brown, Carroll, VI Brown, Judith W., XLIX Brown, Roscoe E., XXDC Brown, Sevellon 3rd, 170 Brucker, Herbert, XXIX Briining, Heinrich, 40 Bryan, D. Tennant, XXXVH.I Bryan, John S., 8 Bulkeley, Christy C., XLDi Burck, Jacob, XXXI, XXXII, XXXIII, XXXIV, XXXV, XLin, 75, 76, 77, 78 Burns, Gary, LXI Bush, George, 264, 265, 268, 271, 278,279, 280 Butler, Nicholas M., 8, 58 Butterfield, Alexander, 204 Byck, Sylvan S., XXXVII Calles, Plutarco E., 27 Campanis, AI, 262 Campbell, Robert F., LI Canham, Erwin D., 152,170 Carmack, Paul R., XXIX Carroll, Eleanor, XXX, XXXI Carroll, John S., VI, LXVII Carroll, Wallace, 200 Carter, Don, XLIV Carter, James E. (Jimmy), 214, 215, 218, 219, 220, 231, 235, 255 Carter, W. Hodding, 152 Cassel, John H., XXIX Castro, Fidel, 160,212 Catledge, Turner, 152, 170 Cazenave, Ren6, XLVI Chamberlain, A. Neville, 69 Chandler, Norman, 152, 170 Chase, John C., XXXIV Cherniss, Norman A., LI Chilton, William Ε. (ΠΙ), LI

300 Christ, Harding, XLIII Christopher, Warren, 283 Churchill, Winston S., 88 Clark, William P., 247, 250 Claus, Marty, LXIII Clesle, Anita, VI Clinton, William J. (Bill), 278, 279, 282, 284, 289, 290, 292, 294, 295 Conrad, Kay, VI Conrad, Paul F., VI, XL, XLI, XLIV, XLVI,

Eisner, Will, 249 Elderman, Gene, XXIX, XXX, XXXI Ellard, Roscoe, ΧΧΧΠ Englehart, Robert W. Jr., LI Enright, Walter J., XXV, XXXII Erickson, Lewis, XLVI Ervin, Samuel J. Jr., 202 Evens, W. L., 95 Ewing, James D., LIII

xLvn, xLvm, XLIX, Lm, LIV, LVI, Fain, Jim, XLI, XLIV LXVI, 165, 166, 167, 168, 191, 192, 193, Falwell, Jerry, 258 194, 241, 242,243,244 Fanning, Raymond, XXXVIII Coolidge, J. Calvin, 15 Fattman, George, XLVI Cooper, Charles P., XXIX Faubus, Orval E., 145 Cooper, Kent, 58 Favre, Gregory E., LIV Costello, Jerry, XXXII Feck, Luke, XLIX Cowles, John Jr., 200 Feiffer, Jules, XLIV, LIII, LVI1, 249, 250, 251, Cox, Archibald, 204 252 Crandell, Richard F., XXXII Felber, Bill, LXIV Crawford, William Η., ΧΧΧΠ, XXXVIII, XL Ferguson, J. Donald, 152 Creager, Marvin, XXXIV Field, Marshall, 63 Crystal, Bernard R., VI Finley, John H., XXVI Cunningham, Linda G., LVI Fischetti, John, XXXV, XXXVIII, XLIII, XLVI, Curtis, Charlotte, XLVII 183,184, 185,186,257,265 Fisher, Irving, 10 Daladier, Edouard, 69 Fitzpatrick, Daniel R., XXIII, XXIV, XXV, Dalton, Richmond A., XLVIII XXVI, XXX, XXXIV, XXXVII, XL, 17, 18, 19,20,131, 132,133,134 Danziger, Jeff, LVIII, LXI Darcy, Thomas F., XLVI, 187, 188,189,190 Fitzpatrick, William H., XLIV Darden, Willie, 227 Fitzsimons, David W., LVIII Fonda, Jane, 263 Darling, Jay N. (Ding), ΧΧΠΙ, XXVI, XXXI, Foote, William J., XLIII ΧΧΧΠ, LXVIII, 7, 9, 10, 11, 12, 83. 84, 85, 86 Ford, Gerald R., 215, 231 D arrow. Joy, LHI Forster, Weidman W., XXXVIII Foster, Jack, XXXIV Darwin, Charles R., 20 Frankel, Max, XLVI Davenport, Homer, LXVIII Day, Anthony, LIU Frazier, Robert B., XLIX Fritchey, Clayton, XXXIV Day, Price, 200 Dewey, Thomas E., 110 Fuller, Jack, LXVII Dickhut, Ingrid, VI Furey, Karen, VI Dickinson, William B., 200 Garn, Edwin J., 245, 248 Dobbins, James J., XL Donovan, Robert J., 200 Gates, Henry L. Jr., LXVII Dotson, John L. Jr., LXVII Geehan, James, XLVHI Gerber, Thomas W., LI Dovifat, Emil, V Giles, Robert H., LVI Downing, Margaret, LXI Gillen, John S., XLI Duddeck, Britta, VI Gilmore, Gary, 227 Duffy, Edmund, XXVII, XXIX, XXXI, XXXVII, Ginn, John C., LI XXXVm, 37, 38, 39, 40, 49, 50, 51, 52, 71, 72, 73, 74 Goebbels, P. Joseph, 90 Dunagin, Ralph, LIX, LXI Goring, Hermann, 90 Dwight, William Sr., XLI Goldberg, Reuben L., V, XXXI, XXXIV, 103, Dworaczek, Klaudia, VI 104, 105, 106 Goldstein, Tom, LXVII Eaton, Walter P., ΧΧΠ Goodwin, Doris K., LXVII Edwards, Harry, 262 Gorbachev, Mikhail S., 270, 272 Eisenhower, Dwight D., XXXV, 133, 141 Gorman, Michael A., XXXIV

301 Gorrell, Richard L., LVI Graham, Robert, 226, 228 Gray, L. Patrick, 206 Green, Neville, LXIV Griffin, Solomon B., 8 Guthman, Edwin, LVHI Hagler, Skeeter, LVI Hahn, Jessica, 258 Hall, Robert, 249 Halvorsen, David E., LIV Hamilton, John S., XXVII Handelsman, Walt, LXIV, LXVI, 293, 294, 295, 296 Harding, Nelson, XXIV, XXV, XXVI, XXVII, LXVIII, 21, 22, 23, 24, 25, 26, 27, 28 Harding, Warren G., 10 Haring, Keith, 252 Hams, Julian L., 58 Harrison, John R., XLIII Harrison, S. L., LXVIII Hartley, Fred A., 108 Hawkes, Herbert Ε., ΧΧΠΙ Hayden, Tom, 263 Haynie, Hugh S., XXXVIII, XL, XLI, XLVIII Hays, Howard H., LIX Healy, Robert L., XLVIII Hearst, William R., 103 Heaton, John L., 8 Heinzerling, Larry, VI Heldman, Lou, LXIV Helms, Jesse, 248 Henson, Elvin, XLVIII Hess, Stephen, LVIII, LIX Hesse, Don, XXXV, XXXVII, XXXVIII Higgins, Edward A., LXI Higgins, Jack, LVI, LIX, 261, 262, 263, 264 High, Richard, LVIII Hills, Lee, XLI, 200 Hitler, Adolf, 40, 66, 68, 69, 70, 72, 73, 74, 90, 96,131 Hobby, William P., LIII HoChiMinh, 176, 184, 188 Hohenberg, John, XXXIII, XXXVII, LXVI, 152, 170,200 Hoover, Herbert C, 32 Horsey, David, LVIII, 297 Hough, Henry B., XXXV Howe, Arthur M., 8, 58 Hudson, Robert L., XLVII Hughes, Charles E., 15 Hungerford, Cy, XXXVIII Hussein, Saddam, 271,280 Hutchings, Harold H., XLVII Hutton, Hugh, XXXVII Ireland, Barbara, LXIV Isaacs, Norman E., XLVIJJ.

Ivins, Molly, LIX Jenkins, Bums Jr., XXXII, XXXVIII Jenkins, C. Ray, LIX Jennings, Max, LXI Jensen, Cecil L., XXXII, XXXVII, XLIV Jewell, Richard, 296 Jinks, Larry, XLIV Johnson, Al, LVIII Johnson, Gerald W., 2 Johnson, Gregory, 267 Johnson, Herbert, XXV Johnson, Lyndon B, 173, 179, 180, 181, 184, 189 Johnson, Pam M., LVI Johnston, Lynn, LXIII Jones, Jenk Jr., LIU Jones, Victor O., XLI Joy, Verne E., XXXIV Justus, Roy B., XXXIII, XXXIV, XXXVIII, XL Keefe, Michael E., LXIV Keller, Oliver J., XXIX Kelly, Tom, LIV Kennedy, John F., 164, 168, 189, 212, 213, 215, 292 Kennedy, Robert F., 179, 182, 185, 293 Kent, Frank R., 58 Kerney, James Jr., XXXIV Ketter, William B., LXVII Keyes, Sandura, LXI Kholos, Len, LI Khrushchev, NikitaS., 153, 154, 156, 158, 159 King, Martin L. Jr., 179, 180, 260 Kirby, Rollin, XXII, XXIII, XXIV, XXVI, XXXI, LXVIII, 3, 4, 5, 6, 13, 14, 15, 16, 29, 30, 31, 32 Kirk, Gray son, 152, 170 Kirkpatrick, Jeane, 250 Kissinger, Henry A., 192 Kliment, Edward M., VI Klurfeld, James M., LIX Knott, John F., XXIX, XXXV Kotzebue, August F. von, 107 Kraslow, David, LIX Kuekes, Edward D., XXX, XXXII, XXXVII, 123, 124, 125, 126 K hn, Oliver O., XXVII LaFollette, Robert M., 15 Lambert, Jack, ΧΧΧΠ Landfield, Jerome, XXV Lathan, Robert, 58 Latimer, Sam L. Jr., XXXV, XXXVII, XXXVIII Lawrence, James, LIII Lawson, Victor F., 8 Leard, John E., XLIII Lehman, Edward, XLIX

302 Lenin, Vladimir I., 4 Leonard, Richard H., LVIII, LEX Lewis, Anne, VI Lewis, Dwight, LXIII Lewis, John F., 17, 131 Lewis, John L., 108 Lewis, Ross A., XXIX, XXX, 53, 54, 55, 56 Lincoln, Abraham, 292 Lindbergh, Charles A., 26 Lipman, David, LVI Lisagor, Peter, 261 Liston, Harold V, XLVffl Little, Tom, ΧΧΧΠ, XXXIV, XXXVII, XXXVIII, XLI, 139, 140, 141, 142 Locher, Richard E., XLIX, LI, LIV, 237, 238, 239, 240 Loring, Paul S., XXXII Lowe, Chan, LIX Luckovich, Michael E. (Mike), LVI, LXHI, 285, 286, 287, 288 Lurie, Ranan, XLVIII MacAlamey, Robert E., XXXI, XXXII Mac Arthur, M. Douglas, 116 Macauley, Charles R., XXVI, 33, 34, 35, 36 MacDonald, Kenneth, XLVIII, 152, 170 MacNelly, Jeff(rey) K„ XLVII, XLVIII, XLIX, LI, LVI, LXVI, 195, 196, 197, 198, 217, 218, 219, 220, 245, 246, 247, 248 Mahaffey, J. Q., XL Malenkov, Georgi M., 129, 130 Malik, Yacov A., 117 Manning, Reginald W. (Reg), XXXV, 115, 116, 117,118 Mao Tse-tung, 177 Marlette, Doug(las) N., XLEX, LVIII, 257, 258, 259, 260 Marshall, George C., 113, 134 Marshall, Jonathan, LIU Marvin, Dwight, XXVI Mason, Robert, XLVI Mauldin, William H. (Bill), XXXII, XL, XLI, XLIV, XLVI, 91, 92, 93, 94, 147, 148, 149, 150 Maurice, John D., XLIH Maxwell, William D., 152, 170 McAnney, Burnett O., XXXVHJ McCrohon, Maxwell, XLVIII McCutcheon, John T., XXVII, LXVffl, 41, 42, 43,44 McGill, William J., 200 McKelway, Benjamin, 152 McKnight, Colbert A., XL McKnight, Felix R., XXXV McNutt, Paul V., 89 Meany, George, 196 Meese, Edwin, 250 Messner, Eimer R., XXXI

Meyer, Sylvan, 200 Miller, Frank A., XLI, 161, 162, 163, 164 Miller, Paul, 152, 170 Miller, Steven B., XLVII, XLVIII Mitchell, Edward P., 8 Mitchell, John N., 203 Mitchell, Wirt M., XXXI Mondale, Walter F., 246, 247 Morgan, John P., 35, 36 Morgan, Perry, XLVII Morin, James C., LI Morin, Jim, LIX, LXIV, 289, 290, 291, 292 Morris, Dick, 295 Morrison, Charles M., XXVII Morrison, Mary E., 2 Mossadegh, Mohammed, 234 Moyes, Newbold, XXIV Murphy, John K., LVII Mussolini, Benito, 23, 64, 69 Nast, Thomas, LEI Natt, Ted, LXI Neavoll, George, LVIII Neubeck, William H., LEI Newton, Eric, LXI Newton, Virgil M. Jr., XL Nguyen Van Thieu, 190 Nixon, Richard M., 189, 192, 196, 197, 198, 203, 204, 206, 207, 208, 219, 231, 241 Nobel, Alfred B., 70, 147, 148 Noyes, Newbold Jr., 170, 200 Oakes, John B., XLI, XLIH O'Brien, Robert L., 8, 58 O'Connell, John M. Jr., XXXV Ogden, Michael J., XL Ogden, Rollo, 58 Oliphant, Patrick B., XLIV, XLVI, XLIX, 175, 176, 177, 178 Opotowsky, Mel, LVII Oppenberg, Dietrich, V Orr, Carey, XXV, XL, LXVIII, 139, 153, 154, 155, 156 Orr, Frank F., XL, XLIX Osrin, Raymond H., XLIV, XLVI Ottaway, James H. Jr., LIII Packer, Fred L., XXXV, 119, 120, 121, 122 Paddock, Stuart R. Jr., XLVI Page, Clarence, LXI Pakenham, Michael, LVIII Palmer, Andrea A., VI Palmer, Robert N., XXXVIII Pannwitt, Fred J., XXXII Parks, Rosa, 180 Pasternak, Boris L., 148 Patterson, Eugene C., LVIII Patterson, Grove, XXVII

303 Paulson, H. D., XXXV Payne, Eugene G., XLm, XLIV, XLVI, 179, 180, 181,182 Payne, Henry, LVIII Payne, Philip A., XXIV Pease, Lute C. Jr., XXIX, XXXIV, 107, 108, 109, 110 Pederson, Rena, LIX, LXVn Pepper, William M. Jr., XXXV, XXXVII Perot, Ross, 279 Perry, Stuart H., 58 Peters, Michael B. (Mike), LI, LHI, LVII, 229, 230,231,232 Peterson, Frederick, 10 Pett, Joel, LIX Pew, Marien E., 58 Pfister, Walter!., XXXVII Phillippi, Wendell C., XLVI, XLIX Phillips, Warren H., XLHI Pilgrim, Jonathan W., VI Pitkin, Walter Β., ΧΧΠ, ΧΧΙΠ, XXIV, XXV, XXVI, XXVII Pletcher, Eldon, XXXV Poinier, Arthur, XL Poor, Henry V., 17, 131 Popham, John N., XLI Powell, Wickliffe R., LXUJ Pratt, Newton, ΧΧΧΠ, XXXVJII, XL, 151 Pride, C. Michael, LXI Pringle, Henry F., XXVII Pulitzer, Joseph, V, VI, XXI, ΧΧΠ, ΧΧΙΠ, XXIV,

Reagan, Ronald, Lin, 231, 234, 235, 236, 237, 238, 239, 240, 242, 243, 246, 247, 250, 251, 256, 259, 265, 266, 268, 272, 292 Reeves, Gart C. Sr., XLIX Reston, James B., 200 Risser, James V., LXVII Roberts, Edwin A. Jr., LVII Robinson, Don W., LXIII Robinson, Jackie, 262 Robinson, William B., XL Rodin, Auguste, 144 Roe [recte: McCorvey, Norma], 260 Rolph, James Jr., 51 Romero, Oscar A. (Archbishop), 235 Roosevelt, Franklin D., 52, 88, 89, 292 Roosevelt, Theodore, LXVIII, 32, 87 Ropeik, Arnold, LVI Rosenfeld, Harry M., LXIV Rosenthal, Abraham M., XLVIJ.I Rowan, Carl T., XLVffl Rowe, Sandra M., LXVII Rowlands, Sherry, 295 Royster, Vermont C., XLI, 200 Rudd, Arthur S., ΧΧΧΠ Rudolph, Eric, 296 Rugaber, Walter, LXVH Rukeyser, Merryle S., XXVI Rupp, George, LXVII Russell, Bruce A., XXXIII, XXXV, XXXVII, 95, 96, 97, 98 Ryon, Sue, LXIV

XXXI, ΧΧΧΠ, ΧΧΧΙΠ, XXXIV, XXXV, XXXVI, XXXVII, XXXVm, XXXIX, XL, XLI, XLIV, XLVI, XLVII, XLVm. XLIX, LI, Lffl, LVI, LVn, LVffl, LEX, LXI, LXIII, LXIV, LXVI, LXVn, LXVm, 2, 3, 7, 9, 13, 17, 21, 25, 29, 33, 37, 41, 45, 49, 53, 57, 59, 63, 67, 71, 75, 79, 83, 87, 91, 95, 99, 103, 107, 111, 115, 119, 123, 127, 131, 135, 139, 143, 147, 151, 153, 157, 161, 165, 168, 169, 171, 175, 179, 183, 187, 191, 195, 199, 201, 205, 209, 213, 217, 221, 225, 229, 233, 237, 241, 245, 249, 253, 257, 261, 265, 269, 273, 277,281,285,289,293 Pulitzer, Joseph (Π), XXXVIJ, 8, 58 Pulitzer, Joseph Jr., ΧΧΠ, ΧΧΠΙ, 152, 170, 200 Pulitzer, Michael E., LI Pulitzer, Ralph, 8, 58

Satire, William, LXVII Sanders, William W., XLVIII, XLIX Sargent, Ben, LIU, 233, 234, 235, 236 Sargent, Dwight E., XL Sargent, Wayne, LVII Schacht, Hjalmar, 36 Schuster, M. Lincoln, XXVII Scopes, John C., 20 Scott, Olive R., 123 Seaton, Edward, LXVII Secord, Richard, 259 Seib, Charles B., XLVI Seltzer, Louis B., 152, 170 Shanahan, Eileen, XLVIII Shanks, Bruce M., XXXVIII, XLIV, 143, 144, 145, 146 Shelton, William T., XLVI Shiner, Josette, LXIV Shoemaker, Vaughn, XXX, XXXI, XXXII, XXXTV, XXXV, XL, LXVIII, 63, 64, 65, 66,99, 100,101,102 Simons, Howard, LVI Sirica, John J., 204 Small, Jean A., LI, LIII Smallsreed, George A. Sr., XXXVII Smith, Dorman H., XXXII

xxv, xxvi, xxvn, xxvm, xxix, xxx,

Quinn, John C., XLVI Rabin, Yitzak, 283 Rail, Ted, LXIV Ramirez, Michael P., LXm, 281, 282, 283, 284 Raspberry, William J., XLEX Rattray, Everett T., XLVI Ray, Silvey J., XXXII

304 Snider, William D., XLIX Spencer, Dick (III), 2 Spenkelink, John, 226, 227 Sprengel, Monika, VI Squires, James D., LIV Stalin, Joseph V., 39, 88, 109, 127, 128, 129, 130 Stampone, John, XXXVIII Stayskal, Wayne, XLIX Steiger, Paul, LXVII Sterner, Albert, 75 Steven, William P., XL Stevens, Robert, XLIV Stevenson, E. Robert, XXV Stone, Melville E., 8 Stone, Walker, XXXIV Strohmeyer, John, XLIII Summers, William, XXXII Sweets, Melba A., LI Szep, Paul M., XLVI, XLVIII, XLIX, LI, LIII, 201, 202, 203, 204, 213, 214, 215, 216 Taft, William H., 108 Talburt, Harold M., XXVII, XXX, 45,46, 47,48 Taylor, Jean S., LI Temple, Keith, XXXII Thelen, Gil, LXIV Thorndike, Ashley H., XXII, XXIII, XXIV Thurber, James, LEX Tiner, Stanley R„ LXI Toles, Thomas G. (Tom), LVI, LIX, LXIV, 265, 266, 267, 268 Topping, Seymour, VI, LIII, LXVI, LXVII Trimble, Vance H., XLVI Trudeau, Garry, XLVIII, XLIX, LIX, 205, 206, 207, 208 Truman, Harry S., 108, 110, 111, 112, 113, 119, 121, 122 Valtman, Edmund S., XXXVIII, XL, XLI, 157, 158, 159, 160

Vendler, Helen, LXVII Volstead, Andrew J., 19 Wade, Henry, 260 Walker, Joel H., LI Walker, William O., XLVII Walters, Basil L., XXXIV Warhol, Andy, 252 Warren, L. D., XXXVII Warren, William S., XXX Warthun, Nicole, VI Washington, George, 111, 197 Webster, Harold T., XXXII Weiss, Murray M., LIII Werner, Charles G., XXX, XXXII, XXXIV, XLI, 67, 68, 69, 70 Werner, John M., LI White, Barbara C., LIII Wilder, Donald C., XLVI Wilkinson, Signe, LXI, 273, 274, 275, 276 Wilson, Jean G., LXIII Wilson, T. Woodrow, 14 Winer, Linda, LIII Winship, Thomas, XLIII, LXI Winter, William L., LXI Woestendiek, William J., XLVIII Wolff, Miles H., XL Wright, Dick, LIV Wright, Don C., XLIII, XLVI, XLIX, LI, LIII, LIV, LVI, LVIII, LXI, 171, 172, 173, 174, 225, 226, 227, 228 Wycliff, Noel D., LXIV Yarbrough, Marilyn, LXVII York, Robert, XXX, XXXVII, XXXVIII, 135, 136, 137, 138 Young, Brigham, 277 Young, Owen D., 35 Zeeck, David, LVIII

305

The Pulitzer Prize Archive A History and Anthology of Award-winning Materials in Journalism, Letters, and Arts Series Editor: Heinz-Dietrich Fischer 1987 onwards. 17 volumes. Bound

Part A: Reportage Journalism Vol. 1

INTERNATIONAL REPORTING AWARDS 1928-1985 From the Activities of the League of Nations to present-day Global Problems 1987, LXXXVI, 352 pages

Vol.2

NATIONAL REPORTING AWARDS 1941-1986 From Labor Conflicts to the Challenger Disaster 1988, LXII, 388 pages

Vol.3

LOCAL REPORTING AWARDS 1947-1987 From a County Vote Fraud to a Corrupt City Council 1989, Lll, 388pages

Part B: Opinion Journalism Vol.4

POLITICAL EDITORIAL AWARDS 1916-1988 From War-related Conflicts to Metropolitan Disputes 1990, LXXIV, 376 pages

Vol.5

SOCIAL COMMENTARY AWARDS 1969-1989 From University Troubles to a California Earthquake 1991, XLVI, 400 pages

Vol.6

CULTURAL CRITICISM AWARDS 1969-1990 From Architectural Damages to Press Imperfections 1992, Lll, 420 pages

Part C: Nonfiction Literature Vol.7

AMERICAN HISTORY AWARDS 1917-1991 From Colonial Settlements to the Civil Rights Movement 1994, LXVIII, 366 pages

306 Vol.8

BIOGRAPHY/AUTOBIOGRAPHY AWARDS 1917-1992 From the lucky Discoverer of America to an unfortunate Vietnam Veteran 1995, LXX, 406 pages

Vol.9

GENERAL NONFICTION AWARDS 1962-1993 From the Election of John F. Kennedy to a Retrospect of Abraham Lincoln's Gettysburg Address 1996, LI I, 362 pages

Part D: Belles Lettres Vol.10

NOVEL / FICTION AWARDS 1917-1994 From Pearl S. Buck and Margaret Mitchell to Ernest Hemingway and John Updike 1997, LXXXII, 304 pages

Vol.11

POETRY/VERSE AWARDS 1918-1995 From Carl Sandburg and Robert Frost to Archibald MacLeish and Robert Penn Warren 1997, LXXII, 302 pages

Vol.12

DRAMA/COMEDY AWARDS 1917-1996 From Eugene O'Neill and Tennessee Williams to Richard Rodgers and Edward Albee 1998, LXXXIV, 366pages

Part E: Liberal Arts Vol.13

EDITORIAL CARTOON AWARDS 1922-1997 From Rollin Kirby and Edmund Duffy to Herbert Block and Paul Conrad 1999, LXVIII, 307 pages

Future Volume Vol.14

CONTEMPORARY MUSIC AWARDS 1943-1998 will be published in 2000

307

Columbia THE PULITZER PRIZES IN JOURNALISM Excerpt from the Plan of Award The following provisions govern the award of the Pulitzer Prizes and Fellowships established in Columbia University by the will of die first Joseph Pulitzer 1. The prizes and fellowships are awarded by Columbia University on the recommendation of The Pulitzer Prize Board. The board meets twice annually. The prizes are announced during the Spring. 2. Entri'f muse be submitted in writing and addressed to the Administrator of The Pulitzer Prize Board (See reverse tide for address). ΡΜ»ΪΜ for journalism awards must be made on or before February 1 to cover work done in the preceding calendar year.. .Competition for journalism prizes is limited to work done during the calendar year ending December 31. 3. Kntti^ foe journalism awards may be made by any individual from "i«grial appearing in a United States newspaper published daily, Sunday or at least once a week during the calendar year. Each entry must be accompanied by an exhibit, in scrapbook form, of news stories, editorials, photographs or cartoons as published, with name and date of paper. Exhibits in the public service category are limited to twenty items, which may include articles, cartoons, photographs, and a single online presentation. (If an on-line presentation is submitted as part of a public service entry, it must be in me form of a single CD-ROM whose content pertains to the print items in die exhibit and was produced for and published on the newspaper's Web site.) Errr·*! in the cartoon and photography categories are limited to twenty cartoons or pictures, and in the r»»m«imrtg categories to ten articles or editorials, except for feature writing which is limited co three articles of more than 1500 words or five articles of 1500 words or less. Up to three individuals may be named on a team entry; otherwise the entry must be made in me name of the staff of the newspaper. Any significant challenge to the accuracy or fairness of an entry, such as published letters, corrections, retractions, as well as responses by the newspaper, should be included in the submission. In the photography categories, no entry whose content is manipulated or altered, apart from standard newspaper cropping and editing, win be deemed acceptable, tfrrhih«« must be presented in scrapbooks measuring no more than 12x17 inches, except in cases where a full newspaper page is required to «"·!"· clear the full scope and impact of the material entered. In such ««»««·« the notebook or scrapbook may not exceed the dimensions of the actual page plus a one-inch margin. The Pulitzer Prize Board requires that every entry must conform to the stated limits on article number and size before k can be given jury consideration. All exhibits should include biographies and pictures of entrants and each entry must be accompanied by a h«i"fling fees of $50 made payable to Columbia University/Pulitzer Prizes.

Rules for Exhibits All exhibits mrlmti^g prize-winning exhibits become the property of Columbia University. If a special request is made in •writing within 30 days of the announcement of the Pulitzer Prizes, the University will endeavor to return exhibits other than prize-winning exhibits to the tender by express collect However, the University cannot assume responsibility for the delivery of «^hiKif of large and unreasonable tirf Contents of winning exhibits will be included on The Pulitzer Prizes archival site on the World Wide Web (http://www.puliaer.org/). Winners wul be asked to provide electronic versions of

The Pulitzer Prize Board George Rupp. President

Cofumbia University Andrew Barnes Editor, President and C.E.O. Louis D. Boccardi President and Chief Executive Officer Associated Press JohnS. Carton Editor and Senior Vice President John L. Dooon. Jr, President and Publisher Jack Fuller, President Trib ne Publishing Company Henry Lou» Gates, Jr. W.E.B. DuBoit Professor of Humanities Harvard University Tom Goldman, Dean Graduate School of Journalism v/ilnam D. Ketter former Editor and Vice President T4» Part* Lcgrr. Quincy, Mass.

RccaPederson Vice Preedent/Editonal Page Editor Junes V. Kisser, Director John S. Knight Fellowships, Sandra MOD» Rows, Editor TttOnymat Walter Rugaber, President and Publisher WiQiam Safire, Columnist Edward Seaton, Editor in Chief TtHbLuJutta (Kan.) Miray Helen Veodler, Porter University Professor Harvard University MarflynYarbrough Professor of Lav University of Norm Carolina Seymour Topping, Administrator Graduate School of Journalism November, 1998