[Pulitzer Prize Archive] Fischer, Heinz-Dietrich - The Pulitzer Prize Archive _ a History and Anthology of Award-winning Materials in Journalism, Letters, And Arts _ 13 _ E, Liberal Arts Editorial Cartoon Awards _ 1922

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 Communi-
cation 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 des-
cription 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 draw-
ing 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 Collec-
tion 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 por-
tion 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 interpreta-
tions 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 V
INTRODUCTION XXI
By Heinz-Dietrich Fischer, Ruhr-Universität Bochum
HISTORY AND DEVELOPMENT OF THE PULITZER PRIZE FOR
EDITORIAL CARTOON XXI
PRESENTATION PRACTICES OF AWARD-WINNING CARTOONS 1

REMARKS ABOUT THE DOCUMENTATION CRITERIA 2
1922 AWARD: ABOUT PROBLEMS WITHIN THE SOVIET UNION

IN 1921 3
By Rollin Kirby, The World, New York
"WELL-YOU MAY 'KEEP PART OF YOUR FOOD.1 IVAN' 4
"ASSISTING THE SICK MAN" 5
"ON THE ROAD TO MOSCOW" 6
1923 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE

FOR WORK DONE IN 1922 7
By The Advisory Board, Columbia University, New York
NAMES OF THE BOARD MEMBERS VOTING FOR "NO AWARD" 8
1924 AWARD: ABOUT AMERICAN PEOPLE AND INSTITUTIONS

IN 1923 9
By Jay N. Darling, Des Moines Register & Tribune
"IN GOOD OLD U.S.A." 10
"RIDDLE: WHY IS THE MACHINERY OF GOVERNMENT LIKE ANY
OTHER KIND OF MACHINERY?" 11
"AND WE TALK ABOUT STABILIZING THE FARM INDUSTRY BY
LEGISLATION I" 12
VIII
1925 AWARD: ABOUT PEACE HOPES AND WAR FEARS IN 1924 13
"NEWS FROM THE OUTSIDE WORLD" 14
"A COUPLE OF QUESTIONS" 15
"BRINGING A LITTLE LIGHT INTO IT" 16
1926 AWARD: ABOUT LAW AND ORDER VALUES IN 1925 17

By Daniel R. Fitzpatrick, St. Louis Post-Dispatch
"THE LAWS OF MOSES AND THE LAWS OF TODAY' 18
•THE VOLSTEAD TRAIL" 19
"MAKING HER RIDICULOUS" 20
1927 AWARD: ABOUT CONFLICTS AND PROBLEM SOLVING IN 1926 .. 21

By Nelson Harding, Brooklyn Daily Eagle
•TOPPLING THE IDOL" 22
"TOP-HEAVY STRUCTURES REQUIRE BRACING" 23
'HIS OWN DUST" 24
1928 AWARD: ABOUT PEACE KEEPING WITH LATIN AMERICAN

COUNTRIES IN 1927 25
By Nelson Harding, Brooklyn Daily Eagle
"MAY HIS SHADOW NEVER GROW LESS" 26
"A NEW BOUNDARY MARK" 27
"A BIRD OF PEACE" 28
1929 AWARD: ABOUT ASPECTS OF THE GRAND OLD PARTY IN 1928 . 29

•TAMMANY" 30
"SEE THE PRETTY BANNER" 31
"WE'LL RUN THIS CAMPAIGN" 32
1930 AWARD: ABOUT WAR DEPTS AND REPARATIONS IN 1929 33

By Charles R. Macauley, Brooklyn Daily Eagle
"PAYING FOR A DEAD HORSE" 34
"WILL THE PEACE DOVE RETURN?" 35
"LIGHTING THE WORLD" 36
1931 AWARD: ABOUT RUSSIA'S INTERNAL AND EXTERNAL ITEMS

IN 1930 37
By Edmund Duffy, The Sun, Baltimore
"AN OLD STRUGGLE STILL GOING ON" 38
'CANT GET A FIRM GRIP" 39
"MOVE OVER!" 40
IX
1932 AWARD: ABOUT DEPRESSION AND UNEMPLOYMENT IN 1931 .... 41
By John T. McCutcheon, Chicago Daily Tribune
"A WISE ECONOMIST ASKS A QUESTION' 42
"THE DANGEROUS SHORT-CUT" 43
"THE DREAM OF LABOR' 44
1933 AWARD: ABOUT JAPAN'S QUARRELS AND AGGRESSIONS IN 1932 . 45

By Harold M. Talburt, The Washington Daily News
'THE LIGHT OF ASIA" 46
"HARA KIRI" 47
"FANNING THE FLAME' 48
1934 AWARD: ABOUT AMERICAN LYNCHING PRACTICES IN 1933 49

OVER THE DOME AT ANNAPOLIS—" 50
•CALIFORNIA POINTS WITH PRIDE—!!" 51
"A REMINDER" 52
1935 AWARD: ABOUT STRIKES AND LABOR ACTIVITIES IN 1934 53

By Ross A. Lewis, The Milwaukee Journal
"WHY MUST IT REACH THIS 'POINT?'" 54
"WE COVER THE WATERFRONT" 55
'SURE, I'LL WORK FOR BOTH SIDES" 56

1937 AWARD: ABOUT DANGEROUS EUROPEAN CONDITIONS IN 1936. 59

By Clarence D. Batchelor, Daily News, New York
"COME ON IN, I'LL TREAT YOU RIGHT. I USED TO KNOW YOUR DADDY" 60
"EUROPE'S EYE VIEW OF HER FUTURE" 61
"A FAMOUS CAT BEGINS TO WORRY OVER ITS REMAINING LIVES" 62
1938 AWARD: ABOUT ARISING OF WORLD-WIDE CONFLICTS IN 1937 . 63

By Vaughn Shoemaker, The Chicago Daily News
•WHEN THE LAST ETHIOPIAN IS DEAD" 64
"WHEEEEE-E-E-E-E-E-E—BANG!—EXCUSE IT, PLEASE" 65
"THE ROAD BACK?" 66
1939 AWARD: ABOUT GERMANY'S STRATEGIES OF OCCUPATION
IN 1938 67
By Charles G. Werner, The Daily Oklahoman, Oklahoma City
"THE NEXT BITE' 68
"THE STAKES ARE HIGH" 69
"NOMINATION FOR 1938" 70
1940 AWARD: ABOUT BREAKING OUT OF WORLD WAR II IN 1939 71

"THE OUTSTRETCHED HAND' 72
"THE BOY AT THE DIKE" 73
"THE WILD WAVES AREN'T SAYING NICE THINGS" 74
1941 AWARD: ABOUT GERMANY'S BOMBING OF GREAT BRITAIN

IN 1940 75
By Jacob Burck, Chicago Times
"IF I SHOULD DIE BEFORE I WAKE..." 76
"WEATHER FORECAST: CLOUDY - CONTINUED SHOWERS" 77
"ALL IS CALM..." 78
1942 AWARD: ABOUT WAR AND ITS ECONOMIC CONSEQUENCES

IN 1941 79
By Herbert L. Block, Newspaper Enterprise Association, Cleveland
"BRITISH PLANE" 80
"LOSSES' 81
"LABOR DAY PARADE-1941' 82
1943 AWARD: ABOUT WARTIME COMMUNICATIONS IN 1942 83

By Jay N. Darling, The Des Meines Register
"NEWS AT HOME AND ABROAD" 84
•WHAT A PLACE FOR A WASTE PAPER SALVAGE CAMPAIGN' 85
"THE MOST EXCITING READING OF ALL TIME" 86
1944 AWARD: ABOUT CONDITIONS OF FIGHTING NATIONS IN 1943 .. 87

By Clifford K. Berryman, The Evening Star, Washington, D.C.
"POST WAR FOOD PLANS" 88
"BUT WHERE IS THE BOAT GOING?" 89
•THANKSGIVING FEAST IN BERLIN, 1943" 90
XI
1945 AWARD: ABOUT AMERICAN INFANTRY TROOPS IN EUROPE
IN 1944 91
By William H. Mauldin, United Feature Syndicate, New York
•COLONEL CAPTURED BY GERMANS" 92
"FRESH, SPIRITED AMERICAN TROOPS..." 93
"YA DON'T GIT COMBAT PAY..." 94
1946 AWARD: ABOUT SUPER POWERS AFTER THE WAR IN 1945 95

By Bruce A. Russell, Los Angeles Times
"HITLER'S LEGACY" 96
"TIME FOR ATOMIC STATESMANSHIP' 97
"TIME TO BRIDGE THAT GULCH" 98
1947 AWARD: ABOUT LIVING COSTS AND STARVATION IN 1946 99

By Vaughn Shoemaker, Chicago Daily News
"OUT OF SIGHT, OUT OF MIND" 100
"MEMORIAL" 101
"STILL RACING HIS SHADOW 102
1948 AWARD: ABOUT FEARS OF ANOTHER WORLD WAR IN 1947 103

By Reuben L. Goldberg, The Sun, New York
"PEACE TODAY" 104
"COUNTING BEARS" 105
"PRAYER FOR TODAY" 106
1949 AWARD: ABOUT INTERNAL AND EXTERNAL U.S. PROBLEMS

IN 1948 107
By Lute C. Pease Jr., Newark Evening News
"WHO, ME?' 108
"AUGUST IN BERLIN" 109
"A LOT OF FACES WILL BE RED 1 -PROPHET TRUMAN" 110
1950 AWARD: ABOUT TRUMAN'S ADMINISTRATION AND THE PUBLIC

IN 1949 111
By James T. Berryman, The Evening Star, Washington, D.C.
•THERE ARE ENTIRELY TOO MANY HEADLINE HUNTERS..." 112
"ECONOMIC REPORT TO THE NATION" 113
"ALL SET FORA SUPER-SECRET SESSION IN WASHINGTON" 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" 116
"HATS' 117
•WE LOVE THE RED CHINESE, WE LOVE THEM NOT..." 118
1952 AWARD: ABOUT PRESIDENT TRUMAN AND THE DOLLAR

VALUE IN 1951 119
By Fred L. Packer, Daily Mirror, New York
OUR GLORIOUS DEAD!" 120
Ί WAS A HEAVYWEIGHT CHAMP..." 121
"YOUR EDITORS OUGHT TO HAVE MORE SENSE...." 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" 124
"CROSSES" 125
"AFTERMATH" 126
1954 AWARD: ABOUT STALIN'S DEATH AND HIS FOLLOWER IN 1953 127
By Herbert L. Block, The Washington Post
"YOU WERE ALWAYS A GREAT FRIEND OF MINE, JOSEPH" 128
"ERA OF THE MECHANICAL MAN" 129
"ANY OTHER IMPORTANT FUNERALS COMING UP?" 130
1955 AWARD: ABOUT EAST-ASIAN ZONES OF CRISIS IN 1954 131

By Daniel R. Fitzpatrick, St. Louis Post-Dispatch
"HOW WOULD ANOTHER MISTAKE HELP?" 132
"SLOGAN PAINTER'S TROUBLES" 133
"IT STOPPED THE RED RASH IN EUROPE, DOCTOR" 134
1956 AWARD: ABOUT DEFICITS DURING PROSPERITY TIMES

IN 1955 135
By Robert York, The Louisville Times
"ACHILLES" 136
"CONSTRUCTION BOOM" 137
"SOME ARE STRANDED ON THE LEDGES" 138
XIII
1957 AWARD: ABOUT HEALTH QUESTIONS AND LIFE RISKS
IN 1956 139
By Tom Little, The Nashville Tennessean
•WONDER WHY MY PARENTS DIDN'T GIVE ME SALK SHOTS?" 140
"EVERY TIME I START TO DOZE OFF, HE DROPS ΈΜ1" 141
"THINK YOU'LL MAKE IT?" 142
1958 AWARD: ABOUT SOCIAL AND POLITICAL CONDITIONS IN 1957.. 143

By Bruce M. Shanks, Buffalo Evening News
"THE THINKER" 144
"LITTLE ROCK" 145
"VOX POP" 146
1959 AWARD: ABOUT ACTIVITIES OF THE SOVIET UNION IN 1958 147

By William H. Mauldin, St. Louis Post-Dispatch
m
\ WON THE NOBEL PRIZE FOR LITERATURE. WHAT WAS YOUR
CRIME?" 148
"DON'T PUSH YOUR LUCK, MISTER" 149
"GOOD MORNING, COMRADES!" 150

1961 AWARD: ABOUT KHRUSHCHEV'S ROLE IN WORLD POLITICS

IN 1960 153
By Carey Orr, Chicago Daily Tribune
"A WARNING FROM THE JUNGLE" 154
"HIT BACK! HIT BACK! YOU CANT WIN COVERING UP!" 155
"THE KINDLY TIGER" 156
1962 AWARD: ABOUT INTENTIONS OF SOCIALIST COUNTRIES

IN 1961 157
By Edmund S. Valtman, The Hartford Times
"BY GOVERNMENT DECREE EVERY MEMBER OF THE COMMUNE IS
ENTITLED TO A PRIVATE LOT" 158
•I WOULD HAVE PREFERRED IT WELL-DONE" 159
"WHAT YOU NEED, MAN, IS A REVOLUTION LIKE MINE!" 160
XIV
1963 AWARD: ABOUT NUCLEAR WEAPONS AND WORLD POLITICS
IN 1962 161
By Frank A. Miller, The Des Meines Register
"I SAID-WE SURE SETTLED THAT DISPUTE, DIDN'T WE!" 162
"A NEEDLE IN A HAYSTACK IS EASY" 163
"A WALL!" 164
1964 AWARD: ABOUT ATTITUDES AND HOPES TOWARD INTEGRA-

TION IN 1963 165
By Paul F. Conrad, The Denver Post
"STAND BACK EVERYBODY! HE'S GOT A BOMB.!!" 166
"NO CHEEKS LEFT TO TURN" 167
"PROFILE IN COURAGE" 168

1966 AWARD: ABOUT CONFLICT PHANTASIES AND REALITIES

IN 1965 171
By Don C. Wright, The Miami News
"YOU MEAN YOU WERE BLUFFING?" 172
"ANYBODY SEE A PLACE TO GET OFF?" 173
"HOW THE WAR WENT TODAY" 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 KEN-

NEDY 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 183
By John Fischetti, Chicago Daily News
"SPEAKING FROM A POSITION OF STRENGTH...' 184
•AMERICAN STYLE' 185
"TRAMP, TRAMP, TRAMP, THE BOYS ARE MARCHING..." 186
1970 AWARD: ABOUT AMERICANS DURING THE VIETNAM WAR

IN 1969 187
By Thomas F. Darcy, Newsday, Garden City, N.Y.
"GOOD NEWS, WE'VE TURNED THE CORNER IN VIETNAM!" 188
"PRISONER OF WAR" 189
"SORRY FELLAS...BUT THAT'S THE ONLY WAY OUT" 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!" 192
"FROM HERE TO ETERNITY" 193
"THE U.S. ARMY..." 194
1972 AWARD: ABOUT AMERICAN POLITICS AND ECONOMY IN 1971 .. 195

By Jeffrey K. MacNelly, The Richmond News Leader
"GEORGE?...' 196
"FEDERAL FLOATING NOTE" 197
"THE ECONOMY" 198

1974 AWARD: ABOUT WATERGATE AND ITS FOLLOW-UP IN 1973 201

By Paul M. Szep, The Boston Globe
"SOME OF THE STARS HAVE JUST ARRIVED" 202
"I'VE DECIDED NOT TO TELL YOU ABOUT THE ALLEGED
SHIPWRECK" 203
"YOU'RE SURROUNDED NIXON...GIVE UP THE TAPES!" 204
XVI
1975 AWARD: ABOUT POLITICS OF THE POST-WATERGATE ERA
IN 1974 205
By Garry Trudeau, Universal Press Syndicate, New York
"THE PRESIDENT FIGHTS BACK1 206
•CONGRESS GROWS RESPONSIVE' 207
"THE WATERGATE REUNIONS" 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..." 210
"BEIRUT..." 211
"CIA..." 212
1977 AWARD: ABOUT FACETS OF THE PRESIDENTIAL CAMPAIGN

IN 1976 213
By Paul M. Szep, The Boston Globe
"THREE VERSIONS OF JIMMY CARTER" 214
"I'LL BE JACK KENNEDY... WHO DO YOU WANT TO BE?" 215
"END OF ROUND ONE" 216
1978 AWARD: ABOUT TAX QUESTIONS AND ENERGY ASPECTS

IN 1977 217
By Jeffrey K. MacNelly, The Richmond News Leader
"INDIVIDUAL INCOME TAX RETURN" 218
"IRS..." 219
"ENERGY PROGRAM" 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" 222
•PRE-ELECTION BALLOT BOX" 223
"ELECTION TRENDS" 224
1980 AWARD: ABOUT DEATH PENALTY PROBLEMS OF FLORIDA

IN 1979 225
By Don C. Wright, The Miami News
"FLORIDA STATE PRISON" 226
"THE ELECTRIC CHAIR" 227
"SHORTAGE OF BURIAL PLOTS" 228
XVII
1981 AWARD: ABOUT UNEXPECTED RESULTS OF CONDITIONS
IN 1980 229
By Mike B. Peters, Dayton Daily News
"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 233
By Ben Sargent, The Austin American-Statesman
"WELCOME HOME HOSTAGES" 234
"U.S. GUNS IN EL SALVADOR" 235
"DEFENSE SYSTEM" 236
1983 AWARD: ABOUT PRESIDENT REAGAN'S PUBLIC APPEARANCE

IN 1982 237
By Richard E. Locher, Chicago Tribune
"DIPLOMACY IN ACTION" 238
"RONALD REAGAN'S WEATHER MAP" 239
"WATT" 240
1984 AWARD: ABOUT POLITICAL EMOTIONS AND ATTITUDES

IN 1983 241
By Paul F. Conrad, Los Angeles Times
"PLAY IT AGAIN, RON...' 242
"WELL, TELL HIM TO TURN UP HIS HEARING AID!" 243
"THE DAY AFTER" 244
1985 AWARD: ABOUT TOP AMERICAN POLITICAL FIGURES IN 1984... 245

By Jeffrey K. MacNelly, Chicago Tribune
"ASK YOURSELVES..." 246
"CABINET MEETINGS" 247
OKAY, SENATOR GARN..." 248
1986 AWARD: ABOUT BASIC ATTITUDES OF AMERICANS IN 1985 249

By Jules Feiffer, The Village Voice, New York
"REAGAN CRITICIZES RACISM..." 250
"THE U.S. IS NOT GOING..." 251
"THE MEDIA REPORTS..." 252
XVIII
1987 AWARD: ABOUT REALISTIC PROBLEMS OF AN UNREALISTIC
WORLD IN 1986 253
By Berke Breathed, The Washington Post
'MILO'S MEADOW 254
"69,9 CENT A GALLON!" 255
•GOOD MORNING, MADAM' 256
1988 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!' 258
"TO ERR IS HUMAN..." 259
'PRESIDENT?... NO, CHILD, BUT YOU CAN GROW UP TO BE FRONT-
RUNNER!" 260
1989 AWARD: ABOUT THEMES AND TABUS IN AMERICAN LIFE

IN 1988 261
By Jack Higgins, Chicago Sun-Times
"HOW ABOUT MORE BLACKS..." 262
'BEST ACTRESS...' 263
'...ALL CONGRESSMEN...' 264
1990 AWARD: ABOUT REAGAN LEAVING BUSH ENTERING THE

STAGE IN 1989 265
By Tom G. Toles, The Buffalo News
"WE WONT FORGET YOU!" 266
"FIRST AMENDMENT" 267
'THE EDUCATION PRESIDENT' 268
1991 AWARD: ABOUT CONFLICTS AND GERMANY'S REUNIFICATION

IN 1990 269
By Jim M. Borgman, The Cincinnati Enquirer
•DOMINO THEORY" 270
"NOW WE WAIT...' 271
"ACTUALLY, ITS SO WE ALWAYS KNOW WHERE THEY ARE" 272
1992 AWARD: ABOUT HUMAN NEEDS AND SOCIAL CONDITIONS

IN 1991 273
By Signe Wilkinson, Philadelphia Daily News
"PULL THE PLUG?!!" 274
•HELLO, WASHINGTON?" 275
•HOME ALONE' 276
XIX
1993 AWARD: ABOUT U.S. PRESIDENTIAL ELECTION CAMPAIGNING
IN 1992 277
By Stephen R. Benson, The Arizona Republic, Phoenix
"I HOPE I CAN GET THIS TURNED AROUND..." 278
"HANG IN THERE" 279
•MY ELECTION STRATEGY IS SIMPLE..." 280
1994 AWARD: ABOUT VARIOUS INTERNATIONAL CONFLICT AREAS

IN 1993 281
By Michael P. Ramirez, The Commercial Appeal, Memphis
"NEVER AGAIN ..." 282
"AS THE SMOKE CLEARED..." 283
"SOMALIA" 284
1995 AWARD: ABOUT AMERICAN BEHAVIOR IN KEY SITUATIONS

IN 1994 285
By Mike Luckovich, The Atlanta Constitution
"PIE-EATING CHAMPIONSHIP..." 286
"MOMENT OF SILENT PRAYER AT BEGINNING OF CLASS" 287
"WHEN YOUR BIRTHDAY'S ON CHRISTMAS..." 288
1996 AWARD: ABOUT TOPICS OF THE CLINTON ADMINISTRATION

IN 1995 289
By Jim Morin, The Miami Herald
OPINION POLLS" 290
"WHO CARES ABOUT BOSNIA?" 291
"FACE LIFTS AND COSMETIC SURGERY" 292
1997 AWARD: ABOUT FACETS OF THE WASHINGTON ESTABLISH-

MENT IN 1996 293
By Walt Handelsman, The Times-Picayune, New Orleans
"... WELFARE REFORM ..." 294
" . . . I LIED, I CHEATED..." 295
"FBI SEEKS NEW SUSPECTS..." 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 1940-
ON 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 head-
lines, 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 impor-
tant 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 writ-
ing" 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 sub-
stituting 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 es-
tablished 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 impor-
tance, 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 unani-
mously 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 car-
toonist 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 recom-
mends," 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 unani-
mous 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 car-
toons 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.
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 Adviso-
ry Board to make a decision.19 This committee, though, proved to be unim-
pressed 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 ma-
jority 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 require-
ments 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 con-
sideration a year before without being successful. This time the Pulitzer Car-
toon 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 speci-
17 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.
21 Philip A. Payne/Walter B. Pitkin/Ashley H. Thomdike, Report of the Pulitzer Prize Cartoon Jury,
New York, March 11,1926, p. 1.
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 car-
toons," one of which was also by Fitzpatrick and two drawings by Nelson
Harding of the Brooklyn Daily Eagle. "The jury," the concluding recom-
mendation 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 pe-
riodicals deserve consideration. While the jury agrees with this opinion it re-
alizes 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 Advi-
sory 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 Post-
Dispatch.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 ma-
jority 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.
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) consid-
ered 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 consid-
eration 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 de-
clare 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 news-
papers of the country.

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,
33 Ibid.
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). Alter-
natively, they suggested a caricaturist of the Boston Transcript?5 The Advi-
sory 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 sug-
gested "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... There-
35 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.
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) pre-
sented a list with five prizeworthy cartoonists in the following order of prec-
edence: 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 submit-
ted 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.
45 Carl W. Ackerman et al., Report of the Pulitzer Prize Cartoon Jury, New York, undated (April
1936), pp. 1 ff.
XXX
the Dallas News.47 The Advisory Board did not follow the latter recom-
mendation, 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", "Censor-
ship and Propaganda", "Keep out of War", "U.S. Domestic Affairs", "Presi-
dential 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,
1937), p. 4.
1938), p. 7.
51 Carl W. Ackerman et al.. Report of the Pulitzer Prize Cartoon Jury, New York, undated (April
1939), p. 1.
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 to-
gether 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 defen-
sive... 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 As-
sociation 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 Trib-
une, Herbert L. Block (Herblock) of the Newspaper Enterprise Association,
Jacob Burck of the Chicago Times, and Vaughn Shoemaker of the Chicago
54 Ibid., pp. 2 f.
56 Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, March 30, 1941, ρ. 1.
58 Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1942), pp. 2 f.
59 Ibid., p. I .
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 Ten-
nessean, and Vaughn Shoemaker of the Chicago Daily News.63 The Adviso-
ry 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 Tennes-
sean, 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 award-
ed 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 Associa-
tion, 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.
63 Robert E. MacAlamey/Fred J. Pannwitt, Report of the Pulitzer Prize Cartoon Jury, New York,
March 20, 1944, p. 1.
65 Arthur S. Rudd, Report of the Pulitzer Prize Cartoon Jury, New York, March 1, 1945, pp. 1 f.
XXXIII
Self-portrait of a Pulitzer Prize-winning Cartoonist
Symbolic of more than half a century of cartooning, this Mlf-portralt of Clifford K. Berry-
man. 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 .
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, fol-
lowed 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 impress-
ed 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 cari-
69 John Hohenberg, The Pulitzer Prizes, op. cit., p. 190.

71 Ibid.
72 Clayton Fritchey/James Kemey Jr., Report of the Pulitzer Prize Cartoon Jury, New York, March 15,
1949, p. 3.
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 acknowl-
edged 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 Ameri-
can." 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 con-
cerning 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 "Eisen-
hower'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

77 Felix R. McKnight/H. D. Paulson, Report of the Pulitzer Prize Cartoon Jury, New York, March 20,
1951, pp. I f f .
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 Adviso-
ry 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 sub-
mitted, there were only relatively few cartoons "that ranked over the ac-
ceptable 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.
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 Post-
Gazette, 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 s-
sean, 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 Sacra-
mento 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,
90 Raymond J. Fanning/Burnett O. McAnney, Report of the Pulitzer Prize Cartoon Jury, New York,
92 Edmund Duffy/Sam L. Latimer JrTBumett O. McAnney, Report of the Pulitzer Prize Cartoon Jury,
New York, undated (March 1958), p. 1.
XXXIX
RETIREMENT OF THE 1958 PULITZER CARTOON-WINNER

AFTER 23 YEARS OF SERVICE
in. day out—by the host of admirers of
Good Luck, Bruce! his work in the area and around ihe
Bruce Shanks is a ηο-nonsen e type of nation. In fact, for the past 23 years, we
man who togged off from an ostenta- have no doubt that the editorials on this
tious round of farewells to mark his side of the page hive waged an uneven
retirement as News cartoonist. He prob- contest (or reader attention wiih the
ably takes a dim view of the big splash daily Shanks cartoon.
elsewhere in today's paper outlining All of us at The News will miss him,
the high points of his remarkable career. too. not only for his flawless craftsman-
But Bruce Shanks is one person who ship and dedication, but for his genial
doesn't need any such announcement of good nature and ready wit. Our best
his departure, for he'll be missed—day 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 run-
ning: 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 cari-
caturists, 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 ju-
rors," 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 con-
sidered 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.
96 Daniel R. Fitzpatrick/Michael J. Ogden/Miles H. Wolff, Report of the Pulitzer Prize Cartoon Jury,
New York, undated (March 1960), p. 1.
98 J. Q. Mahaffey/Colbert A. McKnight/William P. Steven, Report of the Pulitzer Prize Cartoon Jury,
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 con-
science 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 de-
clared 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 distin-
guished 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 candi-
dates 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 Indi-
anapolis Star... The third choice was Gene Basset of the Scripps Howard
Newspapers... The fourth choice was Bill Mauldin of the Chicago Sun-
Times."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,
102 John S. Gillen/Lee Hills/Victor O. Jones, Report of the Pulitzer Prize Cartoon Jury, New York,
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.
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 can-
didate... 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 car-
tooning. 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 car-
tooning... 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.
108 John E. Leard/John B. Oakes/John Strohmeyer/Thomas Winship, Report of the Pulitzer Prize Car-
toon 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 un-
compromising, 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 per-
ceptiveness 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... epito-
mizing 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.
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
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 "recommenda-
tions in alphabetical order because it was unable to agree on a single out-
standing 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 mes-
sages... 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 cartoon-
ing" 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
115 Glen A. Boissonneault/Rene" Cazenave/Robert Mason/Everett T. RattrayAVilliam T. Shelton, Re-
port of the Pulitzer Prize Cartoon Jury, New York, March 6, 1969, p. 1.
117 Clayte Binion/Max Frankel/Vance H. Trimble/Donald C. Wilder, Report of the Pulitzer Prize Car-
toon Jury, New York, March 5, 1970, p. 1.
118 Ibid.
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 cartoon-
ing" 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 demon-
strates ability to make constructive commentary quickly with cartoons that
reflect excellent drawing... 3. Steven B. Miller of the Honolulu Star-
no 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.
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 edi-
torial 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 Ad-
visory Board: "The committee regrets that it cannot make a recommenda-
tion... 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 dif-
ficult 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 unani-
mous 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 out-
standing 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 syndi-
cated through the Universal Press Syndicate, and which appears as 'Doones-
bury'. 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.
124 Frank W. Bamdollar/Lucile H. Bluford/Pau! F. Conrad/Kenneth MacDonald/Abraham M. Rosen-
thai, Report of the Pulitzer Prize Cartoon Jury, New York, March 8, 1973, p. 1.
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.
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 con-
vinced 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 Trib-
une"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.
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.
133 Judith W. Brown/Christy C. Bulkeley/Robert B. Frazier/Edward Lehman/Garth C. Reeves Sr., Re-
"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 <f Television
Correspondents Association
Annual Dinner— March /.?. /V75
Gerry Trudeeu, crtmior of Doonrsbury
Congratulations to Garry Trudeau,

creator of Doonesbury, upon winning
The 1975 Pulitzer Prize in Journalism
Ttif wry brilliant*· of this young man is syndicated in over 400 newspapers
by I'nivmal Press Syndicate. Current Ixioks by Tnideau include The Oriii-
Inal Yale Cartoons (tl.SH). Inonic I&.2S). The FirrnnV M'efcreo/c- iW.9.5)
(with m-author Nicholas Min lloffiiun). th<· (orthioininu \lani\c.l /)c\fuii/
in Pai-o Paiio i«!.95J (also iii-airthnnil with \iin Hoffman)- \\ΊΊΙ Tnki It
Fmm Urn. Sarer Ct2.2S). aral Dustr,! tS2.2S>. - all t«ihlish<'(l In Sliced
and \\ard. Inr.. a «iihsidian i>f I'niMTîl Pn-w Sinilkiili· and a\ .lil.ililc at
your huoksrllrr or from the piihli-ihcr
UNIVERSAL PRESSSYNDICA TE
andSHEED & WARD, INC,
475 Fifth Aocmtt: Kt-w York 10017
LI
part of the Advisory Board, Paul Szep was chosen as winner and thus
received this popular prize for the second time.134
Although Paul Szep had been awarded the Pulitzer Prize in the preceding
year, the jury of 1978 (Thomas W. Gerber, John C. Ginn, Len Kholos, Jean
A. Small and John M. Werner) put him in first-place again. "We found his
artwork powerful, his ideas pertinent and provocative. The total impact of
his drawing and message was," how it is stated literally in the report, "in our
opinion, so superior it stood alone among all entries. Of the remaining
ninety-three entrants, the jury found the following three worthy of your con-
sideration in the event you do not agree with our top choice. They are:
Jeffrey K. MacNelly, James C. Morin and Mike Peters."135 However, it was
not the jury's first choice who was awarded by the Advisory Board, but it
was Jeffrey K. MacNelly of the Richmond News Leader receiving his
second Pulitzer Prize already.136 When the prize was awarded in 1979, the
jurors (Stanley P. Asimov, Raymond H. Boone, William E. Chilton III,
Thomas W. Gerber and Melba A. Sweets) unanimously favored only one
caricaturist named Robert W. Englehart Jr. of the Dayton Journal Herald.
His "work combines original ideas and perception," the report stressed, "he
translates complex issues into clear and powerful messages."137 In spite of
this explicit praising, the Advisory Board again did not accept the jury's
vote. Instead, Herbert L. Block (Herblock) of the Washington Post was de-
clared the winner and he thereby won his third Pulitzer Prize.138
The members of the jury of 1980 (Robert F. Campbell, Norman A.
Cherniss, Michael E. Pulitzer, Jean S. Taylor and Joel H. Walker) made it
short characterizing the three finalists as follows: Richard Locher of the
Chicago Tribune: "Original concepts, keen political judgments, concern for
the public, flair...," Paul Szep of the Boston Globe: "fine satire, sense of ridi-
cule, sense of humor...," Don Wright of the Miami News: "powerful, slashing,
bitter, highly effective, strong ethical judgments..."139 The latter, Don Wright,
was selected by the Advisory Board to be winner of the Pulitzer Prize - al-
ready his second of the kind.140 The jurors of 1981 (Russell Baker, Anthony
135 Thomas W. Gerber/John C. Ginn/Len Kholos/Jean A. Small/John M. Werner, Report of the
Pulitzer Prize Cartoon Jury, New York, March 3,1978, p. 1.
137 Stanley P. Asimov/Raymond H. Boone/William E. Chilton m/Thomas W. Gerber/Melba A.
Sweets, Report of the Pulitzer Prize Cartoon Jury, New York, March 6, 1979, p. 1.
139 Robert F. Campbell/Norman A. Cherniss/Michael E. Pulitzer/Jean S. Taylor/Joel H. Walker, Re-
port of the Pulitzer Prize Cartoon Jury, New York, March 4, 1980, pp. 1 f.
LII
Herblock Wins
His 3rd Pulitzer
Congratulations to him from his very proud syndicate.
Field Newspaper Syndicate

1703 Kaiser Avenue
P.O. Box 19620
Irvine, California 92714
(714) 549-8700
Source: Editor & Publisher (New York), Vol. 112/No. 17, April 26, 1979, p. 33.
LIII
Day, James D. Ewing, Barbara C. White and Linda Winer) also kept their
reasons given for the following three finalists comparatively short: "1. Mike
Peters is the unanimous choice of the jury for the prize. His cartoons are con-
sistently powerful, imaginative, witty and boldly drawn. He never settles for
the easy cliche. 2. Jules Feiffer captures in ink the enduring ironies and transi-
ent absurdities of the American condition in a uniquely conversational style
that has become part of the cartooning vocabulary. 3. Paul Szep is passion in
ink, intensely felt and powerfully projected with great artistic skill."141 This
time the Advisory Board decided in favor of the jury's top choice and chose
Mike Peters of the Dayton Daily News as the prize-winner.142
The members of the jury of 1982 (Joy Darrow, William P. Hobby, William
H. Neubeck, James H. Ottaway Jr. and Murray M. Weiss) took quite lengths
in considering their "top three choices from 121 entries," which they present-
ed in alphabetical order: Paul Conrad of the Los Angeles Times: "The work
of Paul Conrad was judged a strong third by the cartoon jury. His cartoons
are original and imaginative. They are well drawn and make sharp editorial
points about major public issues in the news..." Ben Sargent of the Austin
American-Statesman: "Ben Sargent's first place... is the unanimous choice of
the nominating jury... His entry of ten cartoons exhibit a mordant satire in
the best tradition of Thomas Nast. His pungent pictorial comment ranged
from defense policy, to President Reagan's budget, to the teaching of crea-
tion theory..." Don Wright of the Miami News: "Don Wright's work is devas-
tating. His cartoon on growing old was judged by the jurors to be one of the
most powerful of the more than 1,000 entered. In his entry this year, Don
Wright shows that he has not lost any of the wit, perception or artistic skill...
The cartoon jury judged Don Wright's entry second best of this year's excel-
lent submissions."143 The Advisory Board decided in favor of neither Paul
Conrad nor Don Wright - both already having received two Pulitzer Prizes
in the past - but rather for the first-place on the jury's list: Ben Sargent.144
When the prize was awarded in 1983, the jurors (Jenk Jones Jr., James
Lawrence, Jonathan Marshall, Jean A. Small and Seymour Topping) were
similarly detailed about their three finalists as in the previous year. In alpha-
betical order, the following names and merits were listed: Tony Auth of the
Philadelphia Inquirer: "Tony Auth presents his points with strength and
141 Russell Baker/Anthony Day/James D. Ewing/Barbara C. White/Linda Winer, Report of the

Pulitzer Prize Cartoon Jury, New York, March 3, 1981, p. 1.
143 Joy Darrow/William P. Hobby/William H. Neubeck/James H. Ottaway Jr./Murray M. Weiss, Re-
LIV
clarity. His art is expressive and tells a story. And the issues he attacks have
cogency. The judges found him a close third." Richard Locher of the
Chicago Tribune: "Dick Locher draws in strong pictorial style making effec-
tive editorial points, yet often injecting humor that yields compassionate
insights into American life. The judges found him a close second..." Dick
Wright of the Providence Journal-Bulletin: "The work of Dick Wright was
voted the best by the jury. His art work was exceptionally good, and we
applauded his independence. He scolded all those he thought deserving of it:
conservatives and liberals, Republicans and Democrats, the PLO and Begin.
He appeared beholden to no party or ideology."145 For the Advisory Board,
however, the extremely positive and well-founded substantiation about the
latter did not seem to be convincing, for the prize was bestowed on the
runner-up, Richard Locher.146
In the year 1984, there were again five jurors (Lionel C. Bascom, Gregory
E. Favre, David E. Halvorsen, Tom Kelly and James D. Squires), who also
went to a great deal of effort selecting. They decided - as instructed - in
favor of a list of three, which were given in alphabetical order: Steve Benson
of the Arizona Republic, Paul Conrad of the Los Angeles Times and Don
Wright of the Miami News. "While these entries are submitted in alphabeti-
cal order," the jury's report states, "the five jurors were unanimous in the
opinion that Don Wright's work clearly represented the most consistent and
strongest of the three finalists. In point system balloting with three points
going to first place, Mr. Wright got all 15 first place points. Mr. Benson was
second with eight points and Mr. Conrad received seven. The jurors agreed
that the strength of Mr. Wright's entry was the broad range of his comment,
all delivered with unusual clarity and incisiveness and an important element
found lacking in many entries of this year - humor... The jurors place Mr.
Benson second," the report continues, "on the strength of three exceptional
cartoons... The jurors agreed that Mr. Conrad's cartoon depicting a U.S.
Marine in Beirut trying to reason with a distant commander as the best
single cartoon on the Middle East of the competition."147 In the end the
argument mentioned last seems to have been the motive on the part of the
Advisory Board not to give the prize to the highly praised first place of the
145 Jenk Jones JrVJames Lawrence/Jonathan Marshall/Jean A. Small/Seymour Topping, Report of the
147 Lionel C. Bascom/Gregory E. Favre/David E. Halvorsen/Tom Kelly/James D. Squires, Report of
the Pulitzer Prize Cartoon Jury, New York, March 6,1984, p. 1.
LV
A Tradition of Creativity
Tribune Media Services

720 North Orange Avenue
Orlando. Ronda 32801
(305)422-8181
LVI
jury's list, Don Wright, but rather to Paul Conrad, who thereby received his
third Pulitzer Prize.148
Since the year 1985 the jurors (Linda G. Cunningham, Robert H. Giles,
Richard L. Gorrell, Skeeter Hagler and Howard Simons) have been explicit-
ly requested to take into account on their nominations form paper the follow-
ing principles: "Please list your three nominations for the prize in your cat-
egory in alphabetical order by newspaper. In the space provided beneath
each identification line, please supply a brief statement as to why the jury
believes that this particular entry deserves to receive the Pulitzer Prize in this
category. It is not a part of the jury's charge to offer its preferences among
its three nominees."149 According to these instructions the jury's decision
was then brief like this: Buffalo News - Tom Toles: "Clearly the freshest,
most original political cartoon voice in the United States today. Consistently
different, challenging and compelling." The next one mentioned was:
Chicago Tribune - Jeff MacNelly: "Is in a class by himself. Never draws a
cliche. His art work is distinguished. He almost always makes his point
subtly, using humor to deliver a telling comment about our government, our
politics or our society." Finally the third was named: Cincinatti Enquirer -
Jim Borgman: "Fresh approach to characters and scene-setting. Certainly
(he) is different. He's a craftsman as an artist. On social issues, he is as origi-
nal and as interesting as any commentator."150 Among these three sugges-
tions, the Advisory Board chose Jeff MacNelly as the winner receiving his
third Pulitzer Prize.151
In 1986, when the jury (Skeeter Hagler, Pam M. Johnson, David Lipman,
Arnold Ropeik and Howard Simons) presented the list of their three finalists
according to the instructions for nominations of the year before, it read as
follows: Jack Higgins of the Chicago Sun-Times: "His work represents a
strong voice and an original and vibrant visual approach. His message is
clear and has instant impact, whether he is treating local, national or interna-
tional events. Higgins produced cartoons of high artistic quality. He is an ex-
cellent illustrator and commentator." On Michael Edward Luckovich of the
New Orleans Times-Picayune it was reported: "He is a fresh, bright new voice
in editorial cartooning. Every stroke has a bite that makes the viewer aware
of the human dilemma. Luckovich is extremely perceptive and extremely
149 Pulitzer Prize Nominating Sample, New York, March 1985, p. 1.
150 Linda G. Cunningham/Robert H. Giles/Richard L. Gonell/Skeeter Hagler/Howard Simons, Report
of the Pulitzer Prize Cartoon Jury, New York, March 5,1985, p. 1.
LVII
contemporary." The judgment about the third mentioned, Mike Peters of the
Dayton Daily News, was: "Peters is great and funny and tough. He is a rare
ability to send a powerful message about both social and political issues. It
was the unanimous view of the jury that two of his cartoons were the best of
the more than one thousand considered."152 The Advisory Board was not
that convinced by any of the three finalists to give him the prize. Instead,
Jules Feiffer of the Village Voice was chosen as winner for the Pulitzer Prize
in the cartoon category.153
The jurors of 1987 (J. D. Alexander, John K. Murphy, Mel Opotowsky,
Edwin A. Roberts Jr. and Wayne Sargent) apologized at the begin of their
report that "this jury finds it necessary to submit four nominations. After
many hours of discussion," they continued, "we were unable to reduce the
number to three."154 Without mentioning the names of the newspapers of the
caricaturists, the report dealt in detail with the merits of the ones selected:
For 30 years, in the pages of the Village Voice, Jules

Feiffer has held up a mirror to us all—reflecting our
common foibles, ambitions, idiosyncracies,
hypocrisies, fads, delusions and grief.
Now the Pulitzer Prize has been awarded to him
for Editorial Cartooning—to acknowledge a lifetime
of achievement in summarizing so deftly the ex-
periences of life.
We look forward to many more years of observa-
tion from the cartoonist/philosopher who makes us
think—and still laugh at ourselves. (Albeit often
with tears in our eyes.)
VOICE
Expect the unexpected
152 Skeeter Hagler/Pam M. Johnson/David Lipman/Arnold Ropeik/Howard Simons, Report of the

154 J. D. Alexander/John K. Murphy/Mel Opotowsky/Edwin A. Roberts Jr./Wayne Sargent, Report of
the Pulitzer Prize Cartoon Jury, New York, March 3,1987, p. 1.
LVIII
"Berke Breathed's social and political commentary shows a breadth and

depth for understanding humanity and its foibles. The quality of his art has
caught the imagination of readers, and his growth in using new techniques
and ideas reflects his own considerable imagination." The next, Jeff
Danziger, "presents tight, often penetrating concepts. The artwork, while not
as stylized as many practitioners' efforts, does not fail the issue. Other, more
complex panels, use art and language to focus issues and make an un-
mistakable point." David Horsey's background, the report says about the
third finalist, "as a state government reporter and as a student in Europe lend
a unique perspective to his work. A year of study in England earned him a
Master's degree in international relations and a clear view of America's
foreign policy." Finally, the report said that "Henry Payne's work is of con-
sistently high quality. His artwork is bold and precisely detailed. He has the
knack to approach subjects used by other cartoonists with a freshness all his
own."155 The works by Berke Breathed of the Washington Post proved to be
the most convincing and therefore he was awarded the Pulitzer Prize.156
As wished for by the Advisory Board, the jury of 1988 (Dale Allen, Edwin
Guthman, George Neavoll, Eugene C. Patterson and David Zeeck) confined
their list of finalists to the number of three. In the jury's report, David
Wayne Fitzsimons of the Arizona Daily Star was certified: "For originality
of style and economy of line, in addressing local issues bravely and directly,
we commend in particular his pointed treatment of the Constitution's one-
hundredth anniversary." Another finalist, Doug Marlette of the Atlanta
Journal & Constitution, received the following judgement of his work: "We
call the Board's attention to the 16 entries in a ΙΟ-entry contest, in addition
to entries from prior years for the reasons described. This said, the jury was
struck by the courage and tenaciousness shown in addressing local contro-
versies, and the forcefulness displayed in leading public opinion." A brief
judgment about Don Wright of the Miami News: "Powerful art work in
support of courageous opinion."157 This time the Pulitzer Prize for editorial
cartooning was bestowed on the caricaturist Doug Marlette,158 who had
already been among the finalists several times in the preceding years.
In 1989, the jury (Stephen Hess, Richard High, Al Johnson, Richard H.
Leonard and Michael Pakenham) had no problems at all in naming, and giv-
155 Ibid.
157 Dale Allen/Edwin Guthman/George Neavoll/Eugene C. Patterson/David Zeeck, Report of the
LIX
ing reasons for, the following finalists: Steve Benson of the Arizona Repuplic:
"Benson's commentary is hilarious, pointed and piercing, and shows imagina-
tion and depth in jabbing directly at the core of issues." Jack Higgins of the
Chicago Sun-Times: "... draws blood. He combines powerful images and
ironic comment. We draw attention to three cartoons..." Joel Pett of the
Lexington Herald-Leader: For courageous, imaginative, sustained and un-
flinching work on a regional issue - a Governor - demonstrating that cartoons
can affect public perceptions and policy as powerfully as any other form of
journalism."159 Jack Higgins was the Pulitzer Prize-winner in the cartoon
category.160 The comments of the jury of 1990 (Dave Barry, Stephen Hess,
David Kraslow, Richard H. Leonard and Rena Pederson) were kept short as
well: "Chan Lowe of the Fort Lauderdale News... makes a compelling, cou-
rageous effort to address controversial major issues with effective artwork
that suggests even greater promise. Jim Morin of the Miami Herald... has ad-
dressed the major news issues... with compelling force. His images are origi-
nal and arresting. He avoids cliches. The point of his cartoons emerges with
dramatic clarity." Garry Trudeau of the Universal Press Syndicate touched the
theme of AIDS as "one of the most significant health issues facing the nation,
few cartoonists have dealt with it directly."161 But the Advisory Board did
not choose anybody of this group of three, but rather named Tom Toles of
the Buffalo News as the Pulitzer Prize-winner "for his work during the year
as exemplified by the cartoon 'First Amendment.1"162
The jury members of 1991 (Jodie T. Allen, Howard H. Hays, Molly Ivins,
C. Ray Jenkins and James M. Klurfeld) gave more detailed reasons for the
selection of the favorites again presenting them, as instructed, in alphabetical
order. The first was Jim Borgman of the Cincinnati Enquirer. "Jim Borgman
is a cartoonist," the report states literally, "who is both biting and funny. He
combines a wonderful and whimsical drawing style with incisive commen-
tary, and he is consistently outstanding." About Ralph Dunagin of the
Orlando Sentinel it was said: "With an economy of brush and spareness of
detail evocative of the work of the great James Thurber, Ralph Dunagin
represents the best of the art of editorial cartooning. His work is subtle, yet
immediately comprehensible, simple yet trenchant, and above all enormously
159 Stephen Hess/Richard High/ΑΙ Johnson/Richard H. Leonard/Michael Pakenham, Report of the

Pulitzer Prize Cartoon Jury, New York, February 28,1989, p. 1.
160 Columbia University (Ed.), The Pulitzer Prizes, op. dr., p. 43.
161 Dave Barry/Stephen Hess/David Kraslow/Richard H. Leonard/Rena Pederson, Report of the
LX
Congratulations
to the
1990 Pulitzer Prize-winner
Tom Toles
in recognition for distinctive editorial cartooning.
Unfailing in directness, insight and humor,
Tom Toles' cartoons reveal his acute
political awareness and unique artistic skills.
Universal Press Syndicate takes great pride in celebrating
this deserved honor and tribute.
Other Pulitzer Prize-winners from Universal Press Syndicate

TonyAuth MaryMcGrory Ben Sargent
Jules Feiffer Pat Oliphant Garry B. Trudeau
Universal Press Syndicate

4900 Main Street, Kansas City, Missouri 64112
LXI
entertaining." The last finalist in this report is Signe Wilkinson of the Phila-
delphia Daily News: "When one goes through 125 entries, one runs across
many variations on the same theme. Signe Wilkinson's work is strikingly
original both in its subjects and its treatments. Her style is unique, as are her
insights and her ability to distill them into a single, arresting image."163 The
Advisory Board took Jim Bergman's side, whose complete works seemed to
be the most convincing. Thus he received the Pulitzer Prize.164
The jurors of 1992 (Jodie T. Allen, Edward A. Higgins, Max Jennings,
Saundra Keyes and Clarence Page) obviously found it useful to present the
three finalists as briefly as possible: Steve Benson of the Arizona Repuplic
was characterized by his "artistic skill, range of topics and mastery of both
the serious and humorous." Ralph Dunagin of the Orlando Sentinel, as it
was characterized, "packs a powerful punch with a simple line... Dunagin
makes you laugh out loud." About Signe Wilkinson of the Philadelphia
Daily News was stated that her "approach is fresh, insightful and unexpected.
Her topics are often unusual and her range is broad. She can be moving even
while humorous, but she can bite when she wants to."165 In view of this con-
vincing vote for the latter, the Advisory Board bestowed the Pulitzer Prize
on Signe Wilkinson.166 In 1993, the jury (Richard Aregood, Margaret
Downing, Ted Natt, Thomas Winship and William L. Winter) presented its
three finalists similarly brief. According to the report, Stephen Benson of the
Arizona Repuplic had "a firm and distinctive style, with a wide range of
subjects. His humor is rich..." Jeff Danziger of the Christian Science
Monitor had "a subtle but intense passion in his work... His art is quiet, dif-
ferent and attentive to details." Don Wright of the Palm Beach Post was
honored as "a cartoonist whose message explodes... His message is never in
doubt."167 The Advisory Board classified the achievements of Stephen
Benson as the highest and therefore the Pulitzer Prize went to him.168
When the prize was awarded in 1994, there were again five jurors (Caesar
Andrews, Gary Burns, Eric Newton, C. Michael Pride and Stanley R. Tiner)
who did the painstaking job of selecting three finalists. As usual, the list was
presented in alphabetical order: First named was Stephen Benson of the
163 Jodie T. Allen/Howard H. Hays/Molly Ivins/C. Ray Jenkins/James M. Klurfeld, Report of the
165 Jodie T. Allen/Edward A. Higgins/Max Jennings/Saundra Keyes/Clarence Page, Report of the
166 Columbia University (Ed.), The 76th annual Pulitzer Prizes..., New York, April 7, 1992, p. 4.
167 Richard Aregood/Margaret Downing/Ted Natt/Thomas Winship/William L. Winter, Report of the
LXII
AFTER YEARS OF
ATMUNG
GOVERNMENT POUCX
LAMBASTING
PUBTJC FIGURES,
AND CHAUENGING
OUR PERCEPTIONS
OF TRUIHUSTICE
SIGNE WEJONSON
HASDRWTHE
KIND OFÄTTENTDN
SHE DESERVES.
NEWS
Congratulations Signe. The Philadelphia Daily News' latest Pulitzer Prize winner.
Your editorial cartoons not only oosemed the news, but made it as well.
LXIII
Arizona Republic, who had already made the short-list several times in the
past and was the winner the year before. "Benson provides thoughtful, easily
understood treatment of a range of topics," the report characterized him.
"His images get right to the point in unique fashion. Among the standouts
was his submission of the issue of gays in the military, the best in a crowded
field on that single topic." Lynn Johnston of the Universal Press Syndicate
"tackled one of society's most difficult issues in a series of panels on a teen-
ager struggling to reveal his homosexuality to friends and family..." Michael
P. Ramirez of the Commercial Appeal "consistently evokes feelings," the
jury's opinion on his work reads, "provokes thoughts and delivers a precise
message. In addition, he's a strong artist with a fresh, distinctive perspective.
He's both profound and funny."169 In view of these outstanding merits of the
latter, the Advisory Board chose Michael P. Ramirez as Pulitzer Prize win-
ner "for his trenchant cartoons on contemporary issues."170
At the beginning of their list of three finalists, the members of the jury of
1995 (Marty Claus, Dwight Lewis, Wickliffe R. Powell, Don W. Robinson
and Jean G. Wilson) named Robert L. Ariail of the State from Columbia,
S.C., whom the jurors certified that, among other things, his "editorial car-
toons stand firm on the place of touch local issues that arouse defense
feelings..." About the next one, Jim Borgman of the Cincinnati Enquirer, it
was stated that he "is beyond labels. He takes on complex issues and
visually delines immediate understanding. He has a sophisticated way of
getting past the talk of the day to the root of issues and has an... ability to use
humor to make strong political statements." The third was Mike Luckovich
of the Atlanta Constitution, who had already been among the finalists
several times, and who was characterized as follows: "Mike Luckovich is,
quite simply, brilliant... Mike is hard to ignore. Cover to cover, this entry is
worthy of the Pulitzer Prize. Treating the mega-themes in today's society,
Luckovich always has a different take, using a specific news event to make a
point in broad perspective. He catches us in our prejudices. We believe Mike
Luckovich speaks to readers in a way that compels them to listen - and to
appreciate his point of view."171 The Advisory Board had nothing to object
these praises, so that Mike Luckovich was awarded the Pulitzer Prize.172
169 Caesar Andrews/Gary Bums/Eric Newton/C. Michael Pride/Stanley R. Tiner, Report of the
171 Marty Claus/Dwight Lewis/Wickliffe R. Powell/Don W. Robinson/Jean G. Wilson, Report of the
Pulitzer Prize Cartoon Jury, New York, March 7,1995, pp. 1 ff.
LXIV
In 1996, the members of the jury (Bill Felber, Neville Green, Barbara
Ireland, Gil Thelen and Noel D. Wycliff) filtered out three finalists of high
calibre with Jim Borgman of the Cincinnati Enquirer as the first in alpha-
betical order. The report said that he "thought deeply and passionately about
America's enduring dilemma, race. His cartoons brilliantly challenged con-
ventional wisdom and led readers to find connection and understanding amid
conflicting versions of the truth. He is unafraid of stepping on toes, witness
his powerful statement on black-on-black violence and his puncturing of the
myth about taking a whole village to raise a child. His non-race cartoons
offer fresh and thoughtful images and ideas on the unsettled Middle East,
precarious workplace, endangered environment and other issues." Ted Rail
of the Chronicle Features, named afterwards, had in the eyes of the jurors "a
refreshingly different take on the America of the 90s. In his hands, the
developments of the day are pushed to absurd levels that reveal more starkly
some of the underlying truths... And Rail addresses some themes overlooked
by many of his peers: consumerism, liberals' handwringing over homeless-
ness, the selling of naming rights to corporations." Tom Toles of the Buffalo
News finally was honored "for cartooning that is clever, humorous and well-
executed, while at the same time challenging each reader's assumptions...
Tom Toles sees quickly to the heart of each issue he approaches."173 In spite
of these praises, the Advisory Board did not bestow the prize on anyone of
the three mentioned, but rather selected Jim Morin of the Miami Herald as
Pulitzer Prize winner.174
The jurors of the year 1997 (Lou Heldman, Michael E. Keefe, Harry M.
Rosenfeld, Sue Ryon and Josette Shiner), did not find it easy to filter out
three finalists from all the applications for the cartoon prize. On top of their
list of names was Walt Handelsman of the New Orleans Times-Picayune,
about whom the jury report said that the caricaturist "moves from the sublime
to the ridiculous with powerful insight and fine technical skill. His sharp wit
and emphatic heart result in a remarkably consistent portfolio of high-impact
cartoons. Handelsman brings an everyday sensibility to the news. He skill-
fully captures the essence of the famous and infamous, ruthlessly hoisting
them on their own hypocrisies and self-importance... Handelsman is gifted
in his ability to evoke a belly-laugh or a tear, and to hit the bull's eye day in
and day out." About Chip Bok of the Akron Beacon Journal the jurors re-
marked that he "is funny. Very funny. In his personal, vivid style, he drama-
173 BUI Felber/Neville Green/Barbara Ireland/Gil Thelen/Noel D. Wycliff, Report of the Pulitzer Prize
Cartoon Jury, New York, March 5,1996, pp. 1 ff.
LXV
Good cartoons produce emotion

Sreat ones produce a Pulitzer.
6i «liter Pufiti«*, tfee hundreds of journalUt»
in Knighr-Ridder JöttWc wee over tfc* yea«.
And with their continued dedication to
excellence, we know if won't be the l*ftt
For year*, Jim Morin has 'been considered one
of the nation· sharp*« political cartoonist».
Attackin; hypocrisy in * bold and inventive
w«y, That's why if came as no surpriste to any-
one, except maybe Jim himself, when he

«xr
was awarded * Pulitzer prize this month. It's
just the latest of the many awards« including KNIGHTRIDDER
Source: Publisher (New York), Vol. 129/No. 17, April 27, 1996, p. 12.
LXVI
tically drives home the ironies that mark public life." And about Jeffrey
MacNelly of the Chicago Tribune it was just said that he "is a master. He is
smart, he is funny and he is, even after all these years, always original. His
inventiveness is breathtaking and graphically he is at the top of the heap."175
The members of the Advisory Board were especially impressed by the draw-
ings of the caricaturist Walt Handelsman, so that he received the Pulitzer
Prize in the cartoon category for outstanding achievements.176
As a bit late descendant of the "editorial writing" award the "editorial car-
tooning" prize, as established in the early twenties, experienced a chequered
but exciting development of about seventy-five years: In the beginning the
annual submissions were either too poor or did not fulfill the high quality
criteria which belong to a Pulitzer Prize. Every year, the jurors had to do the
painstaking job of filtering out the best products of hundreds of works - as
the number was in later years - and to present them to the Advisory Board
as prizeworthy or rejectable. It is a sign of courage of both committees
primarily in charge of awarding the prize, that no fewer than five times in all
these years they decided on "no award." In summary, John Hohenberg once
stated that "it was the work of the editorial cartoonists, rather than the edito-
rial writers, that the mood of the country was more sharply recorded."177 For
the leading caricaturists of the country, partly awarded the Pulitzer Prize,
accompanied the important phases of Inner and Foreign policy of the United
States in an especially striking and not seldom extremely unmasking way.
This intention was always the ambition for the great caricaturists, and the
three time prize-winner Paul Conrad once confessed that "winning the
Pulitzers gave me a justification to keep doing what I've been doing but to
work my damnedest to do it even better."178 To sum it up: Since the estab-
lishment of the cartoon category, "there have been many changes in the
world since that time, but editorial cartooning remains much the same... The
cartoonist... stays put-most"179 of all types of journalistic undertakings!
Since "the cartoon prize was created in 1922," as Seymour Topping put it
in short,180 the educational function of the cartoonists as well as their draw-
175 Lou Heldman/Michael E. Keefe/Harry M. Rosenfeld/Sue Ryon/Josette Shiner, Report of the

Pulitzer Prize Cartoon Jury, New York, March 4,1997, pp. 1 ff.
177 John Hohenberg, The Pulitzer Prizes, op, cit., p. 133.
178 Quoted from Karen Rothmyer, Winning Pulitzers. The Story Behind one of the Best News
Coverage of Our Time, New York 1991, p. 211.
179 Edmund Duffy, Cartoon Awards, in: Columbia Library Columns (New York), Vol. VI/No. 3, May
1957, pp. 24,27.
180 Seymour Topping, Joseph Pulitzer and the Pulitzer Prizes, in: Elizabeth Brennan (Ed.), Who's
Who of Pulitzer Prize Winners, Phoenix, Az., 1999, p. ΧΠ.
LXVII
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LXVIII
ings advances to a public topic. "With cartoons to assist," S. L. Harrison

states, "instructors can incorporate the newspaper history into foreign policy,
technology and people... The editorial cartoonists Homer Davenport (New
York Journal), John T. McCutcheon (Chicago Tribune) and Clifford K.
Berryman (he gave the word Theodore Roosevelt's Teddy Bear, in the
Washington Post) open 20th century's riotous times. Early cartoonists like
Berryman..., and Jay N. 'Ding1 Darling (Des Moines Register and New York
Herald-Tribune) contributed relevant commentary on events for 50 years.
The turbulent 1920s were dominated by Rollin Kirby, of Joseph Pulitzer's
New York World; Nelson Harding of the Brooklyn Daily Eagle, the only
winner of back-to-back Jîlitzer I*rizes; Carey Orr of the Chicago Tribune...,
and Vaughn Shoemaker, Chicago Daily News."1*1 Since about the end of
World War II, "Herbert Block (Herblock), an institution at the Washington
Post for more than a half-century, provides graphic commentary that can
bring to life any subject with point and pungency... Visuals related to jour-
nalism," Harrison concludes, " - especially an array of editorial and comic
strip cartoons - are likely to stimulate discussion and assist in a material way
to keep interest high and to link journalism's rich print heritage with oppor-
tunities offered by modern technology."182
181 S. L. Harrison, Cartoons as a Teaching Tool In Journalism History, in: Journalism & Mass Com-
munication Educator (Columbia, S.C.), Vol. 53/No. 1, Spring 1998, pp. 96 ff.
182 Ibid., pp. 99 ff.
PRESENTATION PRACTICES OF
AWARD-WINNING CARTOONS
REMARKS ABOUT THE DOCUMENTATION
CRITERIA
* There is a short biography of every prize-winner at the beginning of each

chapter, ranging up to the year when the award was bestowed. The condensed
information about each laureat is based on the biographical notes attached to
the award-winning entry at Columbia University as well as various reference
books.
* As each competitor running for the annual Pulitzer Prize submitted several car-
toons to the jurors, two methods of decision-making were used by them: a) in
the early years of the prize usually just one cartoon was selected and announced
as winner; b) later on sometimes the complete selection submitted by an artist
was chosen while one cartoon in particular was declared to be exemplary of his
or her overall performance.
* Whether the jurors and/or the members of the Pulitzer Board awarded a parti-
cular cartoon or chose one as being exemplary of the cartoonist's overall per-
formance, the volume on hand proceeds as follows: three cartoons by each win-
ner are reprinted. Among these reprinted cartoons are, of course, the actual
"winning cartoon" or the "exemplary cartoon" respectively.
* As a matter of principle, the three cartoons of each prize year will be depicted
strictly in chronological order. On account of this principle, it may happen that
the "winning cartoon" or the "exemplary cartoon" will not always come first in
line, but will be found in that chapter arranged exactly according to its date of
publication and also is typographically different from the others.
* Due to the cartoons' sometimes highly complex messages, it seems probable
that today's users of this book in several cases may have difficulties in decoding
them. Therefore each drawing will be accompanied by an interpretation trying
to place the particular cartoon in its historical context. Thus the analysis of the
cartoon's content should be easier for the present-day reader.
* Because interpretations of the reprinted cartoons sometimes turn out to be a dif-
ficult and highly complex matter, some helpful evidence is borrowed, among
other sources, from a) Dick Spencer III, Pulitzer Prize Cartoons, 2nd ed., Ames,
la., 1953; b) Gerald W. Johnson, The Lines are Drawn, Philadelphia - New York
1958; c) Stephen Becker, Comic Art in America, New York 1959; d) Mary E.
Morrison, ed., The Pulitzer Prizes in Journalism, 1917-1985, Ann Arbor, Mi.,
1986; e) supplementary material to the award winning entries; f) various other
sources on American and world history.
1922 AWARD
ABOUT PROBLEMS WITHIN THE
SOVIET UNION IN 1921
BY
ROLLIN KlRBY
The World (New York)
Rollin Kirby (born on September 4, 1874, in Galva, II.) was educated in

public schools. Between 1901 and 1910 he was engaged as an illustrator for
a number of magazines such as Collier's, McClure's, Life and Harper's. In
1911 he started to work as a cartoonist for the New York Mail, where he
stayed for one year. He then switched to the New York Sun. In 1913 he
began his work on a series of social cartoons under the caption of "Sights of
the Town" for the New York World. As a political cartoonist Kirby champi-
oned such causes as women's suffrage, and also opposed prohibitionists and
conservative politicians. In 1922 the cartoon "On the Road to Moscow" made
Rollin Kirby the first recipient of the Pulitzer Prize in the cartoon category.
"WELL - YOU MAY 'KEEP PART OF YOUR FOOD,' IVAN"
[Source: Rollin Kirby: Well - You May 'Keep Part Of Your Food,' Ivan, in: The World (New York,
N.Y.), Vol. LXI/No. 21,769, March 28, 1921, p. 10, cols. 4-7.]
Interpretation: Cartoon ridicules the relation of the Bolshevik Leader

Vladimir I. Lenin to the Soviets farmers. Ivan's physical superiority is to
show the farmers' real power due to their number. The perplex expression on
Ivan's face underlines the paradox situation.
"ASSISTING THE SICK MAN"
[Source: Rollin Kirby: Assisting The Sick Man, in: The World (New York, N.Y.), Vol. LXII/No. 21,889,
July 26, 1921, p. 8, cols. 4-7.]
Interpretation: Cartoon shows Soviet Union as an ill man whose weak con-
stitution is furthered as he is lead by Bolshevism and the famine. The whip
in Bolshevism's hand indicates the brutality of the new regime. Thus criticiz-
ing the political system that reigns the country, the drawing reflects on the
way many people from foreign countries may have thought about the people
of the Soviet Union: with compassion.
"ON THE ROAD TO MOSCOW"
I
[Source: Rollin Kirby: On The Road To Moscow, in: The World (New York, N.Y.), Vol. LXII/No.
21,899, August 5, 1921, p. 6, cols. 4-7.]
Interpretation: Cartoon shows the Grim Reaper, leading Soviet people suf-
fering under the famine to Moscow. More over, they are slaves and tied to
each other. The vast nothingness around them makes clear how desolate
their situation is. The sarcasm lies in the fact that these people who are
marching to protest already look too weak to even reach their destination,
yet alone state their demands.
1923 AWARD
ABOUT THE DECISION TO WITHHOLD THE PRIZE
FOR WORK DONE IN 1922
BY
THE ADVISORY BOARD
Columbia University
Although the members of the 1923 Pulitzer Prize Cartoon Jury in their re-
port made the suggestion that the prize be awarded to Jay Norwood Darling
of the New York Tribune, the Advisory Board rejected the proposal of the
jurors and gave "no award" in this category.
8
NAMES OF THE BOARD MEMBERS VOTING

FOR "NO AWARD"
John S. Bryan Richmond News Leader

Nicholas M. Butler Columbia University
Solomon B. Griffin Springfield (Mass.) Republican
John L. Heaton The New York World
Arthur M. Howe Brooklyn Daily Eagle
Victor F. Lawson Chicago Daily News
Edward P. Mitchell The New York Sun
Robert L. O'Brien The Boston Herald
Joseph Pulitzer (Π) St. Louis Post-Dispatch
Ralph Pulitzer The New York World
Melville E. Stone The Associated Press
1924 AWARD
ABOUT AMERICAN PEOPLE
AND INSTITUTIONS IN 1923
BY
JAY N. DARLING
Des Meines Register & Tribune
Jay Norwood Darling (born on October 21, 1876, in Norwood, Mi.) attend-
ed Yankton College in South Dakota between 1894 and 1895. In 1899 he
worked as a reporter for the Sioux City Tribune in Iowa. The following year,
in which Beloit College in Wisconsin granted Darling his Bachelor of Phi-
losophy, he started to work for the Sioux City Journal, first as a reporter and
then as a cartoonist. In 1906 he switched to the Des Moines Register, where
he stayed until 1911. In that year he was offered a position in New York
with the syndicate connected with the New York Globe, and he accepted. But
after only two years he returned to Des Moines to work for the Register
again. In 1917 he was hired as editorial cartoonist for the New York Tribune
and its syndicate, but Darling remained in Des Moines and continued to
work for the Register, too. For his cartoon "In Good Old U.S.A." Jay N.
Darling was granted the Pulitzer Cartoon award in 1924.
10
"IN GOOD OLD U. S. A."
Α
ϊ,,°ΐϊβΑΝ AT
*B NOW ONIC
°" ™ WORtO'S CJUUmr MIMNC BMCUSKEftS AND ECON.
OMLS rs, WHOSE ΛΜΒΓΠΟΝ is TO ELIMINATE THE cvcte OF DEPRESSSION AND UNEMPLOYMENT
THE SON OF * PFIASTEBER IS NOW THK WORt.P'S flREATEhT N'EUROLOCIST AND HIS HOBBV
IS GOOD HE.ALTH FOK KK>« CHILORB-N
* PRINTER'S APPRENTICE IS NOW THE CHIEF EXECUTIVE OF THE UNITED STATES
BUT THEY UIDNT GET THERE BY HANGING AROUND THE CORNER DRUG STORE
[Source: Jay N. Darling: In Good Old U.S.A., in: Des Meines Sunday Register (Des Meines, la.), Vol.
74/No. 319, May 6, 1923, p. 1, cols. 4-6.]
Imerpretaiion: Cartoon advocates success from humble beginnings if one

works hard, like in the cases of the engeneer and economist Irving Fisher,
the neurologist Frederick Peterson and the U.S. President Warren G.
Harding; the drawing also shall serve as an inspiration to future Americans,
as well as to bring a moral message to each new, perplex younger genera-
tion.
11
"RIDDLE: WHY IS THE MACHINERY OF GOVERNMENT

LIKE ANY OTHER KIND OF MACHINERY ?"
MOST PEOPLE DON'T KNOW ANYTHING ABOUT IT AND EXPECT IT TO RUN

WITHOUT EVER LOOKING AT IT
AND IF ANYTHING GOES WRONG THEY TURN IN AT THE NEAREST

GARAGE SIGN AND EXPECT A MIRACLE
WHEN WHAT IS NEEDED IS A SIMPLE OPERATION ON THE OWNER
[Source: Jay N. Darling: Riddle: Why Is The Machinery Of Government..., in: Des Moines Sunday
Register (Des Moines, la.), Vol. 75/No. 10, July 1, 1923, p. 1, cols. 4-6.]
Interpretation: Cartoon symbolizes independent thinking by comparing the

American government with a car. None of it needs repair but all that is really
needed in both cases is common sense of the citizen.
12
"AND WE TALK ABOUT STABILIZING THE FARM
INDUSTRY BY LEGISLATION !"
f n ·τ·» _/ί
I en-*/
OWfNC TO THI HIGH WAGES OF CITY LABOR AM» THE U)W PRICE OF FARM PRODUCTS THE POPULATION
MOVES TO THE CITY
THEN. OWING TO THE DF-POPVtATION OF THE FARM AND THE OVERMANNING OF THE OTT, GRAIN GOES LT
A.VD WAGES GO DOWN
Α.νη. OWINO το ΤΗΒ »ττβΛητνβ purc or KARM PRODUCE, τι« DISSATISFIED CITY DWELLE» KUSHES ovi
TO TAKK LT FARMING
HENCK THERB !S AN OV«RP«ODUCTtON OF FARM PRODUCTS: ETC. ETC.—REPEAT A» LNFtNlTUM
[Source: Jay N. Darling: And We Talk About Stabilizing The Farm Industry By Legislation!, in: The
Des Moines Register (Des Meines, la.), Vol. 75/No. 21, July 12, 1923, p. 1, cols. 4-6.]
Interpretation: Cartoon mockingly explains the natural cycle of demographic

shifts between rural and urban areas of the country, so that there seems to be
no need for any laws regulating the farm industry.
13
1925 AWARD
ABOUT PEACE HOPES AND
WAR FEARS IN 1924
BY
ROLLIN KlRBY
Rollin Kirby (born on September 4, 1874, in Galva, Π.) was educated in

a number of magazines such as Collier's, McClure's, Life and Harper's, In
conservative politicians. In 1922 he became the first recipient of the Pulitzer
Prize in the cartoon category. Another Pulitzer Cartoon award was granted
to Rollin Kirby in 1925 for the drawing "News from the Outside World."
14
"NEWS FROM THE OUTSIDE WORLD"
[Source: Rollin Kirby: News From The Outside World, in: The World (New York, N.Y.). Vol. LXV/No.
23,056, October 5, 1924, p. 2 E, cols. 4-7.]
Interpretation; Cartoon shows the only three nations who did not join the
League of Nations - the Soviet Union, Mexico and the U.S. - reading about
the peace pact in a hobo camp, thus presenting them as poor outsiders. The
Soviets did not want any contact to non-communist countries. Mexico failed
to join due to massive internal problems. Former President T. Woodrow
Wilson, who died in early February 1924, had sometimes favored entry;
however, several years ago the US. Congress had passed the chance, too.
15
"A COUPLE OF QUESTIONS"
we HAVE A wcu
(FOR INSTANCf?)
/ ί/ι
;
[Source: Rollin Kkby: A Couple Of Questions, in: The World (New York, N.Y.), Vol. LXV/ No.
23,076, October 25,1924, p. 8, cols. 4-7.]
Interpretation: Cartoon presents Senator Charles E. Hughes who supported

J. Calvin Coolidge in the presidential campaign and Senator Robert M.
LaFollette who was the candidate for the Progessive Party. LaFollette
advocated public control of natural resources but as the observer can see
both supporters are not entirely convinced of their own campaigns.
16
"BRINGING A LITTLE LIGHT INTO IT"
ON»
pa»;-.- ; .τ ΛΑΟΙ·» FO&EI6N
ELATION^
[Source: Rollin Kirby: Bringing A Little Light Into It, in: The World (New York, N.Y.), Vol. LXV/No.
23,117, December 5, 1924, p. 12, cols. 4-7.]
Interpretation: Cartoon shows William E. Borah, senator and chairman of

the Senate Committee on Foreign Relations, leaving the meeting room into
pitchblack reality. The spider's web on the door frame indicates that the door
was not opened very often before. Borah was known to be an isolationist
and an opponent of the League of Nations.
17
1926 AWARD
ABOUT LAW AND ORDER
VALUES IN 1925
BY
DANIEL R. FITZPATRICK
St. Louis Post-Dispatch
Daniel Robert Fitzpatrick (born on March 5, 1891, in Superior, Wi.) at-

tended 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 Insti-
tute - his only other training consisted of a summer spent studying with
Henry Varnum Poor. In 1911, he got his first job, doing comic-page draw-
ings 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 with the Post-Dispatch has unfolded. In numer-
ous 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 Daniel R. Fitzpatrick became the winner of the
John Frederick Lewis Prize of the Philadelphia Academy of Fine Arts, and
two years later, in 1926, his drawing "The Laws of Moses and the Laws of
Today" made him the recipient of the Pulitzer Prize in the cartoon category.
18
"THE LAWS OF MOSES AND THE LAWS OF TODAY"
[Source: Daniel R. Fitzpatrick: The Laws Of Moses And The Laws Of Today, in: St. Louis Post-
Dispatch (St. Louis, Mo.), Vol. 77/No. 217, April 12,1925, p. 2 B, cols. 4-6.]
Interpretation: Cartoon depicts the mushrooming body of legislation by

comparing the numerous laws to the simple, ten commandments Moses once
had brought from the mountain Sinai. Criticizing that the modern day laws
tie up the citizen, the drawing already refers to prohibition.
19
"THE VOLSTEAD TRAIL"
[Source: Daniel R. Fitzpatrick: The Volstead Trail, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol.
77/No. 224, April 19, 1925, p. 2 B, cols. 4-6.]
Interpretation: Cartoon reminds of the Andrew J. Volstead Act from five

years ago which put any contact with alcohol under penalty. The drawing
points out that the amendment only achieves disrespect for the law as thus
grafts become necessary to get hold of (low-quality) alcohol.
20
"MAKING HER RIDICULOUS"
[Source: Daniel R. Fitzpatrick: Making Her Ridiculous, in: St. Louis Post-Dispatch (St. Louis, Mo.),
Vol. 77/No. 231, April 26, 1925, p. 2 B, cols. 4-6.]
Interpretation: Cartoon refers to the Scopes "monkey" trial. The teacher John
C. Scopes from Tennessee had a friend of him suit him, as Scopes unlawfully
taught Charles R. Darwin's theory of evolution. Later that year, the judge
had to sentence Scopes who afterwards took it further to Supreme Court.
21
1927 AWARD
ABOUT CONFLICTS AND

PROBLEM SOLVING IN 1926
BY
NELSON HARDING
Brooklyn Daily Eagle
Nelson Harding (born on October 31, 1879, in New York City) was
educated at Greenwich Academy in Connecticut. For his art training, he
attended the Art Students' League in New York City, the Chase School, and
the New York School of Art. Before he had a chance to get started in his
profession, the Spanish-American War broke out. During that war Harding
did service with the U.S. Volunteers. Between 1898 and 1908 he was a
member of the New York National Guard. In 1908 Harding joined the
Brooklyn Daily Eagle and, during the next two decades that he worked on
the paper, became one of the most reprinted cartoonists in the country. In ad-
dition to his drawing he wrote short numerous paragraphs under the heading
"Here and Now," which were printed on the front page of the Eagle. In 1927
his work was granted great recognition, for in that year Nelson Harding won
the Pulitzer Cartoon award for his drawing "Toppling the Idol."
22
"TOPPLING THE IDOL"
[Source: Nelson Harding: Toppling The Idol, in: Brooklyn Daily Eagle (New York, N.Y.), Vol. 86/No.
260, September 19, 1926, p. 4 B, cols. 5-8.]
Interpretation: Cartoon depicts the decreasing powers of the League of

Nations, based in Geneva, Switzerland, Thai indirect foreninner of the
United Nations had trouble keeping the danger of war under control, and the
drawing expresses a pessimistic view on the influence of the League of
Nations, How dramatic the situation really was shows this cartoon by using
the legend of David and Goliath: contrary to the known version -- David
defeats the giant - even a whole group of Davids cannot overcome the giant
War who in his ancient costume may remind the reader of the God Mars.
23
"TOP-HEAVY STRUCTURES REQUIRE BRACING"
[Source: Nelson Harding: Top-heavy Structures Require Bracing, in: Brooklyn Daily Eagle (New York,
N.Y.), Vol. 86/No. 324, November 22,1926, p. 8, cols. 5-8.]
Interpretation: Cartoon caricatures Italian dictator Benito Mussolini as he is

stabilizing his power by "repressive measures": He crushed opposition
through ruthless police corps, banned the Trade Unions and censored the
free press. In addition, elected local governments were replaced by ap-
pointed officials.
24
"HIS OWN DUST"
'ii-fj&n
£»;·^)
Χ·&.
U.S.
[Source: Nelson Harding: His Own Dust, in: Brooklyn Daily Eagle (New York, N.Y.), Vol. 86/No. 333,
December 2, 1926, p. 8, cols. 5-8.]
Interpretation: Cartoon mockingly accuses the "intervention jingos" of

establishing a fear of war between the U.S. and Mexico although they have
produced the atrocities themselves. The U.S. was trying to improve their
relation to the neighbor state, however, Mexico stayed sceptical, not least
because of incidents like false war warnings.
25
1928 AWARD
ABOUT PEACE KEEPING WITH

LATIN AMERICAN COUNTRIES IN 1927
BY
NELSON HARDING
Nelson Harding (born on October 31, 1879, in New York City) was
educated at Greenwich Academy in Connecticut. For his art training, he
attended the Art Students' League in New York City, the Chase School, and
the New York School of Art. Before he had a chance to get started in his
profession, the Spanish-American War broke out. During that war Harding
did service with the U.S. Volunteers. Between 1898 and 1908 he was a
member of the New York National Guard. In 1908 Harding joined the
Brooklyn Daily Eagle and, during the next two decades that he worked on
the paper, became one of the most reprinted cartoonists in the country. In
addition to his drawing he wrote short humerous paragraphs under the
heading "Here and Now," which were printed on the front page of the Eagle.
In 1927 his work was granted great recognition, for in that year Nelson
Harding won the Pulitzer Cartoon award. Only one year later, in 1928, did
he receive another Pulitzer Prize in that category for the cartoon "May His
Shadow Never Grow Less."
26
"MAY HIS SHADOW NEVER GROW LESS"
Sς
*"""* Γ
[Source: Nelson Harding: May His Shadow Never Grow Less, in: Brooklyn Daily Eagle (New York,
N.Y.), Vol. 87/No. 346, December 15, 1927, p. 8, cols. 4-7.]
Interpretation: Cartoon does not refer to the famous flight across the
Atlantic by Charles A, Lindbergh, as one might think. Rather it refers to his
flight to Mexico which was a gesture of goodwill, in order to improve the
relations between Mexico and the United States of America. The airplane it-
self suggested the pattern of a cross for the shadow on the ground.
27
"A NEW BOUNDARY MARK"
[Source: Nelson Harding: A New Boundary Mark, in: Brooklyn Daily Eagle (New York, N.Y.), Vol.
87/No. 349, December 18, 1927, p. 4 B, cols. 4-7.]
Interpretation: Cartoon refers to the Mexican government with President

Plutarco E. Calles, under whom executions of unfavorable men were
common. The Christmas tree in the middle of the border demonstrates the
American wish to stay on peaceful terms with Mexico.
28
"A BIRD OF PEACE"
[Source: Nelson Harding: A Bird Of Peace, in: Brooklyn Daily Eagle (New York, N.Y.), Vol. 87/No.
359, December 29, 1927, p. 8, cols. 4-7.]
Interpretation: Cartoon takes the wish for goodwill further to central

America, especially to Nicaragua. It is remarkable that the bird shown at the
drawing is not a white dove but the American eagle which conveys the
American attitude of superiority and power.
29
1929 AWARD
ABOUT ASPECTS OF THE

GRAND OLD PARTY IN 1928
BY
ROLLIN KlRBY
Rollin Kirby (born on September 4, 1874, in Galva, II.) was educated in

a number of magazines such as Collier's, McClure's, Life and Harper's. In
conservative politicians. For his cartoons "On the Road to Moscow" and
"News from the Outside World" he was awarded the Pulitzer Prize in the
cartoon category in 1922 and 1925. Only four years later, in 1929, Rollin
Kirby was granted his third Pulitzer Cartoon award for the drawing
"Tammany."
30
"TAMMANY"
[Source: Rollin Kirby: Tammany, in: The World (New York, N.Y.), Vol. LXIX/No. 24,506 September
24, 1928, p. 12. cols. 2-7.]
Interprefotion; Cartoon shows the figure of the Grand Ole Party raising his
hands at the mention of the Democratic Tammany machine as if to ward off
any contact to the rival party. Several prominent Republicans have joined
him in the background, as some kind of a choir of angels. The drawing
caricatures the hypocrisy and "holier-than-thou"-attitude of many Republi-
cans by that time: All the Congressmen behind GOP were notorious. Some
of them were found guilty of illegal practises, such as bribery and theft as
one can see by the jail garb they are wearing. Everybody in the late twenties
could easily recognize all the persons drawn in this cartoon and it was
common knowledge that these Congressmen, whether convicted or not,
seemed to be corruptible. Nevertheless, the Republicans gained a majority in
the Presidential elections several weeks later.
31
"SEE THE PRETTY BANNER"
;
*·
[Source: Rollin Kirby: See The Pretty Banner, in: The World (New York, N.Y.), Vol. LXK/No. 24,512,
September 30, 1928, p. 2 E, cols. 4-7.]
Interpretation: Cartoon critizes the Grand Ole Party of lying to the voter in
the campaign prior to the Presidential elections. GOP tries to hide a stinking
can of "Republican Garbage" behind a banner of prosperity and thus is also
giving the voter what he wanted to see. The drawing intends to show that the
smell of corruption etc. that sticks to the Republican party cannot be hidden
behind a banner.
32
"WE'LL RUN THIS CAMPAIGN"
[Source: Rollin Kirby: We'll Run This Campaign, in: TAe WorW (New York, N.Y.), Vol. LXIX/No.
24,517, October 5, 1928, p. 12, cols. 4-7.]
Interpretation: Cartoon points out that the actual Presidential candidate to be

elected, Herbert C. Hoover, is not important at all in the campaign. Rather,
the GOP together with the wealthy industrialists are in charge here. The out-
come of the Presidential election one month later proved them to be right:
the Republican candidate got about 450 of the electoral votes, more than
anybody else since Theodore Roosevelt received about two decades ago.
33
1930 AWARD
ABOUT WAR DEBTS AND

REPARATIONS IN 1929
BY
CHARLES R. MACAULEY
Charles Raymond Macauley (born on March 29, 1871, in Canton, Oh.) was
educated in public schools in his home town Canton. He adopted the career
as a cartoonist after winning the first prize in a Cleveland Press competition
in 1891. He then worked as a political cartoonist for the Cleveland World,
the Cleveland Plain Dealer, and the Cleveland Leader until 1894. The same
year he moved to New York City, where he contributed to leading metro-
politan papers and periodicals until 1899. For the next two years Macauley
worked with the Philadelphia Inquirer. Between 1901 and 1904 he was
engaged in literary work. Among others he wrote and illustrated "Fantasma-
land." In 1904 he became editorial cartoonist on the New York Morning
World, where he stayed the following ten years. He then switched to the
Brooklyn Daily Eagle. For his drawing "Paying for a Dead Horse" Charles
R. Macauley received the 1930 Pulitzer Prize in the cartoon category.
34
"PAYING FOR A DEAD HORSE"
[Source: Charles R. Macauley: Paying For A Dead Horse, in: Brooklyn Daily Eagle (New York, N.Y.),
Vol. 89/No. 53, February 23, 1929, p. 4, cols. 4-7.]
Inierpreiation: Cartoon refers to the huge war debts. Europe and especially
Germany had to the U.S. and to the allies as an aftermath of World War I.
The war, of course, -was already over, here shown as a dead horse for which
no one wants to pay anymore. The issue of reparations was a burden for both
creditor and debtor; the person lugging the huge sack of reparations is rather
a world citizen than of a specific nationality. The problem was not easy to
solve: On one hand, it was clear that Germany because of the economic
crisis of the country could not keep on paying reparations without even
having a fixed sum to pay off. But on the other hand, Italy, France and
Britain threatened to stop their payments to the U.S. if Germany were allow-
ed to cut their reparations. However, the U.S. could not afford to lose more
or less regular payments from European countries since they had their own
big fiscal problems by that time.
35
"WILL THE PEACE DOVE RETURN ?"
[Source: Charles R. Macauley: Will The Peace Dove Return?, in: Brooklyn Daily Eagle (New York,
N.Y.), Vol. 89/No. 110, April 21, 1929, p. 4 B, cols. 4-6.]
Interpretation: Cartoon focuses also on the problem of war debts Europe

had to the U.S. who sent the industrialist Owen D. Young and the banker
John P. Morgan to Paris to renegotiate the issue of reparations. Their voyage
to Europe is compared to Noah in his ark. Their decision that Germany was
pressured to pay did not bring peace to Europe and the U.S. as one can see
by the headline of this drawing.
36
"LIGHTING THE WORLD"
[Source: Charles R. Macauley: Lighting The World, in: Brooklyn Daily Eagle (New York, N.Y.), Vol.
89/No. 125, May 6, 1929, p. 8, cols. 4-7.]
Interpretation: Cartoon predicts serious tensions between Europe and the

U.S. due to continuing discussions on the reparations. Early that month, U.S.
banker John P. Morgan went to Paris again, however, without any hope to
find an agreement. A week before, German finance expert Hjalmar Schacht
had refused to accept the 28-billion-bill and instead offered mere 15 billion.
37
1931 AWARD
ABOUT RUSSIA'S INTERNAL AND

EXTERNAL ITEMS IN 1930
BY
EDMUND DUFFY
The Sun (Baltimore)
Edmund Duffy (born on March 1, 1899, in Jersey City, N.J.) skipped high
school entirely and entered the Art Students' League in New York at the age
of fifteen. He broke into the newspaper field with a page of sketches on the
Armistice Day celebration for the Sunday magazine section of the New York
Tribune. Duffy took a number of assignments like this and stored up some
money doing straight news and sports drawings. He then went to Europe and
worked for the London Evening News for a while. After leaving London
Duffy moved to Paris, where he spent a number of years. In 1922 he
returned to the USA and began to work for the Brooklyn Eagle and the New
York Leader. Two years later Duffy switched to the Baltimore Sun, where he
stayed the following years working as a political cartoonist. In 1931
Edmund Duffy was awarded the Pulitzer Prize in the cartoon category for
his drawing "An Old Struggle Still Going On."
38
"AN OLD STRUGGLE STILL GOING ON"
[Source: Edmund Duffy: An Old Struggle Still Going On, in: The Sun (Baltimore, Md.), Vol. 186 - D/no
No. given, February 27, 1930, p. 12, cols. 4-6.]
Interpretation: Cartoon refers to the fact that despite governmental efforts Jn

Russia to substitute religion with ideology was not successful The attempt
to suppress religion made the Soviet Union appear suspicious if not evil to
many people and observers worldwide.
39
"CANT GET A FIRM GRIP"
[Source: Edmund Duffy: Can't Get A Firm Grip, in: The Sun (Baltimore, Md.), Vol. 186 - D/no No.
given, March 4, 1930, p. 14, cols. 4-6.]
Interpretation: Cartoon depicts Soviet leader Joseph V. Stalin's problem of

his first five-year plan - a lot of peasants were not willing to have their
whole property collectivized. Two days before this drawing was printed,
Stalin had published an article in the communist newspaper Pravda entitled
"Dizzy with Success".
40
"MOVE OVER !"
[Source: Edmund Duffy: Move Over!, in: The Sun (Baltimore, Md.), Vol. 187 - D/no No. given,
September 30,1930, p. 12, cols. 4-6.]
Interpretation: Cartoon predicts Germany's Adolf Hitler occupying Poland

and demanding parts of the Soviet Union. The grip of a gun in Hitler's pocket
shows his determination. Only two weeks before this drawing was published,
the Nazi Party had gained majority in the German parliament, the Reichstag.
Hitler, however, was not chancellor yet, it was still Heinrich Brüning.
41
1932 AWARD
ABOUT DEPRESSION AND

UNEMPLOYMENT IN 1931
BY
JOHN T. McCuTCHEON
Chicago Daily Tribune
John Tinney McCutcheon (born on May 6, 1870, near South Raub, In.)
received his B.S. degree in 1889, and in the same year he joined the staff of
the Chicago Record. His first political cartoon work appeared in the
campaign of 1896. Two years later the cartoonist started a trip around the
world on a dispatch boat, and he was on that vessel during the war against
Spain and in the battle of Manila Bay in 1898. In 1899 McCutcheon made a
tour on special service in India, Burma, Siam and Cochin-China, and another
tour took him to Northern China, Korea, Japan, and to the Philippines. When
he was sent to Transvaal the following April, he joined the Boers in interest
of his paper, still the Record. He also furnished political cartoons for that
paper during the 1900 campaign. The same year his book "Stories of
Filipino Warfare" was published. It was followed by several collections of
his work, such as "Cartoons by McCutcheon" and "The Mysterious Stranger
and Other Cartoons." McCutcheon worked for the Record and its successor,
the Record Herald, until 1903, when he became cartoonist for the Chicago
Tribune. The following years the cartoonist again went on several trips, so to
Africa, Mexico and Europe, where he stayed between 1914 and 1916. In
addition to his work for several papers McCutcheon was also engaged in
university studies. In 1926 he received his D.H.L. degree, and five years
later Notre Dame University granted him the L.L.D. degree. In 1932 John T.
McCutcheon received again great recognition when his drawing "A Wise
Economist Asks a Question" won him the Pulitzer Cartoon award.
42
"A WISE ECONOMIST ASKS A QUESTION"
* But WHY DIDN'T

YOU SAVE sowe
MONEY
FUTURE, WHEN
TIMES WERE GOOD?
[Source: John T. McCutcheon: A Wise Economist Asks A Question, in: Chicago Daily Tribune
(Chicago, II.), Vol. LXXXXJNo. 198, August 19, 1931, p. 1, cols. 4-6.]
Interpretation: Cartoon shows an all-American guy discussing his desolate

financial situation with a busy squirrel As the drawing explains, the man is
not broke because he was lazy. He is bankrupt because his bank went broke,
as many other banks during that time, starting around two years ago.
43
"THE DANGEROUS SHORT-CUT"
[Source: John T. McCutcheon: The Dangerous Short-Cut, in: Chicago Daily Tribune (Chicago, II.), Vol.
LXXXX/No. 212, September 4,1931, p. 1, cols. 4-6.]
Interpretation: Cartoon depicts unwise speculations as the basis of the Great

Crash. The picture shows a banker following a wicked fairy to a shortcut over
the deep river instead of taking the steep but safe road to wealth. By the time
this drawing was published, the word banker had already got a deteriorary
meaning as this profession was blamed for the Crash and the following
Great Depression.
44
"THE DREAM OF LABOR"
[Source: John T. McCutcheon: The Dream Of Labor, in: Chicago Daily Tribune (Chicago, II.), Vol.
LXXXX/No. 214, September?, 1931, p. 1, cols. 4-6.]
Interpretation: Cartoon concentrates on the rising unemployment rate during

the early thirties. People who had lost their job due to the Great Depression,
now can only dream of going to work and have the sleeping vision the
factory whistle sounds sweet to them again.
45
1933 AWARD
ABOUT JAPAN'S QUARRELS
AND AGGRESSIONS IN 1932
BY
HAROLD M. TALBURT
The Washington Daily News
Harold M. Talburt (born on February 19, 1895, in Toledo, Oh.) was educated
in public schools. Talburt's newspaper career began in 1916, when he joined
the staff of the Toledo News-Bee as a reporter. He did reportorial work for
that paper for three years. While working as a reporter he also began to draw
cartoons and some of the drawings he submitted were also used. A series of
cartoons Talburt drew for the sports section attracted the editor's attention
and soon Talburt drew a daily cartoon regularly. The cartoonist stayed with
the News-Bee until 1922, and then switched to the Scripps-Howard News-
paper Alliance, where he became editorial cartoonist. For his drawing "The
Light of Asia," published in the Washington Daily News, Harold M. Talburt
was granted the Pulitzer Prize in the cartoon category in 1933.
46
"THE LIGHT OF ASIA"
[Source: Harold M. Talburt: The Light Of Asia, in: The Washington Daily News (Washington, D.C.),
11th Year/No. 68, January 27, 1932, p. 12, cols. 2-4.]
Interpretation: Cartoon shows Japan - based on a book title by Edwin

Arnold -- break the nine-power-treaty by invading Manchuria, Japan had
signed with the League of Nations four years ago. in this treaty the nine
nations had agreed to repudiate war as an instrument of national policy.
47
"KARA KIRI"
'νί-:·· ϊ&ί'£#£?£&.
[Source: Harold Μ. Talburt: Kara Kiri, in: The Washington Daily News (Washington, D.C.),
Year/No. 74, February 3, 1932, p. 12, cols. 2-4.]
Interpretation: Cartoon predicts that Japan, being in a state of war-frenzy, is

on the verge of committing hara kiri. The joyful expression on Japan's face
shows that the country is too much devoted to the war god to realize that the
conflict will ruin it completely.
48
"FANNING THE FLAME"
[Source: Harold M. Talburt: Fanning The Flame, in: The Washington Daily News (Washington, D.C.),
11th Year/No. 93, February 25, 1932, p. 12, cols. 2-4.]
Interpretation: Cartoon explains Japan continuing her invasion of China by

moving from Northern China to the South and conquering the city of
Shanghai. This way, the Japanese are breaking even more peace pacts and
therefore they are disturbing the global peace massively.
49
1934 AWARD
ABOUT AMERICAN LYNCHING

PRACTICES IN 1933
BY
EDMUND DUFFY
The Sun (Baltimore)
Duffy moved to Paris, where he spent a number of years. In 1922 he returned
to the USA and began to work for the Brooklyn Eagle and the New York
Leader. Two years later Duffy switched to the Baltimore Sun, where he
stayed the following years working as a political cartoonist. In 1931 Duffy
was awarded the Pulitzer Prize in the cartoon category. Only three years
later did Edmund Duffy receive another Pulitzer Cartoon award for the
drawing "California Points with Pride-!!"
50
"OVER THE DOME AT ANNAPOLIS —"
[Source: Edmund Duffy: Over The Dome At Annapolis -, in: The Sun (Baltimore, Md.), Vol. 194 - D/no
No. given, November 24, 1933, p. 14, cols. 4-6.]
Interpretation: Cartoon warns the government not to tolerate lynch law by

predicting what will happen if the Congressmen do not condemn and forbid
the practise of lynching: it will come back to the Californian Congress and
will put its noose around the dome of Annapolis.
51
"CALIFORNIA POINTS WITH PRIDE—!!"
[Source: Edmund Duffy: California Points With Pride -!!, in: The Sun (Baltimore, Md.), Vol. 194 - E/no
No. given, November 28, 1933, p. 12, cols. 4-6.]
Interpretation; Cartoon shows California Governor James Roiph Jr. pointing

to the lynched criminals who kidnapped and murdered the son of a San
Francisco businessman. The smile on the Governors face reveals his ap-
proval of the lynching which made him very unpopular.
52
"A REMINDER"
[Source: Edmund Duffy: A Reminder, in: The Sun (Baltimore, Md.), Vol. 194 - D/no No. given,
December 8, 1933, p. 12, cols. 4-6.]
Interpretation: Cartoon presents President Franklin D. Roosevelt disapprov-

ing of the lynchings and their toleration in California. The noose around his
finger points out the danger that lynching may be established nationwide if
the state of California does not manage to put a stop to it.
53
1935 AWARD
ABOUT STRIKES AND LABOR

ACTIVITIES IN 1934
BY
Ross A. LEWIS
The Milwaukee Journal
Ross Aubrey Lewis (born on November 9, 1902, in Metamora, Mi.) gradu-

ated from the Milwaukee State College in 1923. He then studied at the
Layton School of Art in Milwaukee as well as at the Art Students' League of
New York. He was first a commercial artist at a lithographic company be-
fore he started to work in the art department of the Milwaukee Journal in
1925. He prepared layouts and drawings for the Journal's civic promotion
series which was awarded the Schuman trophy by the Association of News-
paper Advertising Executives in Denver in 1927. Five years later he became
the Milwaukee Journal's cartoonist. In 1935 Ross A. Lewis received the
Pulitzer Cartoon award for his drawing "Sure, I'll Work for Both Sides."
54
"WHY MUST IT REACH THIS 'POINT? til
[Source: Ross A. Lewis: Why Must It Reach This 'Point?', in: The Milwaukee Journal (Milwaukee,
Wi.), 52nd Year/no No. given, May 31, 1934, p. 1, cols. 5-7.]
Interpretation: Cartoon expresses the longing for an amicable agreement

between industry management and employees. Incidents like the use of strike
breakers, however, make this wish difficult if not impossible to come true.
55
"WE COVER THE WATERFRONT"
[Source: Ross A. Lewis: We Cover The Waterfront, in: The Milwaukee Journal (Milwaukee, Wi.), 52nd
Year/no No. given, July 6, 1934, p. 1, cols. 3-5.]
Interpretation: Cartoon depicts the San Francisco dock strikes in the

summer of that year. The symbolic characters who have joined the strikers
are a caveman, a nordic fighter and the grim reaper. They show that strife
can eventually develop death; therefore the drawing advocates caution.
56
"SURE, I'LL WORK FOR BOTH SIDES"
l·.».
LM>5/
fnterpreiation: Cartoon shows that violence in form of strike breakers can

work for both sides, unions and management: it is corruptible and therefore
useless. But this is also the reason why it doesn't bring any advantages to
either side. The title of the drawing stresses this basic fact.
57
1936 AWARD

BY
THE ADVISORY BOARD

Columbia University
Although the members of the 1936 Pulitzer Prize Cartoon Jury in their re-
port made a short list of five names and placed Clarence D. Batchelor of the
New York Daily News first, the Advisory Board rejected the proposal of the
jurors and gave "no award" in this category.
58

FOR "NO AWARD"
Carl W. Ackerman Columbia University

Nicholas M. Butler Columbia University
Kent Cooper The Associated Press
Julian L. Harris Columbus (Ga.) Enquirer Sun
Arthur M. Howe Brooklyn Daily Eagle
Frank R. Kent The Baltimore Sun
Robert Lathan Asheville (N.C.) Citizen & Times
Robert L. O'Brien The Boston Herald
Rollo Ogden The New York Times
Stuart H. Perry The Adrian (Mich). Telegram
Marien E. Pew Editor & Publisher magazine
Joseph Pulitzer (II) St. Louis Post-Dispatch
Ralph Pulitzer The New York World
59
1937 AWARD
ABOUT DANGEROUS EUROPEAN

CONDITIONS IN 1936
BY
CLARENCE D. BATCHELOR
Daily News (New York)
Clarence Daniel Batchelor (bom on April 1, 1888, in Osage City, Ks.) was
educated at Osage City Public school and at Salina High School in the time
between 1894 and 1907. While still in high school Batchelor got art training
at the Chicago Academy of Fine Arts. After finishing high school he
attended the Chicago Art Institute until 1910. The following year he became
staff artist for the Kansas City Star. After a brief period on the Star,
Batchelor first got a job on the railroad and, on the side, sold a few drawings
to the humour magazines Life, Judge and Puck and then free-lanced for a
while. In 1912 Batchelor was awarded a prize for the six best cartoons on
public health by the American Medical Association. Following a job with
the New York Journal for four years and another time of free-lancing
Batchelor worked as a cartoonist for the Ledger Syndicate and the New York
Post in the years between 1923 and 1931. Then he also became editorial car-
toonist with the New York Daily News. For his drawing "Come on in, I'll
treat you right. I used to know your Daddy" Clarence D. Batchelor was
awarded the 1937 Pulitzer Prize in the cartoon category.
60
"COME ON IN, I'LL TREAT YOU RIGHT- I USED TO
KNOW YOUR DADDY"
[Source: Clarence D. Batchelor: Come On In, I'll Treat You Right - I Used To Know Your Daddy, in:
Daily News (New York, N.Y.), Vol. 17/No. 261, April 25, 1936, p. 17, cols. 3-4.]
Interpretation: Cartoon depicts the European youth being lured into war as
they only see the glamorous side like marching bands and flattering uni-
forms, here symbolized in the beautiftil body of the whore called war. The
youngster does not seem to recognize the awful face which reveals the true
horror of war as a total tragedy.
61
"EUROPE'S EYE VIEW OF HER FUTURE"
[Source: Clarence D. Batchelor: Europe's Eye View Of Her Future, in: Daily News (New York, N.Y.),
Vol. 17/No. 262, April 27, 1936, p. 23, cols. 3-4.]
Interpretation: Cartoon shows how close a war in Europe had become by

that time: Europe is already aiming her gun which is loaded with items like
war ships and poison gas. However, the U.S. did not feel threatened by the
gun as the title points out that Europe primarily is aiming at her own future.
62
"A FAMOUS CAT BEGINS TO WORRY OVER ITS

REMAINING LIVES"
EthW
Fiasco
[Source: Clarence D. Batchelor: A Famous Cat Begins To Worry Over Its Remaining Lives, in: Daily
News (New York, N.Y.), Vol. 17/No. 269, May 5, 1936, p. 27, cols. 3-4.]
Interpretation: Cartoon explains the decreasing influence of the League of

Nations by comparing the organization to a cat whose legendary nine lives
have almost been used up. The last life the cat shed was the Italian-Ethiopian
war - the League could not keep Italy from invading the African state.
63
1938 AWARD
ABOUT ARISING OF WORLD-WIDE

CONFLICTS IN 1937
BY
VAUGHN SHOEMAKER
The Chicago Daily News
Vaughn Shoemaker (born on August 11, 1902, in Chicago, II.) was educated
at Myra Bradwell grammar school and at Bowen High School in Chicago,
which he left in 1920. The same year he began attending the Chicago Acad-
emy for Fine Arts, where he stayed until 1921. The following year he started
to work at the art department of the Chicago Daily News. For two years his
stint consisted of doing tiny drawings for a feature known as "The Batch of
Smiles" plus a dozen drawings a week for another feature known as "More
Truth Than Poetry." In 1925 he became the paper's chief cartoonist and only
two years later he got the post of an instructor at the Chicago Academy for
Fine Arts. In 1930 Shoemaker saw, for the first time, his cartoons being tele-
cast by a station in Chicago. The same year his works began to be syndicated
and appeared in a number of other newspapers. In addition to drawing car-
toons Shoemaker also dedicated himself to painting. In 1935 and 1936 one-
man water color exhibitions of his work took place at the Obrien Galleries in
Chicago. Another exhibition was organized by the Marshall Field Galleries
in 1938. That year Vaughn Shoemaker, the multi-functional artist, was
granted the Pulitzer Cartoon award for his drawing "The Road Back?"
64
"WHEN THE LAST ETHIOPIAN IS DEAD"
[Source: Vaughn Shoemaker: When The Last Ethiopian Is Dead, in: The Chicago Daily News (Chicago,
II.). 62nd Year/No. 49, February 27, 1937, p. 8, cols. 5-7.]
Interpretation: Cartoon refers to the invasion of Benito Mussolini in Ethio-

pia. Italy had been defeated once before in Adwa forty years earlier. Musso-
lini's exclamation shows his cruel imperialism, and his invasion caused a
total breakdown of law and order in Ethiopia.
65
"WHEEEEE-E-E-E-E-E-E—BANG!—EXCUSE IT, PLEASE"
[Source: Vaughn Shoemaker: WHEEEEE-E-E-E-E-E-E^BANG!-EXCUSE IT, PLEASE, in: The

Chicago Daily News (Chicago, II.), 62nd Year/No. 259, November 3, 1937, p. 18, cols. 5-7.]
Interpretation: Cartoon shows Japan proceeding war with China that began
with invading Manchuria five years earlier. To the bombs attached are ironic
apoligies to some countries who once signed the nine-power-treaty with
Japan.
66
"THE ROAD BACK?"
[Source: Vaughn Shoemaker: The Road Back?, in: The Chicago Daily News (Chicago, II.), 62nd
Year/No. 266, November 11, 1937, p. 14, cols. 5-7.]
interpretation; Cartoon dissuades from going to war. The drawing shows an

individual soldier on his way to the Second World War, The nations were
preparing for it due to annectations of Adolf Hitler for example and, remem-
bering World War I, international public opinion was full of panic.
67
1939 AWARD
ABOUT GERMANY'S STRATEGIES

OF OCCUPATION IN 1938
BY
CHARLES G. WERNER
The Dally Oklahoman (Oklahoma City)
Charles George Werner (born on March 23, 1909, in Marshfield, Wi.) at-
tended Oklahoma City University and Northwestern, where his special inter-
ests were history, economics and literature. Between 1930 and 1935 Werner
was artist and photographer at the Springfield Leader and Press. For two
years, from 1935 until 1937, he was a member at the art department of the
Daily Oklahoman, and in 1937 he became the paper's editorial cartoonist.
Two years later Charles G. Werner was awarded the Pulitzer Prize in the
cartoon category for his drawing "Nomination for 1938."
68
"THE NEXT BITE"
[Source: Charles G. Werner: The Next Bite, in: The Daily Oklahoman (Oklahoma City, Ok.), Vol.
47/No. 48, February 25, 1938, p. 8, cols. 5-7.]
Interpretation: Cartoon depicts Adolf Hitler's aggressive advance into

Eastern European countries. The drawing shows Germany embodied as
Hitler's face. His mouth wants to feed on whole Europe, and it seems as
Austria has already grown to his lower jaw. Now the German dictator is
trying to swallow Czechoslovakia.
69
"THE STAKES ARE HIGH"
[Source: Charles G. Werner: The Stakes Are High, in: The Daily Oklahoman (Oklahoma City, Ok.),
Vol. 47/No. 252, September 17, 1938, p. 6, cols. 5-6.]
Interpretation: Cartoon shows Adolf Hitler and A. Neville Chamberlain,

literally gambling for peace in the world. At the scene the observer is
looking, that the British Prime Minister almost has won but Hitler might just
as well have drawn the last card Chamberlain needs for peace. Thus the
drawing points out how immediate war has become. Both statesmen met in
Berchtesgaden near Munich and Chamberlain intended to proceed with his
appeasement policy. Shortly thereafter, another conference in Munich with
Benito Mussolini and Edouard Daladier put an end to this political strategy.
70
"NOMINATION FOR 1938"
ρ^->·- -~——<; ,ν - ;·-.;-· ·. ·::
CZECHOSLOVAKIA
1919 -1938
[Source: Charles G. Werner: Nomination For 1938, in: The Daily Oklahoman (Oklahoma City, Ok.),
Vol. 47/No. 271, October 6, 1938, p. 10, cols. 5-6.]
Interpretation: Cartoon declares Czechoslovakia dead by showing her

gravestone. The drawing predicts that Adolf Hitler will break his promise to
accept the country's inviolability. By proposing Czechoslovakia for Alfred
B. Nobel's next Peace Prize, the drawing acknowledges the nation's progres-
sive and brave development since the end of World War I,
71
1940 AWARD
ABOUT BREAKING OUT OF

WORLD WAR II IN 1939
BY
EDMUND DUFFY
The Sun (Baltimore)
Duffy moved to Paris, where he spent a number of years. In 1922 he
returned to the USA and began to work for the Brooklyn Eagle and the New
York Leader. Two years later Duffy switched to the Baltimore Sun, where he
stayed the following years working as a political cartoonist. In 1931 Duffy
was awarded the Pulitzer Prize in the cartoon category. Only three years
later did the cartoonist receive another Pulitzer Cartoon award. A third
Pulitzer Prize in the cartoon category was granted to Edmund Duffy in 1940
for his drawing "The Outstretched Hand."
72
"THE OUTSTRETCHED HAND"
[Source: Edmund Duffy: The Outstretched Hand, in: The Sun (Baltimore, Md.), Vol. 205 - E/no No.
given, October 7, 1939, p. 10, cols. 4-6.]
Interpretation: Cartoon contains a protest against Adolf Hitler's brutality: it

cynically pictures his peace offerings, most of which he broke. Literally
standing upon minorities, his outstretched hand is dripping with blood,
probably not his own. A month before this cartoon was drawn the Germans
already had invaded Poland,
73
"THE BOY AT THE DIKE"
[Source: Edmund Duffy: The Boy At The Dike, in: The Sun (Baltimore, Md.), Vol. 205 - D/no No.
given, November 3, 1939, p. 14, cols. 4-6.]
Interpretation: Cartoon criticises the Dutch of not offering enough resist-

ance against Adolf Hitler. At the same time the drawing is warning the
Netherlands of a probable German invasion with reference to the cases of
Poland and Czechoslovakia. Just about six months later German troops
invaded the Western neighbor state indeed.
74
"THE WILD WAVES AREN'T SAYING NICE THINGS"
[Source: Edmund Duffy: The Wild Waves Aren't Saying Nice Things, in: The Sun (Baltimore, Md.),
Vol. 205 - D/no No. given, November 29, 1939, p. 10, cols. 6-8.]
Interpretation: Cartoon shows a British soldier looking at the approaching

German troops which meant that Adolf Hitler regarded the German-British
non-aggression pact null and void. As had done the British by declaring war
to Germany two months prior when Germany had attacked and conquered
the state of Poland.
75
1941 AWARD
ABOUT GERMANY'S BOMBING

OF GREAT BRITAIN IN 1940
BY
JACOB BURCK
Chicago Times
Jacob Burck (born on January 10, 1904, in Bialostok, Poland) came to the
United States in 1914. In Cleveland, Ohio, he went to public school and high
school. He also attended the Cleveland School of Art and the Art Students'
League of New York. In 1924 he also began studying portrait painting with
Albert Sterner in New York. The same year an exhibition of his work took
place at the Cleveland Museum of Art. Burck wanted to be a portrait painter,
but also was interested in other forms of art. He liked cartooning, and made
drawings now and then for the New Masses. These cartoons came to the
attention of the veteran managing editor of the St. Louis Post-Dispatch and
Burck was offered a post with that paper. He stayed there until the summer
of 1938, when he left to join the staff of the Chicago Times. In 1941 Jacob
Burck was awarded the Pulitzer Cartoon award for his drawing "If I Should
Die before I Wake..."
76
"IF I SHOULD DIE BEFORE I WAKE ..."
[Source: Jacob Burck: If I Should Die Before I Wake..., in: Sunday Times (Chicago, II), Vol. 11/No.
233, June 2, 1940, p. 17, cols. 2-4.]
Interpretation: Cartoon shows a normal scene - girl getting ready for bed -
•1 W *—' *-J »
with a background that adds the cruel context of war to it. The reader can
only assume her parents dead. In early June, British troops were evacuating
Dunkirk» thus preparing for invasion of the Germans. France was bound for
surrender, and Belgium had already given up. People from all over the world
were still in shock over what was happening in Europe. The drawing tries to
make them aware of reality by showing how close and immediate death had
become in those days, even for a little praying girl, still living in a completely
destroyed building.
77
"WEATHER FORECAST: CLOUDY - CONTINUED

SHOWERS"
[Source: Jacob Burck: Weather Forecast: Cloudy - Continued Showers, in: Sunday Times (Chicago, II.),
Interpretation: Cartoon forecasts continuing German bombing which hit

London. By comparing bombs to raindrops the drawing stresses the horror of
war - these days bombs falling from the sky are just as common in Britain
as rain is.
78
"ALL IS CALM ..."
[Source: Jacob Burck: All Is Calm..., in: Sunday Times (Chicago, II.), Vol. 12/No. 94, December 22,
1940, p. 17, cols. 2-4.]
Interpretation: Cartoon deals with the destruction of main parts of Europe

by showing that even churches are laid in ruins. It is calm not because men
and women don't want to cherish Jesus' birth but because people won't be
able to attend the mess on Christmas Day.
79
1942 AWARD
ABOUT WAR AND ITS

ECONOMIC CONSEQUENCES IN 1941
BY
HERBERT L. BLOCK
Newspaper Enterprise Association (Cleveland)
Herben Lawrence Block (born on October 13, 1909, in Chicago, II.) entered,
after his graduation from high school in 1927, Lake Forest College in
Chicago, but remained only two years. He applied for a summer job in 1929
with the Chicago Daily News, and the editor engaged Block to fill a staff va-
cancy. For four years Block's two-column-wide humorous cartoons appeared
daily on the editorial page. Almost from the first, the Daily News syndicated
his cartoons. His drawings attracted the attention of the Newspaper Enter-
prise Association and in 1933 Block went to their Cleveland office where he
worked for ten years. He gained wide popularity by lampooning issues and
personalities and won the National Headliners' Club Award in 1940. The
Pulitzer Prize for cartooning went to Herbert L. Block in 1942 for a drawing
entitled "British Plane."
80
"BRITISH PLANE"
[Source: Herbert L. Block: British Plane, in: The Cleveland Press (Cleveland, Oh.), No. 19,910, March
14, 1941, p. 19, cols. 2-3.]
Interpretation: Cartoon shows a German soldier looking furiously at a

British plane. The scene gains additional irony since he is standing on a
street in occupied France and some French persons are grinning at him
because the plane obviously is too high for him to shot it down with his gun.
81
"LOSSES"
[Source: Herbert L. Block: Losses, in: The Cleveland Press (Cleveland, Oh.), No. 19,946, April 15,
1941, p. 17, cols. 4-5.]
Interpretation: Cartoon depicts the United States supporting both Great

Britain and Japan by exporting war goods. Today, the title has a double
meaning: first regarding the loss of a vessel sunk by the Germans, second
considering the Japanese attack on Pearl Harbor happening in December of
that same year.
82
"LABOR DAY PARADE—1941"
[Source: Herbert L. Block: Labor Day Parade - 1941, in: The Cleveland Press (Cleveland, Oh.), No.
20,056, September 1, 1941, p. 8, cols. 4-6.]
Interpretation: Cartoon points out the cynic fact that even on Labor Day war
on both sides of North America, in Asia as well as in Europe, serves as a
boost to the American economy, especially since the United States entered
the Second World War, too.
83
1943 AWARD
ABOUT WARTIME
COMMUNICATIONS IN 1942
BY
JAY N. DARLING
The Des Moines Register
Jay Norwood Darling (born on October 21, 1876, in Norwood, Mi.)

attended Yankton College in South Dakota between 1894 and 1895. In 1899
he worked as a reporter for the Sioux City Tribune in Iowa. The following
year, in which Beloit College in Wisconsin granted Darling his Bachelor of
Philosophy, he started to work for the Sioux City Journal, first as a reporter
and then as a cartoonist. In 1906 he switched to the Des Moines Register,
where he stayed until 1911. In that year he was offered a position in New
York with the syndicate connected with the New York Globe, and he accept-
ed. But after only two years he returned to Des Moines to work for the Reg-
ister again. In 1917 he was hired as editorial cartoonist for the New York
Tribune and its syndicate, but Darling remained in Des Moines and con-
tinued to work for the Register, too. For one outstanding drawing Darling
was granted the Pulitzer Cartoon award in 1924. In 1931 Darling visited the
Soviet Union and the experiences made on that trip were reported and illus-
trated in his book "Ding Goes to Russia." In 1934 the cartoonist, who had
fought in cartoon and article for game preservation and restoration ever
since the First World War, became chief of the United States Bureau of Bio-
logical Survey, but after only one and a half years in office he resigned. In
1943 Jay N. Darling, who had stayed with the Des Moines Register during
all these years, won his second Pulitzer Cartoon award for the drawing
"What a Place For a Waste Paper Salvage Campaign."
84
"NEWS AT HOME AND ABROAD"
ω» «JAWING τ«OMCNOCK
»/ea η* M RT τ«»τ OUK
BOYtARS
%κιτ«
[Source: Jay N. Darling: News At Home And Abroad, in: The Des Meines Register (Des Moines, la.),
Interpretation: Cartoon illustrates the exaggerated reactions of many readers

when learning about the state of the U.S. armed forces. At the same time, the
drawing criticizes the newpaper editors of writing in a sensationalist war.
85
"WHAT A PLACE FOR A WASTE PAPER SALVAGE
CAMPAIGN"
[Source: Jay N. Darling: What A Place For A Waste Paper Salvage Campaign, in: The Des Meines
Register (Des Moines, la.), Vol. 94/No. 85, September 14, 1942, p. 1, cols. 3-5.]
Interpretation: Cartoon refers to the fact that all U.S. governmental reports
were made in triplicates which were in effect impeding the Capitol from
leading constructive discussions and making decisions, especially when the
main issue is saving paper in war times, as the tide of the drawing suggests.
86
"THE MOST EXCITING READING OF ALL TIME"
[Source: Jay N. Darling: The Most Exciting Reading Of All Time, in: Des Moines Sunday Register (Des
Moines, la.), Vol. 94/No. 168, December 6, 1942, p. 4, cols. 1-3.]
Interpretation: Cartoon mockingly points out the fact that, while news
stories about the on-going World War are very compelling and fascinating,
one should not forget the all-time classics of literature.
87
1944 AWARD
ABOUT CONDITIONS OF
FIGHTING NATIONS IN 1943
BY
CLIFFORD K. BERRYMAN
The Evening Star (Washington, D.C.)
Clifford Kennedy Berryman (born on April 2, 1869, in Versailles, Ky.)

showed a special aptitude for drafting already in his early boyhood. Follow-
ing his graduation at Prof. Henry's School for Boys in Versailles, Kentucky,
in 1886 he received an appointment as draftsman in the U.S. Patent Office in
Washington, D.C. While holding that position he began to contribute occa-
sional sketches to the Washington Post and in 1891 was made understudy to
the Post cartoonist. He succeeded the latter in that capacity in 1896. One of
his most celebrated drawings was published on November 16, 1902, in the
Washington Post, and created the famous Teddy Bear as a symbolic figure
for President Theodore Roosevelt. Berryman remained with the Post until
1907 when he became cartoonist for the Washington Evening Star and
Sunday Star. Since his work was done at the seat of the national government
it dealt for the most part with politics and politicians and he became one of
the nation's foremost political cartoonist. A Clifford K. Berryman drawing
entitled "But Where Is the Boat Going?" brought to him the Pulitzer Prize
for cartooning in 1944.
88
"POST WAR FOOD PLANS"
WHEN
DO WE EAT?
[Source: Clifford K. Berryman: Post War Food Plans, in: The Evening Star (Washington, D.C.), 91st
Year/No. 36,184, May 26, 1943, p. A 6, cols. 2-4.]
Interpretation: Cartoon refers to the World Food Conference by the United

Nations. The drawing shows the two most influential Western politians -
U.S. President Franklin D. Roosevelt and British Prime Minister Winston
Churchill - working out two plans; one is on how to win the war and the
second is how to fight hunger which gives this drawing a cynic tone. One
day before it was published, the members of the conference had proposed to
establish a permanent body to make sure the agreements were being kept. A
day later, the Russian delegation to the U.N. approved. Joseph V. Stalin's
role in the drawing reveals the artist's perception of the Soviets' motivation
during the conference: to let others do the work and then feed on it.
89
"BUT WHERE IS THE BOAT GOING?"
./REMEMBER, MEN
[Source: Clifford K. Berryman: But Where Is The Boat Going?, in: The Evening Star (Washington,
D.C.), 91st Year/No. 36,278, August 28, 1943, p. A 2, cols. 5-7.]
Interprefation: Cartoon compares several of the American leaders to little

oarsmen who quarrel all the time and can't decide on the route. What they
should be discussing was the problem of manpower mobilization. President
Franklin D. Roosevelt is drawn as being passive and even untouched by the
proceedings. Congress, here personified in just one person, tries to put a halt
on the route but is hindered by Paul V. McNuti, the director of security. The
irony comes from the title that comments on McNutt's reminder about being
in one boat. No one seems to know where the boat really is going. The
drawing ridicules the politicians who can't come to terms even on such
important and urgent issues.
90
"THANKSGIVING FEAST IN BERLIN, 1943"
[Source: Clifford K. Berryman: Thanksgiving Feast In Berlin, 1943, in: The Evening Star (Washington,
D.C.), 91st Year/No. 36,365, November 25, 1943, p. 1, cols. 5-7.]
Interpretation: Cartoon transfers the typical American tradition of a Thanks-

giving feast to Germany. Instead of a turkey, however, Adolf Hitler only has
a raven on the table and not even enough coal to roast it. Hitler is surrounded
by two of his closest companions: Hermann Goring at the left and propaganda
minister P. Joseph Goebbels at the right side looking at the whole dilemma:
The self-claimed victorious German regime now sees its capital Berlin in
ruins and shows all three men around the table with rather dull expressions
on their faces. Since the Germans were losing during that period step by step
parts of Eastern European territories which they had occupied before, the
outcome of the total disaster of World War II already could be foreseen.
91
1945 AWARD
ABOUT AMERICAN INFANTRY TROOPS

IN EUROPE IN 1944
BY
WILLIAM H. MAULDIN
United Feature Syndicate (New York)
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 Chi-
cago 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 the 1940 Texas gubernatorial campaign he did draw-
ing work for both sides of the political fence, and then, in September, began
his service in the United States Army. He began his infantry training at Fort
Sill, Oklahoma, where he did cartoons for the Forty-fifth Division News,
first in his spare time and finally as a member of the staff. In 1942 Mauldin
supplemented his soldier's pay by doing drawings for the Oklahoma City
Oklahoman. In 1943 he went overseas with the division to Sicily, where he
joined the Mediterranean edition of Stars and Stripes, the Army's wartime
newspaper. Traveling in his own jeep, he covered the fighting in Italy,
France and Germany. His cartoons were brought together in several collec-
tions. In 1945 William H. Mauldin was granted the Pulitzer Prize in cartoon-
ing, exemplified by the drawing "Fresh, spirited American troops..."
92
"COLONEL CAPTURED BY GERMANS"
ve <^Γ£Ν^
u^-TV^g&"
^s&r^ O^ '"
$%**
[Source: William H. Mauldin: Colonel Captured By Germans, in: The Cleveland Press (Cleveland Oh )
No. 21,046, November 6, 1944, p. 21, cols. 1-2.]
Interpretation: Cartoon ridicules the American military being overly correct.

In this scene issue of liability and warning seem to be more important to the
G.I.s than anything else which enlarges the gap between the headquarters'
commands and the common sense of the soldiers.
93
"FRESH, SPIRITED AMERICAN TROOPS..."
Interpretation: Cartoon shows marching American soldiers who are far from
being fresh and victorious as propaganda broadcast might have put it In
fact, they look just as ragged and exhausted as the prisoners they are leading
into camps.
94
"YA DON'T GIT COMBAT PAY..."
[Source: William H. Mauldin: Ya Don't Git Combat Pay..., in: The Cleveland Press (Cleveland, Oh.),
No. 21,052, November 13, 1944, p. 23, cols. 1-2.]
Interpretation: Cartoon criticizes the U.S. army of not handling the medics
correctly. The second half of the drawing's title explains that army
physicians who were working hard to treat wounds instead of inflicting
them, should not get paid, which shows another cynism of war.
95
1946 AWARD
ABOUT SUPER POWERS AFTER

THE WAR IN 1945
BY
BRUCE A. RUSSELL
Los Angeles Times
Bruce Alexander Russell (born on August 4, 1903, in Los Angeles, Ca.)

studied, while attending Los Angeles Polytechnic High School, art and drew
cartoons for the Poly Optimist and the school annual. Before graduation in
1921 he was elected to Ephebian Society, the honorary group of city high
school graduates. While studying at the University of California at Los
Angeles (UCLA) Russell enlarged and expanded on his cartooning experi-
ence by drawing for the university paper for four years and by cartooning for
the regular Los Angeles newspapers on the side. He also signed up for corre-
spondence courses with the W. L. Evens school and Art Instruction, Inc. of
Minneapolis. Until his graduation from UCLA his cartoons appeared in
student publications regularly for four years, including The Pelican, the Uni-
versity of California comic magazine, published at Berkeley, and he became
a member of Hammer and Coffin, a humor magazine fraternity. In 1925
Russell joined the art department of the Los Angeles Evening Herald, where
he turned out sport cartoons, editorial cartoons, theater drawings, sketch
assignments, photo-retouching, lettering and a daily crossword puzzle. In
1927 Russell became staff artist for the Los Angeles Times. He held that post
until 1934 when he started to work as the paper's political cartoonist. During
his engagement with the Times he created the "Rollo Rollingstone" comic
strip for the Associated Press. His cartoons were syndicated by the Times-
Mirror Syndicate. In 1946 Bruce A. Russell received the Pulitzer Prize for
cartooning for his outstanding work during 1945, as exemplified by a draw-
ing with the caption "Time to Bridge That Gulch."
96
"HITLER'S LEGACY"
[Source: Bruce A. Russell: Hitler's Legacy, in: Los Angeles Times (Los Angeles, Ca.), Vol. LXIV/no
No. given, April 10, 1945, p. 4, cols. 3-5.]
Interpretation: Cartoon simplifies the impact the Second World War had on
Germany herself. Alone the typical infrastructure of European cities, is de-
stroyed after being bombed out by the allied forces. The drawing's title is a
hint to compare reality to Adolf Hitler's fantasies of a glorious Third Reich.
97
"TIME FOR ATOMIC STATESMANSHIP"
[Source: Bruce A. Russell: Time For Atomic Statesmanship, in: Los Angeles Times (Los Angeles, Ca.),
Vol. LXIV/no No. given, October 21, 1945, p. 4, cols. 3-5.]
Interpretation: Cartoon calls out for a diplomacy equivally mighty to the

totally destructive power of the atomic bomb. The drawing thus shows the
beginning of the cold war: the dangerous weapon from now on controls the
globe and not vice versa.
98
"TIME TO BRIDGE THAT GULCH"
[Source: Bruce A. Russell: Time To Bridge That Gulch, in: Los Angeles Times (Los Angeles, Ca.), Vol.
LXIV/no No. given, November 30, 1945, p. 4, cols. 3-5.]
Interpretation: Cartoon shows a bear and an eagle symbolizing the two super*
powers emerging from World War II, While re-organizing Europe, suspicions
on both sides grew and some unwise remarks did not help cooperation. The
title is a reminder that the two nations have to start working together again.
99
1947 AWARD
ABOUT LIVING COSTS AND

STARVATION IN 1946
BY
VAUGHN SHOEMAKER
Chicago Daily News
Vaughn Shoemaker (born on August 11, 1902, in Chicago, II.) was educated
at Myra Bradwell grammar school and at Bowen High School in Chicago,
which he left in 1920. The same year he began attending the Chicago Acad-
emy for Fine Arts, where he stayed until 1921. The following year he started
to work at the art department of the Chicago Daily News. For two years his
stint consisted of doing tiny drawings for a feature known as "The Batch of
Smiles" and drawings for another feature known as "More Truth Than
Poetry." In 1925 he became the paper's chief cartoonist and only two years
later he got the post of an instructor at the Chicago Academy for Fine Arts.
In 1930 Shoemaker saw, for the first time, his cartoons being telecast by a
station in Chicago. The same year his works began to appear in a number of
other newspapers - the Des Moines Register and Tribune, the National
Newspaper Syndicate, the Chicago Tribune, and the New York News. In
1938 Shoemaker was granted the Pulitzer Cartoon award for his outstanding
work. That prize was followed by the National Headliner's Award from
Atlantic City in 1943 and the Sigma Delta Chi award in 1945. The same
year Shoemaker received his Litt.D. degree from Wheaton College in
Wheaton, II., and in 1946 he won the National Safety Council Grand Award.
The following year Vaughn Shoemaker was granted his second Pulitzer
Prize in cartoon for a drawing entitled "Still Racing His Shadow."
100
"OUT OF SIGHT, OUT OF MIND"
[Source: Vaughn Shoemaker: Out Of Sight, Out Of Mind, in: Chicago Daily News (Chicago, II.), 71st
Year/No. 97, April 24, 1946, p. 14, cols. 4-6.]
Interpretation: Cartoon criticizes some U.S.1 attitudes toward world hunger.

After the war people in many parts of the globe were starving. However, in
the artist's opinion, the United States chose not to recognize this fact as that
would have meant to have to help.
101
"MEMORIAL"
[Source: Vaughn Shoemaker: Memorial, in: Chicago Daily News (Chicago, II.), 71st Year/No. 127, May
29, 1946, p. 6, cols. 4-6.]
Interpretation: Cartoon accuses the U.S. for not showing enough respect to
the (dead) soldiers from the Second World War. Even on Memorial Day, in
the artist's eyes, the large majority of Americans is occupied with strikes or
consuming goods and fostering the economy.
102
"STILL RACING HIS SHADOW"
[Source: Vaughn Shoemaker: Still Racing His Shadow, in: Chicago Daily News (Chicago, II.), 71st
Year/No. 210, September 6, 1946, p. 18, cols. 4-6.]
Interpretation; Cartoon shows a man trying to run from his own shadow,
obviously a useless undertaking. Here it refers to the attempt to update the
wages along rising costs of living. The drawing has a timeless message as
inflation often catches on as some kind of a vicious circle.
103
1948 AWARD
ABOUT FEARS OF ANOTHER

WORLD WAR IN 1947
BY
REUBEN L. GOLDBERG
The Sun (New York)
Reuben Lucius Goldberg (born on July 4, 1883, in San Francisco, Ca.)

attended the University of California, where he majored in engineering and
contributed drawings to the college newspaper. A prize cartoon of his in the
class yearbook won him a trip to Yosemite. He received his Bachelor of
Science degree in 1904, and set out on an engineering career in the depart-
ment of the city engineer. But after six months he resigned his position and
turned to cartoon drawing. Goldberg held his earliest newspaper jobs in San
Francisco, as sports cartoonist with the Chronicle between 1905 and 1906,
and as illustrator and writer for the Bulletin for another year, 1906-1907. He
then left for New York to work for Hearst's Evening Journal, and for the
Evening Mail, remaining with the latter for the next two decades. From 1926
until 1935 Goldberg's cartoons were handled by the New York Journal, and
for the next two years he worked for the Des Moines Register and Tribune
Syndicate. In 1938 the New York Sun engaged Goldberg as its first political
cartoonist in eighteen years. One of Goldberg's 1945 cartoons won the
award of Sigma Delta Chi, the national professional journalistic fraternity. In
1947 the fraternity presented him also with a medal and plaque. One of his
1946 editorial cartoons was selected for reprinting in the "Encyclopedia Bri-
tannica" 1947 Book of the year. For his Sun drawing "Peace Today," Reuben
L. Goldberg was honored with the 1948 Pulitzer Prize for cartooning.
104
"PEACE TODAY"
[Source: Reuben L. Goldberg: Peace Today, in: The Sun (New York, N.Y.), Vol. 114/No. 272, July 22,
1947, p. 16, cols. 2-4.]
Interpretation: Cartoon depicts people's unawareness of the real dangers of

the atomic bomb by placing a typical harmonic family on top of a giant A -bomb
which is on the brink of falling down and thus destroying earth. The drawing
is a reminder to no longer underestimate the power of that terrible weapon.
105
"COUNTING BEARS"
[Source: Reuben L. Goldberg: Counting Bears, in: The Sun (New York, N.Y.), Vol. 115/No. 54,
November 3, 1947, p. 26, cols. 2-4.]
Interpretation: Cartoon articulates the fears and worries of the people in the
U.S. about possible infiltration from the Soviet Union. The paranoia that
evolved in the cold war was apparently so massive that the "Average Guy"
could not sleep well anymore and was counting Russian bears instead of sheep.
106
"PRAYER FOR TODAY"
[Source: Reuben L. Goldberg: Prayer For Today, in: The Sun (New York, N.Y.), Vol. 115/No. 61,
November 11, 1947, p. 14, cols. 2-4.]
Interpretation: Cartoon shows Uncle Sam praying on the graves of World

War One and World War Two victims, and he does not want to get involved
in yet another war. The drawing expresses the fear that evolved during the
cold war which might erupt into combat yet again.
107
1949 AWARD
ABOUT INTERNAL AND EXTERNAL

U. S. PROBLEMS IN 1948
BY
LUTE C. PEASE JR.
Newark Evening News
Lute Curtis Pease Jr. (born on March 27, 1869, in Winnemucca, Nv.) at-
tended Franklin Academy in Malone, from which he was graduated in 1887.
After he had left the Academy he liked to begin the study of art, but family
finances did not permit this. Instead, going West, he went to work as a
teamster and general ranch hand in California. The next years saw Pease
employed in a wide variety of jobs such as working as a horticultural
salesman or as a miner. In the course of those years Pease also entered the
newspaper field. From 1895 until 1897 he was a political cartoonist and a
reporter on the staff of the Portland Oregonian. In the winter of 1897-1898
Pease joined the Klondike gold rush and in 1901-1902 he was the first resi-
dent United States Commissioner in Nome for the Kotzebue Sound-Point
Hope district of Alaska. While he was there, Pease sent dispatches to the
Seattle Post-Intelligencer as an occasional special correspondent for that jour-
nal in the Yukon-Nome area. In 1902 he returned to the Portland Oregonian.
After about three years there, Pease became editor in chief of the Pacific
Monthly, also located in Portland, where he worked from 1905-1912. About
1913 Pease moved East and after free-lancing for a time, in June 1914 he
was engaged by the Newark Evening News as a political cartoonist, where he
remained during the following decades. For his drawing titled "Who, Me?"
Lute C. Pease Jr. was awarded the 1949 Pulitzer Prize for cartooning.
108
"WHO, ME?"
[Source: Lute Pease: Who, Me?, in: Newark Evening News (Newark, N.J.), No. 19,902, April 6, 1948, p.
18, cols. 3-6.]
Interpretation: Cartoon shows John Llewellyn Lewis, chief of the coal-

union, being caught by a judge while initiating a nation-wide coal strike. The
quarrel about the potential damage to the American economy through the
strike is subject of the drawing. Lewis, who had little education and had
worked in the mines himself, was leader of the union for an extraordinarily
long period of time. He was, of course, convinced that this strike would not
harm the nation's economy. The Harry S. Truman government, however,
thought so. They passed the Taft-Hartley Act in order to prevent the strike.
The short title underlines Lewis' shrewdness: The expression on his face is
all about innocence whereas the reader can see the pickax he's hiding behind
his back.
109
"AUGUST IN BERLIN"
[Source: Lute Pease: August In Berlin, in: Newark Evening News (Newark, N.J.), No. 20,000, July 31,
1948, p. 4, cols. 4-7.]
Interpretation: Cartoon compares the city of Berlin, former capital of

Germany, to a bench on which the Soviet Union (Stalin) and the U.S. (Uncle
Sam) are pushing each other for more space. Berlin was the involuntary
melting pot of the allied forces; a situation that grew even more complicated
in the wake of the Cold War. Uncle Sam is sweating because the U.S. forces
- together with the British - were providing the West Berlin population with
food and coal via airplanes. They started this operation after the Soviet
Union had installed a total blockade on all land traffic between Berlin and
West Germany, claiming that the Western powers had violated the Potsdam
Agreement. The Soviets feared to lose support of the German population as
the Western allies were beginning to rebuild the bombed city.
110
Ά LOT OF FACES WILL BE RED' - PROPHET

TRUMAN"
[Source: Lute Pease: Ά Lot Of Faces Will Be Red' - Prophet Truman, in: Newark Evening News
(Newark, N.J.), No. 20,081, November 4, 1948, p. 22, cols. 3-6.]
Interpretation: Cartoon refers to Harry S. Truman being re-elected as U.S.

President two days prior in a surprise victory over Republican candidate
Thomas E. Dewey. Here, Truman has his success in the bag and the media is
now trying to see why they were not able to foresee this. In the President's
opinion they must have slept through some major opinion shifts of the
people; that is why they are still wearing old-fashioned night gowns. Yet
they had reason to predict his campaign unsuccessful: his own party did not
support him unanimously; the Southern Democrats, for example, were
backing another candidate; Congress was not willing to cooperate either. In
his campaign Truman had accused them to be a "do-nothing" Congress.
111
1950 AWARD
ABOUT TRUMAN'S ADMINISTRATION

AND THE PUBLIC IN 1949
BY
JAMES T. BERRYMAN
The Evening Star (Washington, D.C.)
James Thomas Berryman (born on June 8, 1902, in Washington, D.C.)

attended Central High School in his hometown, where he worked on student
publications. At George Washington University, which he entered in 1920,
he majored in journalism, was active on undergraduate publications and
became a member of the student council. During 1921 and 1922 he studied
at the Corcoran School of Art. After two and a half years at the university,
Berryman left in 1923 for Albuquerque, New Mexico, where he worked
shortly as a reporter for the New Mexico State Tribune before he started to
work as a cartoonist. He joined the Washington Evening Star in 1924 as a
staff artist, for which he worked during the following decades. By 1931 he
had become an editorial illustrator, and three years later he was sports car-
toonist for the Evening Star and the Sporting News. During 1936 Berryman
added magazine illustrations to his other work, and in the period 1937-38
taught graphic arts at Southeastern (Washington, D.C.) University. In 1941
Berryman's signature began to appear on political cartoons on the editorial
page of the Star. In addition to his work for the Washington newspaper,
Berryman also became cartoonist for King Features. For his drawing "All Set
for a Super-Secret Session in Washington," published in the Evening Star,
James T. Berryman was awarded the 1950 Pulitzer Prize for cartooning.
112
"THERE ARE ENTIRELY TOO MANY HEADLINE

HUNTERS..."
THERE AR£
ENTIRELY TO
MANY HEADLINE
HUNTERS AROUND
THESE PAYS!
[Source: James T. Berryman: There Are Entirely Too Many Headline Hunters..., in: The Evening Star
(Washington, D.C.), 97th Year/No. 166, June 20, 1949, p. 1, cols. 5-7.]
Interpretation: Cartoon depicts Harry S. Truman's "appetite for publicity"

and his ambivalent relationship to the press: publicly he is accusing them of
being too obtrucive. But secretly he is enjoying the attention. The long title
of the drawing is one of those typical claims made by President Truman.
However, someone, maybe the cartoonist himself, must have slashed the
newspaper on Truman's head: this assumed gesture implies a violence that
expresses the artist's anger about the hypocrisy.
113
"ECONOMIC REPORT TO THE NATION"
{L HE SHALL
NOT REST
IN PEACE!
[Source: James T. Berryman: Economic Report To The Nation, in: The Evening Star (Washington,
D.C.), 97th Year/No. 191, July 15, 1949, p. 1, cols. 5-7.]
Interpretation: Cartoon shows President Harry S. Truman jumping up and

down on the grave of the 80th U.S. Congress, which he once described as
the "second worst". He just had issued his mid-year economic report to
Congress. To reverse the nation's deflationary economic trend, he abandoned
his earlier demand for a four-billion tax increase and urged proposed federal
spending to a greater extent. Simultaneously, Congress cut the Marshall Plan
by ten per cent. The people, here drawn as J. Q. Public, however, do not
seem to grasp the excitement.
114
"ALL SET FOR A SUPER-SECRET SESSION IN

WASHINGTON"
[Source: James T. Berryman: All Set For A Super-Secret Session In Washington, in: The Evening Star
(Washington, D.C.), 97th Year/No. 199, July 23,1949, p. 1, cols. 5-7.]
Interpretation: Cartoon satyrizes a scene for the preparation of a press

conference in the Capitol. The irony and with it the criticism comes from the
title of the drawing: one can see that it is not a press conference but a secret
meeting. However, by the vast array of cameras and microphones one can
imagine just how secret this meeting may be. The media, however, probably
wouldn't have come so numerously if the meeting hadn't been declared a
"secret session".
115
1951 AWARD
ABOUT EARLY PHASES OF THE

KOREAN WAR IN 1950
BY
REGINALD W. MANNING
The Arizona Republic (Phoenix)
Reginald West) Manning (born on April 8, 1905, in Kansas City, Mo.)

began to study art at the Union High School in Phoenix, where he was art
editor of the school paper and the annual, and a member of the Scholarship
Club. After his graduation in 1924, Manning launched himself as a free-
lance cartoonist and commercial artist. His work at that time consisted of a
variety of assignments. Looking forward, however, to a career on a news-
paper, he took samples of his work to the Arizona Republic, a Phoenix daily
paper, and was hired in 1926, as a photographer and artist. He was to take
news photographs, make layouts, and draw cartoons. By 1931 Manning was
drawing cartoons exclusively and had developed a weekly Sunday "Big
Parade" cartoon page. In 1934 Manning started drawing an occasional edito-
rial for the Republic, and in 1937 his paper began syndicating his daily edi-
torial cartoon. In the course of about ten years Manning's picture editorial
was being carried by twenty-seven other newspapers. Reginald W. Manning's
drawing entitled "Hats" won him the 1951 Pulitzer Prize for cartooning.
116
"SHIPS THAT PASS"
CARRVIN6 VALUABLE
WAR « PPUfc* FRO* U.l,
JAPAN AN* EUROPE, BOuNb
FOR ΗΟΝέΚΟΝέ,Ρο
TRANS-SHIPMENT TO
m BO M»
FOR. KOREA,
U.K. TOKEN Alb
[Source: Reginald W. Manning: Ships That Pass, in: The Arizona Republic (Phoenix, Az.), 61st
Year/No. 209, December 13, 1950, p. 6, cols. 3-5.]
Interpretation: Cartoon discusses the ambivalent attitude of U.N. member

states: as a union, they support General M. Douglas MacArthur to back
South Korea. But as separate nations they rather sell goods to the opponent
China for profit's sake, despite all ethic or logic principles.
117
"HATS"
LAKE
SUCCESS
KOREA
[Source: Reginald W. Manning: Hats, in: The Arizona Republic (Phoenix, Az.), 61st Year/No. 210,
December 14, 1950, p. 6, cols. 3-5.]
interpretation: Cartoon criticizes the U.N. of being not quick enough to pass
resolutions. The Soviet diplomat Yacov A. Malik presided over the Lake
Success conference at Long Island, N.Y., held since the fall His intention
was to delay any decision making, a fact that the drawer obviously disap-
proved as American soldiers are continuing to fight and to die in Korea.
118
"WE LOVE THE RED CHINESE, WE LOVE THEM NOT..."
^?m&%^
•'Z^-^J-.§?*
£-.:.-?c···^
[Source: Reginald W. Manning: We Love The Red Chinese, We Love Them Not..., in: The Arizona
Republic (Phoenix, Az.), 61st Year/No. 214, December 18, 1950, p. 6, cols. 3-5.]
Interpretation: Cartoon analyzes the United Nations by comparing their

decision-making to a young girl's playful "He loves me, he loves me not".
The drawing reminds the observer that lives of many young Americans were
at stake in Korea, not just some little girl's crush.
119
1952 AWARD
ABOUT PRESIDENT TRUMAN AND THE

DOLLAR VALUE IN 1951
BY
FRED L. PACKER
Daily Mirror (New York)
Fred Little Packer (born on January 4, 1886, in Los Angeles, Ca.) attended
Los Angeles public schools. After his graduation Packer studied at the Los
Angeles School of Art and Design in 1902-1903. In 1904 and 1905 he was a
student at the Chicago Art Institute, where he was a member of the theatrical
group. When his studies at that school were completed, Packer in 1906
joined the staff of the Los Angeles Examiner as an artist, supplying drawings
for the Sunday supplements. In 1907 Packer left the Examiner to work for
the San Francisco Call. When the Call was succeeded by the Call-Post,
Packer became the art director of that paper, a position he held from 1913 to
1918. The next year Packer left Los Angeles for New York, where he
worked until 1931 as a commercial artist, doing book and magazine illustra-
tion as well as art work for leading advertisers. The artist returned to news-
paper work in 1932 as a cartoonist on the New York Journal and the New
York American. The following year Packer began to draw for the New York
Daily Mirror, with which he stayed associated the following two decades.
From 1942 to 1946 Packer was vice-president of Victory Builders, the
organization that prepared colored posters for war industries, intended to
spur production. From the Treasury Department and the War Production
Board the cartoonist was awarded citations for the cartoons and posters he
supplied for their drives during World War II. For his Daily Mirror cartoon
"Your Editors Ought to Have More Sense Than to Print What I Say!" Fred
L. Packer was awarded the Pulitzer Prize for cartooning in 1952.
120
"OUR GLORIOUS DEAD!"
THE
UNKNOWN
SOLDIER
[Source: Fred L. Packer: Our Glorious Dead!, in: Daily Mirror (New York, N.Y.), Vol. 27/No. 292,
May 30, 1951, p. 15, cols. 2-3.]
Interpretation: Cartoon criticizes the undeciseveness of the U.S. foreign policy

by comparing it to the symbolical grave of the unknown soldier. Just as this
gravestone stands for thousands of soldiers who could not be identified, all
the different concepts on foreign policy should deserve a similar memorial.
121
"I WAS A HEAVYWEIGHT CHAMP..."
t WAS A HEAVYWEIGHT
CHAMP MYSELF ONCE I
[Source: Fred L. Packer: I Was A Heavyweight Champ..., in: Daily Mirror (New York, N.Y.), Vol.
28/No. 23, July 20, 1951, p. 21, cols. 2-3.]
Interpretation: Cartoon explains the American worry about the stability of

their currency. President Harry S. Truman promoted his anti-inflation pro-
gram, urging a $ 10 billion tax increase. Inflation was strong due to high
wages as a result of powerful labor unions.
122
"YOUR EDITORS OUGHT TO HAVE MORE SENSE..."
YOUR EDITORS OUGHT

TO HAVE MORE SENSE
THAN TO PRINT WHAT
I SAY I
[Source: Fred L. Packer: Classified! Your Editors Ought To Have More Sense..., in: Sunday Mirror
(New York, N.Y.), Vol. 20/No. 43, October 28, 1951, p. 31, col. 2.]
Interpretation: Cartoon depicts a scene with Harry S. Tranian that supposedly

actually happened: journalists had been printing stories about issues that
should not be publicized. The stories contained mistakes. As it finally turned
out, all these stories had been launched by the government themselves.
123
1953 AWARD
ABOUT CONSEQUENCES OF THE

KOREAN WAR IN 1952
BY
EDWARD D. KUEKES
Cleveland Plain Dealer
Edward Daniel Kuekes (born on February 2, 1901, in Pittsburgh, Pa.) at-

tended public schools in Ohio, and at intervals did art work for their news-
papers. Graduated from Berea High School in 1918, he entered Baldwin-
Wallace College. After completing his work at the college, he took art courses
at the Cleveland School of Art and the Chicago Academy of Fine Arts.
Kuekes began his career as a newspaper artist and cartoonist in 1922 and
handled general art for the Cleveland Plain Dealer, where he was often as-
signed to illustrate news events. Beginning in 1926, he substituted whenever
the newspaper's senior cartoonist was ill or on vacation. Entering the comics
field, Kuekes produced together with Olive Ray Scott the features "Alice in
Wonderland" and "Knurl the Gnome." For the Plain Dealer, Kuekes
composed "Funny Fables" from 1935 to 1937. This group was published as
a book in 1938. One of Kuekes' best known characters was "The Kernel."
This rabbit caricature became his trademark from 1942 until 1949. A movie
page feature "Closeups" and a weekly editorial cartoon called "All in a
Week" brought the artist acclaim in the late 1940's. Another popular feature
which was published on the Sunday editorial page of the Plain Dealer was
"Cartoonist Looks at the News." Kuekes was appointed the chief editorial
cartoonist of the Cleveland Plain Dealer in 1949. In the course of his career
the artist received a great number of awards. In 1953, Edward D. Kuekes
won the Pulitzer Prize for cartooning for his drawing "Aftermath."
124
"WHITE CROSSES MOUNT WHILE PEACE TALKS

DWINDLE"
[Source: Edward D. Kuekes: White Crosses Mount While Peace Talks Dwindle, in: Cleveland Plain
Dealer (Cleveland, Oh.), l l l t h Year/No. 237, August 24, 1952, p. 1, cols. 4-6.]
Interpretation: Cartoon points out how painfully slow peace talks at the
North/South Korean border village of Pan Mun Jom proceed while more and
more soldiers in Korea have to die. The cross-manufacturer's Asian features
indicate whose side is taking more losses in the war.
125
"CROSSES"
[Source: Edward D. Kuekes: Crosses, in: Cleveland Plain Dealer (Cleveland, Oh.), 111th Year/No. 286,
October 12, 1952, p. 1, cols. 2-4.]
Interpretation: Cartoon protests in a grim way against the duration of the

Korean War by comparing two kinds of crosses: the ones Americans make
on their voting card on election day and the ones which mark the numerous
graves of fallen soldiers in that Far Eastern country.
126
"AFTERMATH"
[Source: Edward D. Kuekes: Aftermath, in: Cleveland Plain Dealer (Cleveland, Oh.), Ulth Year/No.
314, November 9, 1952, p. 1 A, cols. 2-4.]
Interpretation: Cartoon depicts a scene after a battle in the Korean War. The
sparse but cynic dialogue contains the criticism the drawer intended to
express: that many soldiers who were sent to fight in Korea had not even
been old enough to vote, thus to influence their fate.
127
1954 AWARD
ABOUT STALIN'S DEATH AND

HIS FOLLOWER IN 1953
BY
HERBERT L. BLOCK
The Washington Post
Herbert Lawrence Block (born on October 13, 1909, in Chicago, II.) entered,
after his graduation from high school in 1927, Lake Forest College in
Chicago, but remained only two years. He applied for a summer job in 1929
with the Chicago Daily News. For four years Block's two-column-wide hu-
morous cartoons appeared daily on the editorial page. Almost from the first,
the Daily News syndicated his cartoons. His drawings attracted the attention
of the Newspaper Enterprise Association and in 1933 Block went to their
Cleveland office where he worked for ten years. He gained wide popularity
by lampooning issues and personalities and won the National Headliners'
Club Award in 1940. The Pulitzer Prize for cartooning went to Block in
1942 for outstanding work during 1941. In 1943 Block joined the Army and
after basic training in Arkansas, spent the rest of his Army duty in Florida and
New York drawing cartoons for the Information and Education Division.
While on terminal leave, he applied for a job with the Washington Post. That
job gave Block the opportunity to follow national events at first hand. Ε,ί·>;'
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 life-
time 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
Daniel Robert Fitzpatrick (bora on March 5, 1891, in Superior, Wi.) attend-

ed 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-profi-
teering 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 South-

East 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 as-
sistant 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 Louis-
ville 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 Syndi-
cate in 1923. But the following year he switched back to the Nashville Ten-
nessean, 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 car-
toons. 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 fol-
lowing 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.) attend-
ed 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 Edi-
torial 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 at-

tacking 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
William Henry Mauldin (born on October 29,1921, in Mountain Park, N. M.)

took, while still in high school, a correspondence course in cartooning, pay-
ing 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 car-
tooning 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

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

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 Tennes-
sean and the American. He stayed with these papers until 1917. The cartoon-
ist then began to work for the Chicago Tribune. The following year he was
awarded the U.S. Government gold medal. Other prizes followed. In addi-
tion 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 edi-
torial 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 reci-
pient 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. 3-
6.]
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 Latin-
American 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 fol-
lowing 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 car-
toonist for the Des Moines Register in 1953. The numerous prizes the car-
toonist gained in the course of his career include several Freedom Founda-
tion 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 - com-
missioned 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 con-

cerning 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

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

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
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
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 car-
toonist of his paper in 1963. Wright was made the recipient of the Outstand-
ing 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. gov-
ernment 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 cate-
gory, 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 sup-
porter 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 Vietnam-

ese and the American governments by showing how a peace dove is ex-
hausted 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 por-
traits. 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 stu-
dent 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 car-
toons were published. He also drew illustrations for Coronet, Esquire, Satur-
day 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 Herald-
Tribune 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 Ameri-
can 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 un-
willingness 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
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 demonstra-
ting 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 fore-
finger, 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 edito-
rial 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 deep-
rooted 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 un-

successful 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 estab-
lishing 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

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

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.
William J. McGill Columbia University
Sylvan Meyer The Miami News
Newbold Noyes Jr. Washington Star-News
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 Col-
lege 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 pub-
lished 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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[Source: Garry Trudeau: The President Fights Back, in: The Washington Post (Washington, D.C.), 97th
Year/No. 111, March 26, 1974, p. B 12, cols. 5-8.]
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"
Ϊ U/ANTTO
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6*0ATf>OST-
[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 self-

centered 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
"THE WATERGATE REUNIONS"
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[Source: Gany Trudeau: The Watergate Reunions, in: The Washington Post (Washington, D.C.), 97th
Year/No. 201, June 24, 1974, p. D 12, cols. 5-8.]
Interpretation: Cartoon humorously imitates the taped conversations that

finally forced Richard M. Nixon to resign. Here the drawing ridicules the
Watergate scandal by having the involved men behave as if it had only been
a little boys' prank. However, it also shows the President as a coward.
209
1976 AWARD
ABOUT FOREIGN COUNTRIES

AND DOMESTIC ISSUES IN 1975
BY
TONY AUTH
The Philadelphia Inquirer
Tony Auth (born on May 7, 1942, in Akron, Oh.) graduated from the Univer-
sity of California at Los Angeles in 1965. He worked as a chief medical
illustrator at Rancho Los Amigos Hospital in Downey, Ca., from 1964 to
1970. Besides his work he started drawing cartoons for the Los Angeles
anti-war underground weekly Open City in 1967. One year later he drew
three cartoons a week for the student newspaper Daily Bruin at the Univer-
sity of California. His drawings were also published in several other college
papers. Auth got the post of an editorial cartoonist at the Philadelphia
Inquirer in 1971. His work also was syndicated by the Washington Post. He
was made the recipient of numerous prizes like the 1975 Overseas Press
Club award for the best cartoon on foreign affairs. Tony Auth was awarded
the 1976 Pulitzer Prize in the cartooning category for his work illustrated by
the drawing "O beautiful for spacious skies, For amber waves of grain..."
210
"Ο BEAUTIFUL FOR SPACIOUS SKIES,

FOR AMBER WAVES OF GRAIN..."
[Source: Tony Auth: Ο Beautiful For Spacious Skies, For Amber Waves Of Grain..., in: The
Philadelphia Inquirer (Philadelphia, Pa.), Vol. 293/No. 22, July 22, 1975, p. 8 A, cols. 3-6.]
Interpretation: Cartoon shows Prime Minister Leonid I, Brezhnev of the

Soviet Union preferring the United States to his home country. The drawing
depicts him obviously in a scene where he believes to be unnoticed, in the
midst of spacious fields of grain without any limits but the sky, the Prime
Minister sings with glee. Thus the drawing implies that despite all official
statements and statistics the Soviet Union is not as rich and successful as it
would like die world to believe. The assumption that the Μ id-West of the
United States looks just as Brezhnev would have liked his home country to
look is of course highly ironic but also cheeky.
211
"BEIRUT..."
[Source: Tony Auth: Beirut..., in: The Philadelphia Inquirer (Philadelphia, Pa.), Vol. 293/No. 122,
October 30, 1975, p. 12 A, cols. 3-6.]
Interpretation: Cartoon ridicules the craziness of religious wars. The current

relation to this drawing was the civil war of Christians and Moslems in
Lebanon. Unable to understand the fighting and the proclamations that go
along with it, the artist reacts with sarcasm. The proclamation that the
respective god is approving this battle and the killing of uninvolved,
innocent people, takes absurd extents in this drawing. For it exemplifies that
these statements are merely used to justify the aggressors' lust for killing and
the true motive behind any combat situation, is greed for power and land.
The drawing also shows that there is no difference between wars lead 'in the
name of God' and 'regular' wars - it always comes down to shooting people
and destroying chatties. The true irony, however, is that all sides claim to
have their god approving, even demanding, this actions - but they are all
referring to the same God, just using other names.
212
"CIA..."
[Source: Tony Auth: CIA..., in: The Philadelphia Inquirer (Philadelphia, Pa.), Vol. 293/No. 149,
November 26, 1975, p. 6 A, cols. 3-6.]
Interpretation: Cartoon refers to the scandal which broke loose when it was
leaked to the public that the Central Intelligence Agency had attempted to
assassinate Fidel Castro, president of Cuba, by poisoning his cigars or, as the
drawing suggests, by hiding a bomb inside a cigar which was supposed to go
off when lightened. Obviously, the attempt went off the wrong way and the
United States were left being deeply embarrassed. Since John F. Kennedy
had been president, there existed plans to remove Castro from office: In
March 1960 the CIA had assumed Castro would fall for a conducted fake
rebellion of Cubans, but this plot did not work out. The failed invasion of Bay
of Pigs a year later forced CIA agents and consultants to unconventional
ways of reaching their goal - to eliminate Fidel Castro. Putting bombs inside
Castro's beloved cigars was one of them. In 1975, a senate committee con-
cluded that there had been at least eight attempts to assassinate Castro where
the CIA had been involved in.
213
1977 AWARD
ABOUT FACETS OF THE
PRESIDENTIAL CAMPAIGN IN 1976
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 the 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 for the Boston Globe in 1966.
His cartoons appeared nationally through the McNaught Syndicate. Szep
also published three cartoon books. For his outstanding work during the
previous year Paul M. Szep was granted the Pulitzer Prize in 1974. In 1975
he published his fourth book. Among the numerous recognitions with which
he was honored was the award of the Sigma Delta Chi journalism fraternity
in 1974 and the Toyl award of the Boston Jaycees in 1976. Paul M. Szep
won his second Pulitzer Prize for cartooning in 1977 for his outstanding
work during the previous year as illustrated by the drawing "I'll be Jack
Kennedy ... Who do you want to be?"
214
"THREE VERSIONS OF JIMMY CARTER"
[Source: Paul Szep: News Item..., in: Boston Sunday Globe (Boston, Ma.), Vol. 209/No. 53, February
22, 1976, p. A 6, cols. 3-5.]
Interpretation: Cartoon depicts presidential candidate James E. (Jimmy)

Carter as being versatile to the point of opportunistic. The drawing criticizes
him because he can sincerely stand for and support any kind of partyline and
platform, whatever is suitable for him in the respective situation. The infant
sailor uniform and the boyish grin on Carter's face characterize him as both
naiv and photogenic at the same time. But this sincerity and the absence of
any cynicism in his campaign was extremely powerful in the disillusioned
post-Watergate atmosphere.
215
I'LL BE JACK KENNED Υ ... WHO DO
YOU WANT TO BE?"
[Source: Paul Szep: I'll Be Jack Kennedy... Who Do You Want To Be?, in: The Boston Globe (Boston,
Ma.), Vol. 210/No. 57, August 26, 1976, p. 30, cols. 3-5.]
Interpretation; Cartoon depicts the two presidential candidates James E,

(Jimmy) Carter and Gerald R, Ford at a television campaign. Carter's lack of
principles lets him go so far as to choose a role of John F. Kennedy which he
thinks will people like. The title, however, also indicates that the campaign
has nothing to do with reality politics. Whereas Carter is quite comfortable,
Ford seems to be too clumsy for this as the cable tangled around his legs and
the broken pipe under his chair indicates: One month before, the North
Vietnameses had consolidated their gains in the South.
216
"END OF ROUND ONE"
[Source: Paul Szep: End Of Round One, in: The Boston Globe (Boston, Ma.), Vol. 210/No. 87, Septem-
ber 25,1976, p. 8, cols. 3-5.]
Interpretation: Cartoon points out that the presidential candidates are mere
dolls, which also is the reason why no real interesting discussion could
develop in the television debate. The staff people appear bored but not
disappointed. Only one man, representing the public and therefore the
electorate, is left standing near the stage as if waiting for more to come and
to hear, thus not realizing that the round is already over and the rest of the
show will not offer much more. So the voters are the only ones left believing
television debates would inform them on the candidates' real profiles.
217
1978 AWARD
ABOUT TAX QUESTIONS AND

ENERGY ASPECTS IN 1977
BY
JEFFREY K. MACNELLY
The Richmond News Leader
was graduated from Phillips Academy in Andover, Massachusetts, in 1965.
He attended the University of North Carolina and worked as a staff artist and
editorial cartoonist for the Chapel Hill Weekly. In 1969 he won the National
Newspaper Association award for cartooning. He left the Chapel Hill Weekly
in December 1970 to work as an editorial cartoonist for the Richmond News
Leader. MacNelly was granted the 1972 Pulitzer Cartoon Prize. His work
was syndicated in approximately three hundred newspapers by the Chicago
Tribune - New York News Syndicate. For his work as an outstanding artist
throughout the previous year Jeffrey K. MacNelly was made the recipient of
his second Pulitzer Prize for cartooning in 1978, as exemplified by the draw-
ing "Individual Income Tax Return."
218
"INDIVIDUAL INCOME TAX RETURN"
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[Source: Jeffrey K. MacNelly: Individual Income Tax Return, in: The Richmond News Leader
(Richmond, Va.), No. 27,633, March 11, 1977, p. 14, cols. 3-5.]
Interpretation: Cartoon has the same effect a regular tax form normally has
on people: it scares them off by the uncountable number of questions. The
artist, however, criticizes the tax system by ridiculing the nature of questions
asked. He even pretends it to be his own income tax reform. The fact he
gave up after the first three spaces to fill out, underlines his message. The
tax sheet designed by him reveals more and more funny questions the more
the reader is willing to look at the drawing - the big spot of ink at the right
bottom, however, shows the cartoonist's pretended desperation when reading
the rest of the questions - a feeling many Americans probably experience
when trying to fill out their tax return form. And to the artist, this endeavor
was not facilitated by the tax reform the Carter administration was planning.
219
"IRS..."
[Source: Jeffrey K. MacNelly: IRS..., in: The Richmond News Leader (Richmond, Va.), No. 27,725,
June 27, 1977, p. 14, cols. 4-6.]
Interpretation: Cartoon characterizes President James E. (Jimmy) Carter as

amicable and nice even as a slave. The artist portrayed him on an ancient
Roman boat which is moved by rowers. The Internal Revenue Service is
functioning as stroke. The fact that Carter is assuring his inmates that he is
there voluntarily, refers to the planned tax reform by his administration. In
the course of outlining this reform which included a raise on energy taxes he
naturally had to come into contact with the IRS. Their image had deterio-
rated since rumors went around that the IRS was collaborating with former
president Richard M. Nixon in order to 'eliminate', i.e. socially and financial-
ly destroy the latter's opponents.
220
"ENERGY PROGRAM"
THE MEN MEED

MORE FUEL K
THEÜIKTER!
[Source: Jeffrey K. MacNelly: Energy Program, in: The Richmond News Leader (Richmond, Va.), No.
27,825, October 21, 1977, p. 10, cols. 3-5.]
Interpretation: Cartoon mockingly illustrates that the behavior of the

government and with it the Internal Revenue Service (IRS) has never been
different - even during times like the British-American war the governing
persons abided by the law to tax exactly the items people would need most.
The cartoon depicts a war scene because President James E. (Jimmy) Carter
once called the preservation of (fossil) energy the 'moral equivalent of war'.
Using the long gone war the artist indicates that not since 1814 an American
leader has dared raise tax on energy. The Carter Energy Bill was facing
fierce opposition from energy and consumer lobbyists. They managed to
have the Senate reject the bill so that Carter had to compose a second Energy
bill the following year. By former legislation, Americans were even incensed
to waste energy, thus the turn-around must have shocked many. However,
reducing the consumption of energy was necessary, because the importation
of foreign oil had put a significant burden on the U.S. budget for the OPEC,
the Middle East Oil cartel, had the oil price surge unhibitedly.
221
1979 AWARD
ABOUT POLITICS AND CAMPAIGN

SPENDINGS IN 1978
BY
HERBERT L. BLOCK
The Washington Post
Herbert Lawrence Block (born on October 13, 1909, in Chicago, II.) gradu-
ated from Lake Forest College in Chicago in 1927. He applied for a summer
job in 1929 with the Chicago Daily News and succeeded. For four years
Block's two-column-wide humorous cartoons appeared daily on the editorial
page. In 1933 Block joined the Newspaper Enterprise Association and
worked in their Cleveland office the following ten years. In 1942 the Pulitzer
Prize for cartooning went to Block for his outstanding work in the year
before. In 1943 Block joined the Army and spent a great part of his Army
duty in Florida and New York drawing cartoons for the Information and
Education Division. His postwar career began in 1946, when he joined the
Washington Post as a cartoonist. His second Pulitzer Prize for cartooning
was presented to Block in 1954 for outstanding work during the previous
year. Other prizes Block gained in the course of his career include the
National Cartoonists Society "Reuben" Outstanding Cartoonist Award, the
Lauterbach Award for service to Civil Liberties, the National Headliners'
Award and the National Press Club Annual Fourth Estate Award. The car-
toonist also received a number of honorary doctorates from several universi-
ties. In 1979 Herbert L. Block was granted his third Pulitzer Cartoon award
for the body of his work, as exemplified by the drawing "And Bring Me
Their Heads So I Can See What Goes Inside Them."
222
"AND BRING ME THEIR HEADS SO I CAN

SEE WHAT GOES ON INSIDE THEM"
[Source: Herbert L. Block: And Bring Me Their Heads So I Can See What Goes On Inside Them, in:
The Washington Post (Washington, D.C.), 101st Year/No. 269, August 31,1978, p. A 14, cols. 3-4.]
Interpretation: Cartoon warns against any violation of the freedom of

speech by showing the judiciary body as Roman emperor who knows no
tbnit in his fear of independent thinking. The tide underlines the sarcastic
223
"PRE-ELECTION BALLOT BOX"
[Source: Herbert L. Block: Pre-election Ballot Box, in: The Washington Post (Washington, D.C.), 101 st
Year/No. 328, October 29, 1978, p. C 6, cols. 3-4.]
Interpretation: Cartoon gives notice to the increasing gap between voter and
politicians by depicting industrials sponsoring candidates. Their funds are
certainly needed for the spots which - though rather expensive - become
more and more important to influence the voter.
224
"ELECTION TRENDS"
[Source: Herbert L. Block: Election Trends, in: The Washington Post (Washington, D.C.), 101st
Year/No. 347, November 17, 1978, p. A 18, cols. 3-4.]
Interpretation: Cartoon illustrates the possibly contraproductive effect of a

more intense election campaign: with rising costs to advertise the candi-
dates, e.g. through television spots, the public seems to grow more and more
fed up and loses interest, thus reacting the opposite of what was hoped for.
225
1980 AWARD
ABOUT DEATH PENALTY PROBLEMS

OF FLORIDA IN 1979
BY
DON C. WRIGHT
The Miami News
Don Conway Wright (bom 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 car-
toonist of his paper in 1963. The 1966 Pulitzer Prize for cartooning was
presented to Wright for his outstanding work during the previous year. His
work was first distributed by the Washington Star Syndicate in 1970 and
since 1976 by the New York Times Syndication Sales Service. Wright is also
the author of the book titled "Wright On" published in 1971. One-man
exhibitions of his work took place in the Lowe Art Museum of the Univer-
sity of Miami in 1968 and 1979. In 1978 he produced animated cartoons for
the national TV distribution Newsweek Broadcasting Service. In the course
of his career the cartoonist Don C. Wright won a number of awards and was
granted his second Pulitzer Cartoon Prize in 1980, as exemplified by the
drawing "Florida State Prison."
226
"FLORIDA STATE PRISON"
ID MAKE IT
VWYWPUt OEM? WE VALUE
oOVflJNOPSAf HUMAN Lift!
WTRIDOIN&IWS?
[Source: Don Wright: Florida State Prison, in: The Miami News (Miami, FL), May 22, 1979, p. 10 A,
cols. 2-5.]
Interpretation: Cartoon criticizes the execution of prisoners in Florida. The

artist adds more sarcasm by letting the ward ask his colleague tor the morale
behind this practice. Governor Robert Graham of Florida had chosen the
classic argument of men in favor of capital punishment: to value the life of
innocent people who were murdered by the criminals it is necessary to take
their life as well. Seven years earlier the Supreme Court had decided to ban
death penalty, however, only to revise their decision four years later.
Florida's jurisdiction even allows for children to be executed. The drawing
refers to an execution that would take place only days after the cartoon had
been published. The convict, John Spenkelink, was the first man to be
executed since the Supreme Court ruling, at Raiford State Prison. By that
time Florida has had more prisoners on Death Row than any other state
except Texas. Since then, more warrants have been signed.
227
"THE ELECTRIC CHAIR"
THE ELECTRIC CHAIR (A detailed diagram for the death penalty advocate)
,
SBMRCUGH TCP CF SKJIL
[Source: Don Wright: The Electric Chair, in: TTze Af/om/ News (Miami, R), May 23, 1979, p. 10 A,
cols. 2-5.]
Interpretation: Cartoon constitutes a pledge against capital punishment. The

sub-title Ά detailed diagram for the death penalty advocate' explicitly points
out what the artist hopes to achieve with this drawing: to make present sup-
porters of the death penalty change their opinion. To do this, the cartoonist
describes the shadow of a person executed in detail and also very graphically,
for example by comparing the burnt skin to 'frying bacon1. The current event
that inspired the artist could well be the involuntary deaths of John
Spenkelink and Willie Darden. Both were convicts at Raiford State Prison
and they were scheduled to be executed two days after the drawing was
published. Their execution arose heated controversy throughout the nation:
the two other men besieging the Governor's office to plead for mercy are just
one example. Neither the Governor nor the Florida Supreme Court, however,
granted a stay of execution. The two convicts were the first to be executed
since Gary Gilmore died before an Utah firing squad two years earlier.
228
"SHORTAGE OF BURIAL PLOTS"
UOWIUN5POB
M FUM% VALUES
HUMAN UFE?
WML WElRE ftlNNtfc OUT Of BÜRiAL PI051
[Source: Don Wright: ...We're Running Out Of Burial Plots, in: The Miami News (Miami, Fl.), May 29,
1979, p. 12 A, cols. 2-5.]
Interpretation: Cartoon refers to the realized execution of two Florida

prisoners of the same day the drawing was published. The execution was a
ground-breaking event because it was the first since the Supreme Court had
ruled for capital punishment and many other states with prisoners on death
row were waiting to see whether the Florida Supreme Court was going to
grant a stay or not. The execution gave way to a number of others which is
why the gravediggers are fearing a shortage of space. The way the left man
in the drawing asks how long Florida jurisdiction intends to pursue this
policy indicates that they are not convinced this is the moral or correct way
to handle criminals. The eye for an eye idea obviously does not work out for
them which diminishes Governor Robert Graham's authority.
229
1981 AWARD
ABOUT UNEXPECTED RESULTS

OF CONDITIONS IN 1980
BY
MIKE B. PETERS
Dayton Daily News
Michael Bartley (Mike) Peters (born on October 9, 1943, in St. Louis, Mo.)
attended Christian Brothers College High School until 1961. He attended
Washington University from which he graduated in 1965. In the same year
he started to work as a political cartoonist for the Chicago Daily News.
Peters joined the U.S. Army from 1966 to 1968. Afterwards he returned to
the Chicago Daily News but then switched to the Dayton Daily News a few
months later. His work was distributed by the United Feature Syndicate
since 1971 and appeared in more than two hundred-and fifty newspapers and
on national television. Peters was made the recipient of the Sigma Delta Chi
award for political cartooning in 1975. His cartoons were also assembled in
two books. Michael B. Peters was granted the Pulitzer Prize in the cartoon
category in 1981, as exemplified by the drawing "Can you guess which one's
been banned?"
230
"CAN YOU GUESS WHICH ONE'S BEEN BANNED?"
TOO
AJffllCMSIM
YÖAR
[Source: Mike Peters: Can You Guess Which One's Been Banned?, in: Dayton Daily News (Dayton,
Oh.), Vol. 102/No. 331, August 8, 1979, p. 10, cols. 3-5.]
Interpretation; Cartoon takes up a bit of news that usually is not used for
political drawings -- the ban of a certain sugar substitute ·· to draw the
reader's attention to the endless controversy over hand guns. The second
Amendment to the constitution of the United States guarantees every citizen
the right 'to keep and bear arms'. This being written when the possession of
guns were quite normal and necessary for settlers living miles away from
civilization, today this Amendment seems to have no real basis anymore in
many people's opinion. And figures like the one stated in the drawing support
the argument of the Amendment being outmoded. But - as it seems to the
cartoonist - the deep seated mistrust of other many people towards the gov-
ernment, as well as the weapon manufacturers' lobby and the rifle association
want the Amendment to stay as it is. It is the American Constitution itself
which works to their benefit, since changing an Amendment is extremely dif-
ficult, as it requires a three-quarter majority in the U.S. House of Represen-
tatives and a two-third majority of the Senate members in Washington, D.C.
231
"LOOK, LADY - YOU'RE THE ONE WHO ASKED FOR
A FAMOUS MOVIE STAR WITH DARK HAIR,
STRONG NOSE AND DEEP SET EYES..."
[Source: Mike Peters: Look, Lady - You're The One Who Asked For A Famous Movie Star With Dark
Hair, Strong Nose And Deep Set Eyes..., in: Dayton Daily News (Dayton, Oh.), Vol. 103/No. 178,
March 7, 1980, p. 10, cols. 3-5.]
Interpretation: Cartoon shows in a unusual way that the honeymoon phase

of the new Reagan administration is now over. The woman, standing for the
electorate if not the public, comes to realize Ronald Reagan's true qualities -
or the lack of them. The public sees that the person they elected President of
the United States is someone extremely likable and attractive. But at the same
time and despite the fact that he served before as Governor of California and
should have gained experience in governing and legislating, Reagan did
obviously not know much about federal politics and its workings. Character-
izing the electorate as a woman who feels compelled to go to a sperm bank
sheds light on the then current society of America. The preceding presidents,
Nixon, Ford and Carter had disappointed and even embarrassed the public.
The description the woman had given the sperm bank had seemed to be a
safe way to a successful presidency. The fact that she did not request any
character or skills pays off now.
232
"HE'S GROWN A FOOT SINCE I SAW HIM LAST..."
[Source: Mike Peters: He's Grown A Foot Since I Saw Him Last..., in: Dayton Daily News (Dayton,
Oh.), Vol. 103/No. 260, May 28, 1980, p. 10, cols. 3-5.]
Interpretation: Cartoon humorously shows the possible consequences of a

proliferation of nuclear power plants and the reliance on nuclear energy. By
taking the measure of foots literally as a physical extension of a boy's body,
the drawing illustrates the fear of the deep impact nuclear power can have on
human life - or any kind of life, for that matter. The drawing also refers to
the Three-Mile-Island incident a year before which was probably the last
time the woman in the drawing has seen the boy. Three-Mile-Island in the
state of Pennsylvania was the nuclear power plant where a major accident in
the core of the nuclear reactor had occurred. The incident severely curtailed
the planned development of nuclear power in the United States. The evident
sarcasm the drawing contains also refers to the vast number of people who
are not aware of the dangers the nuclear power implies. The people in the
picture are perfectly normal and average, their houses look they are part of a
regular suburban or even rural area. The only detail that makes this oasis
disturbed is the nuclear power plant in the left side background. Thus, in the
cartoonist's opinion, the picture perfect is shattered without the inhabitants
noticing it.
233
1982 AWARD
ABOUT WAR RELICTS AND

DEFENSE ASPECTS IN 1981
BY
BEN SARGENT
The Austin American-Statesman
Ben Sargent (born on November 26, 1948, in Amarillo, Tx.) studied journal-
ism at Amarillo College and started his career as a reporter for The Corpus
Christi Caller-Times in 1969. While working as a cartoonist for the Long
News Service from 1969 to 1971 he graduated from the University of Texas
with a bachelor of journalism degree in 1970. In 1971 Sargent switched to
the Austin American-Statesman, where he got the post of a reporter. In 1972
Sargent worked as a reporter for United Press International but soon went
back to the Long News Service in the same year and stayed there till 1974.
He then got the post of an political cartoonist at the Austin American-States-
man. His work was distributed nationally by the United Feature Syndicate.
Sargent also published a book in 1980. He was granted the Women in Com-
munications Inc. Outstanding Communicator award in 1981. The Pulitzer
Prize for editorial cartooning went to Ben Sargent in 1982, as exemplified
by the drawing "Defense System."
234
"WELCOME HOME HOSTAGES"
ffiy/ MoMS 'ΛΓ THIN», JOCKO/
[Source: Ben Sargent: Welcome Home Hostages, in: The Austin American-Statesman (Austin, Tx.), Vol.
110/No. 186, February 1, 1981, p. C 2, cols. 2-4.]
Interpretation: Cartoon criticizes the American public's irrational perception

of heroes: Since U.S. forces had to admit defeat in Vietnam, the men who
bravely fought in the Asian country were rather perceived as demonstrators
of the humiliating experience than as heroes. The hostages were fifty-three
members of the American Embassy in Tehran who had been held captive for
444 days. On the day of Reagan's inauguration they were freed and brought
home shortly after where they were celebrated as heroes. The cartoon illus-
trates how deeply humiliated the American public was about the Vietnam
war which had never been declared a war and which had dragged on years
and years without any success. People did not want to be reminded of these
years. Then Revolutionary Iranian students had stormed the U.S. Embassy to
take revenge for a historical event 22 years earlier, when the nationalist
leader Mohammed Mossadegh was ousted and replaced by the pro-Western
Shah of the then called Persia.
235
"U.S. GUNS IN EL SALVADOR"
-BUT MO MOKE
MAER1CAHHUHS
[Source: Ben Sargent: ...But No More American Nuns... Okay?, in: The Austin American-Statesman
(Austin, Tx.), Vol. 110/No. 212, February 27, 1981, p. A 14, cols. 2-4.]
Interpretation: Cartoon opposes the foreign policy of President Ronald

Reagan. In contrast to Jimmy Carter's, the Reagan administration thought the
developments in Central America were very important. The fear to see the
South American countries fall in the hands of socialist leaders, which would
have constituted a victory for the Soviet Union, made the U.S. administration
support the revolutionists in the respective Central-American countries, like
the military insurgents in El Salvador. Reagan's comment in the drawing re-
fers to the fact that the insurgents had formed death squads who also terror-
ized religious groups: A year prior, Archbishop Oscar A. Romero was assassi-
nated because he criticized the U.S. giving military aid. In December of the
previous year, three American nuns had been kidnapped, probably raped and
subsequently shot. With regard to the tragic incident, Reagan did not put a stop
to deliveries of weapons, instead he merely warned the recipients not to kill
any more American citizens - especially U.S. nuns - living in El Salvador.
236
"DEFENSE SYSTEM"
SUN MM*
WVW.HEDHEVERBE ,
A8L£ 10 FIGHT ^WHl
[Source: Ben Sargent: Defense, in: The Austin American-Statesman (Austin, Tx.), Vol. Ill/No. 47,
September 10, 1981, p. A 14, cols. 2-4.]
Interpretation: Cartoon refers to the budget debate in the U.S. Congress,

President Ronald Reagan had managed to get major cuts in social security,
public service and welfare prior to that. But with unemployment rising,
people and Congressmen were increasingly unwilling to accept further cuts
while the Defense Department was to get their usual share. Defense is drawn
here as an overly obese boxer who is already unable to get up yet alone
fight. The fairly small physique of the general behind him illustrates the fact
that the Defense Department leaders have already lost control over the
military forces' quantity. The next year, Congress rejected Reagan's plan for
more cutbacks and forced a scaling-down of the defense budget.
237
1983 AWARD
ABOUT PRESIDENT REAGAN'S

PUBLIC APPEARANCE IN 1982
BY
RICHARD E. LOCHER
Chicago Tribune
Richard Earl Locher (born on June 4, 1929, in Dubuque, la.) attended Loras
College and the University of Iowa. He graduated from the Chicago Acad-
emy of Fine Arts in 1951 and from the Los Angeles Art Center three years
later. Locher was a writer for "Buck Rogers" comic strip from 1954 to 1957.
He then worked as an assistant artist and writer for the comic strip "Dick
Tracy" from 1958 to 1962. In the same year he got the post of an art director
in the sales promotion at Hansen Company in Chicago. He left this position
in 1968 and became the owner and the president of the art studio Novamark
Corp. Locher got the post of an editorial cartoonist at the Chicago Tribune in
1972. The numerous prizes he gained in the course of his career include the
award from the Scripps-Howard Institute in 1975 and the Dragonslayer
Award from the National Educational Society in 1976, 1977 and 1978.
Richard E. Locher was made the recipient of the 1983 Pulitzer Prize in the
cartoon category, as exemplified by the drawing "Diplomacy In Action."
238
"DIPLOMACY IN ACTION"
[Source: Richard Locher: Diplomacy In Action, in: Chicago Tribune (Chicago, II.), 136th Year/No. 76,
March 17, 1982, section 1, p. 16, cols. 3-5.]
Interpretation: Cartoon ridicules President Ronald Reagan's efforts or att-

empts to establish diplomatic relations with Central American countries. In
reference to his former career as Hollywood actor, Reagan is presented as
some kind of a superman who looks powerful but is blasted away by a sim-
ple, maybe heated, telephone conversation. The drawing also points to the
fact of ale U.S. diplomatic misfortune in some Central American countries.
239
"RONALD REAGAN'S WEATHER MAP"
[Source: Richard Locher: Ronald Reagan's Weather Map, in: Chicago Tribune (Chicago, II.), 136th
Year/No. 84, March 25,1982, section 1, p. 22, cols. 3-5.]
Interpretation: Cartoon characterizes Ronald Reagan as the ever-smiling

presenter who is not even thinking about telling the people details of the real
situation. He as the weatherman is proclaiming a hundred per cent probabil-
ity of sunshine even though the whole studio is already under water. This
drawing offers a sarcastic explanation as to why Reagan had the nickname
"The Teflon-President." He soon acquired this by-name as all the failures of
his administration and miscalculations did not do any harm to his popularity.
This phenomena is often attributed to his highly developed communicative
skills. Not only did he work as an actor in Hollywood movies but also as
spokesperson of General Electric. Having served as Governor of California,
Ronald Reagan knew by instinct due to his life-long experience how to
approach people and what issues should not be brought attention to.
240
"WATT"
L
[Source: Richard Locher: Watt, in: Chicago Tribune (Chicago, II.), 136th Year/No. 224, August 12,
1982, section 1, p. 14, cols. 3-5.]
Interpretation: Cartoon illustrates the common impression people may have

had of President Ronald Reagan: they had come to realize that he often did
not know what his administration was planning or even executing. Here, the
artist obviously thinks Reagan would not even know that his administration
had - according to his Reaganomics principle to privatize vigorously - sold
the White House grounds. The fact that his exclamation is the same as the
measure unit of electric power adds more wit to the drawing. But it also
hints at the fact that Ronald Reagan was the oldest man ever to be elected
president. With 69, the artist seems to think, Reagan might have had
problems of hearing.
241
1984 AWARD
ABOUT POLITICAL EMOTIONS

AND ATTITUDES IN 1983
BY
PAUL F. CONRAD
Los Angeles Times
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 a
distinguished 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. In 1971 he was granted his second Pulitzer
Prize in the cartoon category for his work done in the year before. Two years
later he began to draw cartoons for the Los Angeles Times Syndicate. Apart
from his work as a cartoonist Conrad dedicated himself to writing. His first
book, titled "The King and Us," appeared in 1974. In the time between 1977
and 1978 the cartoonist as well held the Richard Milhous Nixon chair at
Whittier College. The following year not only saw the publication of his
second book, "Pro and Conrad," but also the opening of an exhibition of his
sculpture and cartoons at the Los Angeles County Museum. In addition to
his two earlier Pulitzer Prizes Conrad was granted a number of other awards,
among these from the Sigma Delta Chi fraternity, the Journalism award from
the University of Southern California and two Overseas Press Club awards.
In 1984 Paul F. Conrad was granted his third Pulitzer Prize in the cartoon
category, as exemplified by the drawing "Well, tell him to turn up his hear-
ing aid!"
242
"PLAY IT AGAIN, RON..."
[Source: Paul Conrad: Play It Again, Ron..., in: Los Angeles Times (Los Angeles, Ca.), Vol. CII/No.
268, August 28, 1983, part IV, p. 5, cols. 4-5.]
Interpretation: Cartoon illustrates the exaggerated reaction of many readers

when learning about the state of the U.S. armed forces in Lebanon. But the
drawing also points to the unforgettable time of the tragedy of the Vietnam
War.
243
"WELL, TELL HIM TO TURN UP HIS HEARING AID!"
[Source: Paul Conrad: Well, Tell Him To Turn Up His Hearing Aid!, in: Los Angeles Times (Los
Angeles, Ca.), Vol. Cn/No. 283, September 12, 1983, part II, p. 5, cols. 1-2.]
Interpretation: Cartoon depicts the U.S. forces being under attack in Beirut
A troop is trying to communicate with a commander, who may be in contact
with President Reagan as Commander-in-Chief, The hearing problem of thd
latter can be read as both actual and figurative.
244
"THE DAY AFTER"
[Source: Paul Conrad: The Day After, in: Los Times (Los Angeles, Ca.), Vol. CII/No. 348,
November 16, 1983, part Π, p. 7, cols. 1-2.]
Interpretation: Cartoon mockingly criticizes the excessive hunger for news:

Although news stories about an on-going "war" are extremely unnerving,
even under those circumstances one of the opponents points to his basic
right to get equal media coverage.
245
1985 AWARD
ABOUT TOP AMERICAN

POLITICAL FIGURES IN 1984
BY
JEFFREY K. MACNELLY
Chicago Tribune
was graduated from Phillips Academy in Andover, Massachusetts, in 1965.
He attended the University of North Carolina and worked as a staff artist and
editorial cartoonist for the Chapel Hill Weekly. In 1969 he won the National
Newspaper Association award for cartooning. He left the Chapel Hill
Weekly in December 1970 to work as an editorial cartoonist for the Rich-
mond News Leader. Jeffrey K. MacNelly was granted the 1972 Pulitzer
Prize for editorial cartoons. His work was syndicated in approximately three
hundred newspapers by the Chicago Tribune - New York News Syndicate.
For his work as a distinguished cartoonist throughout the previous year
MacNelly earned his second Pulitzer Prize for cartooning in 1978. In 1981
he returned to editorial cartooning for the Chicago Tribune after he had
ended his brief and premature retirement. Jeffrey K. MacNelly was granted
his third Pulitzer Prize for editorial cartooning in 1985, based on work done
during the previous year, as exemplified by the drawing "Okay, Senator
Garn..."
246
"ASK YOURSELVES..."
$£ WETTEROFF «üiRE?
NOW THAN W WERE PlDTWi
HAPPEN?
JOWNOK
[Source: Jeffrey K. MacNelly: Ask Yourselves..., in: Chicago Tribune (Chicago, II.), 138th Year/No.
242, August 29, 1984, section 1, p. 18, cols. 3-5.]
Interpretation: Cartoon illustrates the campaign of President Reagan's

counter candidate Walter F. Mondale - the latter did not realize he was
speaking to the part of the population that actually was better of during the
first term of Ronald Reagan. The vast majority who had to take economic
disadvantages, was not going to see politians speak in a public appearance.
Reaganomics caused a rise in the percentage of people who fell under the
poverty line, the unemployment rate surged and so did crime. On the side of
the coin, people who had been well-off were now rich, due to the tax cuts. In
November, Reagan carried all states but one - Mondale only carried his
home state Minnesota and the District of Columbia. The landslide victory
for Reagan, for whom almost 60 per cent voted, was due to the sluggish
voter's participation which was especially low among those parts of the
population whose situation did not improve under the Reagan administra-
tion.
247
"CABINET MEETINGS"
Tte Modale Cabins*, Meetirg
[Source: Jeffrey K. MacNelly: The Reagan Cabinet Meeting..., in: Chicago Tribune (Chicago, II.), 138th
Year/No. 251, September 7, 1984, section 1, p. 26, cols. 3-5.]
Interpretation: Cartoon illustrates mockingly the differences between

Reagan's and Mondale's administration: Reagan's cabinet, however bored, is
working and getting things done; the President is the only one to doze off.
He is able to do so because he has a higly efficient team, headed by William
P. Clark, chief of staff. Clark has established the centrality of the cabinet
meeting. Toward it all recommendations and pleas are directed, which have
to be packed into one-page memos. Everything is discussed and decided in
Reagan's presence - who obviously does not care much. With Mondale's
cabinet, it is the other way round: he is boring his staff to sleep. Mondale's
lack of charisma was not only a problem for his proposed cabinet, foremost
it cost him the realistic chance to winning the presidential election against the
glamorous Ronald Reagan who managed to convince people of his qualities
with in a superior, almost unperturbed style.
248
"OKAY, SENATOR GARN..."
M? BRING HMBKIUOEAKTH '
[Source: Jeffrey K. MacNelly: Okay, Senator Garn..., in: Chicago Tribune (Chicago, II.), 138th
Year/No. 316, November 11, 1984, section 5, p. 2, cols. 3-5.]
Interpretation: Cartoon refers to the outcome of the congressional election

in November: the Republicans in the Senate lost two seats, giving them a
majority of 53 to 47. The fact that Senator Garn has to bring back Senator
Jesse Helms from space to join Congress, implies that they are literally aloof
and cut from reality which was the general perception of Senators at that
time. Since 1970, Jesse Helms of North Carolina was a declared Republican,
but more importantly he was the leader of the far-right Congressional Club.
Taking this into account, Senator Helms going down to earth might either
mean space was Congress and now he has to come back down to reality, to
the real world. It also implies, however, that he hit the roof when he learat
that he had lost his seat. If the sky is the limit, then Jesse Helms naturally
went up into space.
249
1986 AWARD
ABOUT BASIC ATTITUDES OF

AMERICANS IN 1985
BY
JULES FEIFFER
The Village Voice (New York)
Jules Feiffer (born on January 26, 1929, in New York City) attended the Art
Student League in New York City until 1946. In the same year he started his
cartooning career as an assistant of the syndicated cartoonist Will Eisner.
While doing this job Feiffer visited Pratt Institute from 1947 to 1951. After
working in numerous art jobs Feiffer got the post of an contributing car-
toonist at the Village Voice, New York, in 1956. The cartoonist published
various books. His first volume of cartoons, "Sick, Sick, Sick," came out in
1958. Since that time his editorial cartoons were also published weekly in
the London Observer and since 1959 monthly in Playboy magazine. In the
same year the national syndication of Feiffer's cartoons by Hall started. His
work for the theater and the film began in 1961. Feiffer's first novel, "Harry,
the Rat With Women," was published in 1963. In 1979 the author and car-
toonist created his first cartoon novel entitled "Tantrum." He gained numer-
ous prizes in the course of his career including the Academy award for
animated cartoons in 1961 and the Outer Circle Drama Critics award in 1969
and 1970. Jules Feiffer was made the recipient of the 1986 Pulitzer Prize for
editorial cartooning, as exemplified by the drawing "The Media Reports..."
250
"REAGAN CRITICIZES RACISM..."
T^nrfittfStl3k~—,
xcuxer ι\?ξ κ
WRKfxreicfc:
[Source: Jules Feiffer: Reagan Criticizes Racism..., in: The Village Voice (New York, N.Y.), Vol.
XXX/No. 6, February 5, 1985, p. 33, cols. 1-3.]
Interpretation: Cartoon gives the expression Teflon-President1 a new

meaning: ususally it refers to the phenomenon that no scandals or
misfortunes or debacles are blaimed on Ronald Reagan, he always comes off
clean, at least in the polls. Here, Teflon1 refers to his versatility -
Reaganeagan has transformed to a humanist, a closet one, that is. Not only
does Reagan promote freedom in foreign matters, he also provides freedom
in his own cabinet by firing the chief of staff, William P. Clark and his
successor Edwin Meese who re-organized the cabinet military-style. Jeane
Kirkpatrick was responsible for shaping the Reagan foreign policy by
drawing a distinction between totalitarian and authoritarian regimes. Based
on her articles, Reagan assumed a "constructive engagement" with the
regime in South Africa. Now, obviously Reagan stepped back from this
policy and 'fired' her, too. Apparently life was bearable while President
Reagan was a conservative who solely relied on the expert memos of his
cabinet and aides. Now that he turned into a closet, that is wishy-washy,
humanist, a liberal, life is "without meaning" - the balance of good and bad
has broken down for the taxi driver. The fact that a die-hard conservatist can
be flagged a liberal is too overwhelming for him - he commits suicide.
251
"THE U.S. IS NOT GOING..."
[Source: Jules Feiffer: The U.S. Is Not Going..., in: The Village Voice (New York, N.Y.), Vol. XXX/No.
32, August 6, 1985, p. 4, cols. 1-3.]
Interpretation: Cartoon characterizes president Reagan as phony: as if still

acting out a role in a movie, Reagan declares the aims and determinations of
his administration. Allusions like "looney tunes" underlines the criticism the
artist is making here: that Reagan is not taking foreign policy seriously
enough. With this expression, he is referring to the bombing of the U.S.
embassy in Beirut in October 1983 as well as other bomb attacks on
American forces in Lebanon, during which 230 U.S. Marines died. Speaking
of "outlaws" in Libya, one may get the impression that Reagan is playing a
part in a gangster movie. The threat at the end of his declaration is the
climax, of course. But from the point of view of today, it appears to be as a
vision of the Iran-Contra affair. Only two years later it would become public
that the government had sold weapons to Iranians and used the profits to
support the revolutionists, the "contras", in Nicaragua. The threat to take
revenge on the Latin American country for non-obedient countries in the
Middle East, is obviously absurd but it clearly illustrates the way the public
or at least the artist perceived Reagan's way of thinking - it did not make
much sense, but it was presented in an impressive way.
252
"THE MEDIA REPORTS..."
[Source: Jules Feiffer: The Media Reports..., in: The Village Voice (New York, N.Y.), Vol. XXX/No.
37, September 10, 1985, p. 6, cols. 1-3.]
Interpretation: Cartoon iries to illustrate the general feeling of the 80s: this
included a deepening mistrust of what the media claims. Watergate and
Vietnam showed that one cannot (rust the government. So why should
people trust the media? it also shows that the increasing need for news and
stories, due to the expansion of cable TV for example, which enlarged the
viewer's options for news and information and entertainment, forced all
kinds of media to invent stories. It also shows their power: they can make up
things just as well as they can uncover scandals (again, as seen as in the
Watergate affair). The sentiment in the 80s was predominated by cynism. In
the drawing the questions asked define the term yuppie, the most revealing
of til being "Is style without content dead?" This points out the feeling that,
even art was not more than style -· like Andy Warhol's prints or Keith
Haring's simplistic drawings - that people did not do things for a specific
reason or to achieve anything - like in the 60s or the 70s, but only as a
matter of style and image. This way; the cartoon also expresses a certain
kind of nostalgia.
253
1987 AWARD
ABOUT REALISTIC PROBLEMS OF
AN UNREALISTIC WORLD IN 1986
BY
BERKE BREATHED
The Washington Post
Berke Breathed (born on June 21, 1957, in Encino, Ca.) started his career as
a photographer and columnist for the university paper Daily Texan in 1976
while studying at the University of Texas at Austin. In 1979 he graduated
from it. Breathed created the comic strip "Bloom County" which has been
syndicated by the Washington Post Writer's Group since 1980. For this car-
toon he was made the recipient of the Disability Awareness Award from
Paralyzed Vets of America in 1982. The cartoonist published two collections
of his comics in 1983, and 1984. Berke Breathed was granted the 1987
Pulitzer Prize in the cartoon category, as exemplified by his drawing "Good
Morning, Madam."
254
"MILO'S MEADOW"
[Source: Berke Breathed: Milo's Meadow, in: The Washington Post (Washington, D.C.), 109th Year/No.
150, May 4, 1986, section I/The Comics, p. 1, cols. 1-3.]
Interpretation: Cartoon refers to the absurd panic that the sandinists in

Nicaragua would invade the United States, here seen as not more than a
card-board box. The drawing is a classic example of the Bloom County
strips, in which Opus the Penguin is always encountering strange, cracked
characters. Milo, the precocious boy, runs the local newspaper and seems to
be the only calm person throughout the strips.
255
"69,9 CENT A GALLON!"
fl*SCHBAKR7WN *77-^-BOW'
ffo
we/
[Source: Berke Breathed: 69,9 Cent A Gallon!, in: The Washington Post (Washington, D.C.), 109th
Year/No. 192, June 15, 1986, section I/The Comics, p. 1, cols. 1-3.]
Interpretation: Cartoon serves as an example of the general consuming

mood which affected all branches. It seems that buying was the crucial oc-
cupation of many Americans in the 1980s. In 1979 OPEC had raised the
price of crude oil to 30 Dollars per gallon. Now, 25 years later, the price of
just 70 cents is still exciting the consumers who have suppressed any
memory of Jimmy Carter's appeal to save energy.
256
"GOOD MORNING, MADAM"
[Source: Berke Breathed: Good Morning, Madam, in: The Washington Post (Washington, D.C.), 109th
Year/No. 304, October 5, 1986, section I/The Comics, p. 1, cols. 1-3.]
interpretation: Cartoon drastically illustrates the people's frustration with

any kied of elections. This drawing, published more than two years before
the next presidential race, concludes that the registered voters do not want to
hear anything about politics or, worse, politicians. In addition, the woman
seems still angry with political promoters who have maybe talked her into
voting for Ronald Reagan.
257
1988 AWARD
ABOUT EXCUSES AND ILLUSIONS

IN THE U.S. IN 1987
BY
DOUG N. MARLETTE
The Charlotte Observer/The Atlanta Constitution
Douglas Nigel Marlette (born on December 6, 1949, in Greensboro, N.C.)

graduated from Florida State University in 1971. He started to work for the
Charlotte Observer in 1972 where he got the post of an editorial cartoonist.
Marlette published a number of cartoon collections. In later years his work
was syndicated by the Tribune Media Services and gained a wider popularity
on this way. The cartoons were regularly reprinted in Time, Newsweek, and
many other magazines. Marlette was made the recipient of numerous prizes,
among them the Sigma Delta Chi award in 1982 and the first place in the
John Fischetti Editorial Cartoon Competition in 1986. In April of 1987 he
moved from the Charlotte Observer to the Atlanta Constitution so that his
cartoons from that year of both newspapers were eligible for the award com-
petitions in the following year. So in 1988 Douglas N. Marlette earned the
Pulitzer Editorial Cartooning award for his works from the previous year, as
exemplified by the drawing "That's right - Jim and Tammy were expelled
from paradise and left me in charge!"
258
"THAT'S RIGHT-JIM AND TAMMY WERE EXPELLED

FROM PARADISE AND LEFT ME IN CHARGE!"
[Source: Doug Marlette: That's Right - Jim and Tammy Were Expelled From Paradise And Left Me In
Charge!, in: The Charlotte Observer (Charlottte, N.C.), March 27, 1987, p. 18 A, cols. 3-5.]
Interpretation: Cartoon cynically comments on the scandal circling around

the religious PTL television network and its owner Jim Bakker. He and his
wife Tammy had been giving themselves huge amounts of bonuses, while
pleading poverty on television. They had also used donations for their
private enrichment instead of sending the money which appears especially
greedy since they had vowed to have giving all their belongings to the
network. Jim Bakker resigned a week before this drawing was published
because he learnt that the Observer was about to reveal his affair with
Jessica Hahn in the early 80s. Hahn was paid numerous times to keep quiet
about the affair. With Jerry FaJwell as new head of PTL, religious viewers
are jumping out of die frying pan into the fire for how could the diabolical
snake who seduced Adam and Eve to disobey God any better. The audience,
however, does not seem to care about any revelations of the investagory
kind. When a minister defined the news as an act against God's work, they
believed him blindly as they had believed Jim Bakker.
259
"TO ERR IS HUMAN..."
[Source: Doug Marlette: To Err Is Human..., in: The Atlanta Constitution (Atlanta, Ga.), Vol. 119/No.
232, May 13, 1987, p. 8 A, cols. 3-5.]
Interpretation: Cartoon illustrates Reagan's principle to suppres any memo-

ries of unappropriate actions and measures. His altered version of the saying
"to err is human, to forget, divine" may be his secret behind becoming the
Teflon president. The current context, however, was the public hearings of
the Iran-Contra affair that commenced on May 5 and only ended on three
months later. Reagan announced he would not comment or eludicate on
single questions that might come up during the hearings. Though he said he
was sure to hear things during the hearings that would be new to him even
his fellow Republicans doubted his credibility. The first witness was the
retired air force major general Richard Secord. He said that Reagan knew
about the weapon shipments to Nicaragua far earlier than he admitted and
that Reagan had orally given consent to the deliveries. The term 'forget' also
may be taken to another dimension when brought into association with
Reagan years after leaving his office, when it became known in the early
nineties that Ronald Reagan suffers from the Alzheimer disease.
260
"PRESIDENT?... NO, CHILD, BUT YOU CAN GROW

UP TO BE FRONT-RUNNER!"
[Source: Doug Marlette: President?... No, Child, But You Can Grow Up To Be Front-Runner!, in: The
Atlanta Constitution, (Atlanta, Ga.), Vol. 120/No. Ill, November 19, 1987, p. 18 A, cols. 3-5.]
Interpretation: Cartoon criticizes the still-present racism that is evident

decades after Martin Luther King's workings for equal-opportunities for
blacks in the United States. His dream that he expressed in his famous
speech in 1963, according to the cartoonist, has not been fulfilled yet.
Twenty-six years after the Supreme Court decision on Roe vs. Wade
explicitly called for equal treatment of black and white people, the boy still
has to face the fact that there are professions he cannot get into. Many
children - impressed with the respect and glamor of this office - dream of
becoming the president of the United States: However, for black children or
all children belonging to a minority, there is hardly any chance for them to
be successful in high politics. The main field, black children might get into,
is professional sports.
261
1989 AWARD
ABOUT THEMES AND TABUS

IN AMERICAN LIFE IN 1988
BY
JACK HIGGINS
Chicago Sun-Times
Jack Higgins (born on August 19, 1954, in Chicago, II.) attended the Holy
Cross College, a Jesuit institution, from which he graduated with a B.A.
degree in Economics in 1976. The folllowing year Higgins worked for the
Jesuit Volunteer Corps in Washington. In 1978 he started his career as an
editorial cartoonist at the Daily Northwestern of Evanston, II. In 1980 he
switched to the Chicago Sun-Times where he first worked on free-lanced
basis and then got the post of an editorial cartoonist in 1984. He was made
the recipient of the Peter Lisagor award in 1984 and 1987 and won the first
prize at the Salon of Cartoons in Montreal, Canada, in 1988. Jack Higgins
was granted the 1989 Pulitzer Prize for editorial cartooning, as exemplified
by the drawing "...All Congressmen..."
262
"HOW ABOUT MORE BLACKS..."
Vfellburn
thataossvihen
wcometoit!
[Source: Jack Higgins: How About More Blacks..., in: Chicago Sun-Times (Chicago, II.), Vol. 41/No.
296, January 19, 1988, p. 27, cols. 2-3.]
Interpretation: Cartoon illustrates some kind of racism still evident in base-

ball. The drawing even goes so far to bring the owners into association with
the Ku-Klux-Klan by having one owner/coach say that integration of blacks
in the leading position of the profession is a cross that needs to be burnt. On
the other hand, the drawing also puns the saying of "We come to that when
we cross that bridge." In this context and by the way this idiom was altered
it is suggested that the baseball owners will never cross that bridge, i.e. will
never allow blacks to reach a position of power. This drawing is also to be
viewed with regards to the infamous reply AI Campanis gave in an TV-
interview ten months earlier to the same question. He said that blacks lacked
the necessities. He was fired the next day as General Manager of the L.A.
Dodgers. Campanis soon got a job with Harry Edwards, a black sociologist
who runs an institute for the study of sports in society; Campanis had been
Robinson's roommate in College. Ironically, the interviewed aired exactly 40
years after Jackie Robinson was the first black to become a professional
baseball player.
263
"BEST ACTRESS..."
BEST/STRESS .SUPPORTING CAST

-Jane
Fonda r-MOSESLALVES'ELLSWC
\RCIA · ALAN D GROOM ·J
)Jr-BERNARDRKNAPIC·
iC· ABRAHAM LMOORE·'
ORTEGAJr·JEROME RICE
LT · ROBERT C GREATHOUS
BAKER -JOHN W BROOKS
RDS 'THOMAS A FRITZERJi
) · DONALD R OSBORNE · |
SHADE «JOHN M WHEEIJ
[Source: Jack Higgins: Best Actress..., in: Chicago Sun-Times (Chicago, II.), Vol. 42/No. 115, June 20,
1988, p. 21, cols. 2-3.]
Interpretation: Cartoon criticizes the commercialization of the Vietnam war.

Citing the veterans whose names are encarved in the Vietnam Memorial in
Washington as Jane Fonda's supporting cast is highly cynical. On the wall
inscribed are the names of the 57,692 Americans that died in Vietnam
between 1959 and 1973. In the mid-1980s Vietnam had become a popular
issue for Hollywood producers, both for TV and the movies. Documentaries
such as Dear America with Hollywood stars as narrators were broadcast as
well as fiction stories such as Good Morning Vietnam. The reason for having
Jane Fonda representing Hollywood in this drawing is obvious as she openly
protested against the war and even went to support the Viet Cong during the
war. In 1988, she apologized to veterans for her naivety. The motivation
behind this, however, was not personal remorse. Her husband at that time,
Tom Hayden, was planning to run for President of the United States and
may have felt that her actions during the Vietnam war could probably harm
his campaign.
264
"...ALL CONGRESSMEN..."
u
Shhhh.,
in { aver oi giving yourselves
a 50% "
[Source: Jack Higgins: ...All Congressmen..., in: Chicago Sun-Times (Chicago, II.), Vol. 42/No. 268,
December 15, 1988, p. 54, cols. 2-3.]
Interpretation: Cartoon ridicules the way Congress decides selfishly on

giving themselves an enormous payraise. Remarkable is the date of the
drawing: in mid-December the inauguration of a new President of the United
States, George Bush, is corning nearer and nearer and with it many new
members of the House of Representatives who might not agree on the pay-
raise. But in this Congress opposition, which in this situation would consti-
tute a responsible use of the often recited tax-payers' money, is not evident.
The drawing also mocks the old-fashioned expression of "nay"s and "aye"s
that still are in use in Congress. By substituting the ayes with the eyes which
blink in the dark, the artist portrays Congress as a meeting of men who need
to do their business in the dark. The payraise seemed to become controversial
especially since the budget deficit had risen to an enormous $ 250 billion. In
addition, the United States had amassed debts of more than $ 2,6 billion, m
this respect, to pass their own payraise in the dark and anonymously is
understandable but to do it at all remains greedy.
265
1990 AWARD
ABOUT REAGAN LEAVING BUSH

ENTERING THE STAGE IN 1989
BY
TOM G. TOLES
The Buffalo News
Thomas Gregory (Tom) Toles (born on October 22, 1951, in Buffalo, N.Y.)
attended the State University of Buffalo where he started to draw cartoons
for the campus newspaper Spectrum. He was graduated with a B.A. degree
in English in 1973. In the same year he started to work as an artist for the
Buffalo Courier-Express. In 1980 he began working as an editorial cartoonist
under the name Tom Toles. In 1982 Toles was engaged by the Buffalo News.
His cartoons were distributed to more than one hundred newspapers by the
United Press Syndicate. Since 1985 Toles also published collections of his
cartoons in book form. The cartoonist was made the recipient of the John
Fischetti Editorial Cartoon award in 1984. The 1990 Pulitzer Cartoon Prize
went to Thomas G. Toles for his work from the year before, as exemplified
by the drawing "First Amendment."
266
"WE WONT FORGET YOU!"
[Source: Tom Toles: We Won't Forget You!, in: The Buffalo News (Buffalo, N.Y.), Vol. CCXVII/No.
94, January 12, 1989, p. B 2, cols. 3-5.]
Interpretation: Cartoon obviously refers Ronald Reagan returning to non-

public life in the same posture or image in which he had entered the political
stage: as the lone rider, a cowboy from Hollywood who looked great but did
not do too great. The scene depicted in the drawing seems idyllic at first sight
but the title of it is a bad prophecy as well. Leaving office after two terms as
president, the country will soon find itself paying the bill for Reagan's policy-
making: during the eight years, an unusually high unemployment rate as
well as a huge budget deficit had amassed. Ronald Reagan had made a tele-
vision address the night before in which he was proud to have boosted the
economy. One should not overlook in this context that the budget deficit for
1990 was estimated at 92 billion dollars - and that was the lowest in his
incumbency. The budget deficit for 1989 was at 150 billion dollars.
267
"FIRST AMENDMENT"
Cortye« shall t*ake r» law respecting an

establishment of ndigion.or pn>Hibiti«9 ^
free «erase thereof; or abndgwg the ireedom
of speech,* or of the pressj or the rigfrt of t^
it-oat peaceably to «Λν-'Π^, and to petition
the government for a redress atgr^»
Oft. CtiHJJUKlS oftMLY W£

of m
[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 car-
toonist 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 Cincin-
nati 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 Car-
toons 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, how-
ever, 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 noth-
ing 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 continu-
ing 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"
ffe'i1 5
ftsT**i" v
'* '?**
[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 reuni-

fication 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 exempli-
fied 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 leak-
ing. 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 nu-
merous 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 Bush-
campaign 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 re-
elected. 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 Com-
munications/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 car-
toon 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..."
BOSNIA- BOSNIA-
HtRZEGOODCAUST ΗΙΚΖΕΟΟΥΙϋΓΝΛΜ
[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-Herzego-
vina 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 draw-
ing 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 Yugos-
lavia. 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 adver-

saries, 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. Ameri-
can 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 agree-
ment 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 compar-
ing 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 in-
cluded 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 off-
spring 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 con-
stitution 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 controver-
sities 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
CRIME
CUNTDN
CUNTTON
RESCUES
fiiinmi Hrrnlb
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 Viet-
nam 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» WWW«
CLINTON OFKlinton Q.INH3M
Uhr iHinmi «rrnli

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 Times-
Picayune in New Orleans where he received the post of an editorial cartoon-
ist. 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 edito-
rial 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 minimum-
wage 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 scandal-

ized 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 sum-

mer 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 inves-
tigators 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 -
1998 Winner:
Artist's Name
Cartoon Title ,, / /fg aShsAs; fosne /"^//?x7//3 &. . . ay?
Newspaper AJ-'AUS-JJ
~-„-. -yas-fr
^ rf^rs-
*.~ jtä»o£*jsie
*ri-*,,„^fr,,. fr,/.
1999 Winner:
Artist's Name ^7) cr is/ cf /-/o /-^g u
Cartoon Title <£~>*f;*jr
Newspaper f_S
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 Bok, Chip, LXIV

Ackerman, Carl W., XXVII, XXIX, XXX, 58 Bond, F. Fr ser, XXIV, XXV
Ahlgren, Frank R., XLI, XLIV Boone, Raymond H., LI
Alba, Joaquin de, XLIII Borah, William E., 16
Alexander, J. D., LVII Borgman, James M. (Jim), LVI, LIX, LXI, LXIII,
Allen, Dale, LVIII LXIV, 269, 270, 271, 272
Allen, Jodie T., LIX, LXI Boyd, Hugh N., XLI
Andrews, Caesar, LXI Bradlee, Benjamin C., 200
Arafat, Yasser, 283 Bradwell, Myra, 63, 99
Aregood, Richard, LXI Breathed, Berke, LVIII, 253, 254, 255, 256
Ariail, Robert L., LXIII Breen, Stephen P., 297
Arnold, Edwin, 46 Brezhnev, Leonid L, 210
Asimov, Stanley P., LI Broun, Heywood, 127
Auth, Tony, XLIX, LIII, 209, 210, 211, 212 Brown, Carroll, VI
Brown, Judith W., XLIX
Baker, James, 280 Brown, Roscoe E., XXDC
Baker, Russell, LI Brown, Sevellon 3rd, 170
Bakker, Jim, 257, 258 Brucker, Herbert, XXIX
Bakker, Tammy, 257, 258 Briining, Heinrich, 40
Baldowski, Clifford H., XLUI Bryan, D. Tennant, XXXVH.I
Baldwin, Donald K., XLI Bryan, John S., 8
Barndollar, Frank W., XLVffl Bulkeley, Christy C., XLDi
Barnes, Andrew, LXVII Burck, Jacob, XXXI, XXXII, XXXIII, XXXIV,
Barnett, Stanley P., XXXVII XXXV, XLin, 75, 76, 77, 78
Barry, Dave, LIX Burns, Gary, LXI
Bascom, Lionel C., LIV Bush, George, 264, 265, 268, 271, 278,279, 280
Basset, Gene, XLI Butler, Nicholas M., 8, 58
Batchelor, Clarence D., XXIX, XXX, XXXI, Butterfield, Alexander, 204
XXXII, XXXVIII, 57, 59, 60, 61,62 Byck, Sylvan S., XXXVII
Battenfield, Paul, XXXII
Beazell, William P., ΧΧΙΠ Calles, Plutarco E., 27
Becker, Stephen, 2 Campanis, AI, 262
Bell, Montgomery, 139 Campbell, Robert F., LI
Benson, Stephen R., LIV, LIX, LXI, LXUI, 277, Canham, Erwin D., 152,170
278, 279, 280 Carmack, Paul R., XXIX
Berryman, Clifford K., XXXI, ΧΧΧΠ, LXV I, Carroll, Eleanor, XXX, XXXI
87, 88, 89, 90, 289 Carroll, John S., VI, LXVII
Berryman, James T., XXXIV, XXXV, 111, 112, Carroll, Wallace, 200
113,114 Carter, Don, XLIV
Bertelson, Arthur R., XLI Carter, James E. (Jimmy), 214, 215, 218, 219,
Bjngham, Barry Sr., 152, 170 220, 231, 235, 255
Binion, Clayte, XLVI Carter, W. Hodding, 152
Bishop, Daniel, XXIX Cassel, John H., XXIX
Block, Herbert L. (Herblock), XXIX, XXX, Castro, Fidel, 160,212
XXXI, XXXVn, XXXVJJI, XL, XLI, XLIII, Catledge, Turner, 152, 170
XLVI, LI, LXVHI, 79, 80, 81, 82, 127, 128, Cazenave, Ren6, XLVI
129, 130,221,222,223,224 Chamberlain, A. Neville, 69
Bluford, Lucile H., XLVIII Chandler, Norman, 152, 170
Boccardi, Louis D., LXVH Chase, John C., XXXIV
Boehnck, Daniel, VI Cherniss, Norman A., LI
Boissonneault, Glen A., XLVI Chilton, William Ε. (ΠΙ), LI
300
Christ, Harding, XLIII Eisner, Will, 249
Christopher, Warren, 283 Elderman, Gene, XXIX, XXX, XXXI
Churchill, Winston S., 88 Ellard, Roscoe, ΧΧΧΠ
Clark, William P., 247, 250 Englehart, Robert W. Jr., LI
Claus, Marty, LXIII Enright, Walter J., XXV, XXXII
Clesle, Anita, VI Erickson, Lewis, XLVI
Clinton, William J. (Bill), 278, 279, 282, 284, Ervin, Samuel J. Jr., 202
289, 290, 292, 294, 295 Evens, W. L., 95
Conrad, Kay, VI Ewing, James D., LIII
Conrad, Paul F., VI, XL, XLI, XLIV, XLVI,
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,
Danziger, Jeff, LVIII, LXI 19,20,131, 132,133,134
Darcy, Thomas F., XLVI, 187, 188,189,190 Fitzpatrick, William H., XLIV
Darden, Willie, 227 Fitzsimons, David W., LVIII
Darling, Jay N. (Ding), ΧΧΠΙ, XXVI, XXXI, Fonda, Jane, 263
ΧΧΧΠ, LXVIII, 7, 9, 10, 11, 12, 83. 84, 85, Foote, William J., XLIII
86 Ford, Gerald R., 215, 231
D arrow. Joy, LHI Forster, Weidman W., XXXVIII
Darwin, Charles R., 20 Foster, Jack, XXXIV
Davenport, Homer, LXVIII Frankel, Max, XLVI
Day, Anthony, LIU Frazier, Robert B., XLIX
Day, Price, 200 Fritchey, Clayton, XXXIV
Dewey, Thomas E., 110 Fuller, Jack, LXVII
Dickhut, Ingrid, VI Furey, Karen, VI
Dickinson, William B., 200
Dobbins, James J., XL Garn, Edwin J., 245, 248
Donovan, Robert J., 200 Gates, Henry L. Jr., LXVII
Dotson, John L. Jr., LXVII Geehan, James, XLVHI
Dovifat, Emil, V Gerber, Thomas W., LI
Downing, Margaret, LXI Giles, Robert H., LVI
Duddeck, Britta, VI Gillen, John S., XLI
Duffy, Edmund, XXVII, XXIX, XXXI, XXXVII, Gilmore, Gary, 227
XXXVm, 37, 38, 39, 40, 49, 50, 51, 52, 71, Ginn, John C., LI
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 Ivins, Molly, LIX
Graham, Robert, 226, 228
Gray, L. Patrick, 206 Jenkins, Bums Jr., XXXII, XXXVIII
Green, Neville, LXIV Jenkins, C. Ray, LIX
Griffin, Solomon B., 8 Jennings, Max, LXI
Guthman, Edwin, LVHI Jensen, Cecil L., XXXII, XXXVII, XLIV
Jewell, Richard, 296
Hagler, Skeeter, LVI Jinks, Larry, XLIV
Hahn, Jessica, 258 Johnson, Al, LVIII
Hall, Robert, 249 Johnson, Gerald W., 2
Halvorsen, David E., LIV Johnson, Gregory, 267
Hamilton, John S., XXVII Johnson, Herbert, XXV
Handelsman, Walt, LXIV, LXVI, 293, 294, 295, Johnson, Lyndon B, 173, 179, 180, 181, 184,
296 189
Harding, Nelson, XXIV, XXV, XXVI, XXVII, Johnson, Pam M., LVI
LXVIII, 21, 22, 23, 24, 25, 26, 27, 28 Johnston, Lynn, LXIII
Harding, Warren G., 10 Jones, Jenk Jr., LIU
Haring, Keith, 252 Jones, Victor O., XLI
Hams, Julian L., 58 Joy, Verne E., XXXIV
Harrison, John R., XLIII Justus, Roy B., XXXIII, XXXIV, XXXVIII, XL
Harrison, S. L., LXVIII
Hartley, Fred A., 108 Keefe, Michael E., LXIV
Hawkes, Herbert Ε., ΧΧΠΙ Keller, Oliver J., XXIX
Hayden, Tom, 263 Kelly, Tom, LIV
Haynie, Hugh S., XXXVIII, XL, XLI, XLVIII Kennedy, John F., 164, 168, 189, 212, 213, 215,
Hays, Howard H., LIX 292
Healy, Robert L., XLVIII Kennedy, Robert F., 179, 182, 185, 293
Hearst, William R., 103 Kent, Frank R., 58
Heaton, John L., 8 Kerney, James Jr., XXXIV
Heinzerling, Larry, VI Ketter, William B., LXVII
Heldman, Lou, LXIV Keyes, Sandura, LXI
Helms, Jesse, 248 Kholos, Len, LI
Henson, Elvin, XLVIII Khrushchev, NikitaS., 153, 154, 156, 158, 159
Hess, Stephen, LVIII, LIX King, Martin L. Jr., 179, 180, 260
Hesse, Don, XXXV, XXXVII, XXXVIII Kirby, Rollin, XXII, XXIII, XXIV, XXVI, XXXI,
Higgins, Edward A., LXI LXVIII, 3, 4, 5, 6, 13, 14, 15, 16, 29, 30, 31,
Higgins, Jack, LVI, LIX, 261, 262, 263, 264 32
High, Richard, LVIII Kirk, Gray son, 152, 170
Hills, Lee, XLI, 200 Kirkpatrick, Jeane, 250
Hitler, Adolf, 40, 66, 68, 69, 70, 72, 73, 74, 90, Kissinger, Henry A., 192
96,131 Kliment, Edward M., VI
Hobby, William P., LIII Klurfeld, James M., LIX
HoChiMinh, 176, 184, 188 Knott, John F., XXIX, XXXV
Hohenberg, John, XXXIII, XXXVII, LXVI, 152, Kotzebue, August F. von, 107
170,200 Kraslow, David, LIX
Hoover, Herbert C, 32 Kuekes, Edward D., XXX, XXXII, XXXVII,
Horsey, David, LVIII, 297 123, 124, 125, 126
Hough, Henry B., XXXV K hn, Oliver O., XXVII
Howe, Arthur M., 8, 58
Hudson, Robert L., XLVII LaFollette, Robert M., 15
Hughes, Charles E., 15 Lambert, Jack, ΧΧΧΠ
Hungerford, Cy, XXXVIII Landfield, Jerome, XXV
Hussein, Saddam, 271,280 Lathan, Robert, 58
Hutchings, Harold H., XLVII Latimer, Sam L. Jr., XXXV, XXXVII, XXXVIII
Hutton, Hugh, XXXVII Lawrence, James, LIII
Lawson, Victor F., 8
Ireland, Barbara, LXIV Leard, John E., XLIII
Isaacs, Norman E., XLVIJJ. Lehman, Edward, XLIX
302
Lenin, Vladimir I., 4 Meyer, Sylvan, 200
Leonard, Richard H., LVIII, LEX Miller, Frank A., XLI, 161, 162, 163, 164
Lewis, Anne, VI Miller, Paul, 152, 170
Lewis, Dwight, LXIII Miller, Steven B., XLVII, XLVIII
Lewis, John F., 17, 131 Mitchell, Edward P., 8
Lewis, John L., 108 Mitchell, John N., 203
Lewis, Ross A., XXIX, XXX, 53, 54, 55, 56 Mitchell, Wirt M., XXXI
Lincoln, Abraham, 292 Mondale, Walter F., 246, 247
Lindbergh, Charles A., 26 Morgan, John P., 35, 36
Lipman, David, LVI Morgan, Perry, XLVII
Lisagor, Peter, 261 Morin, James C., LI
Liston, Harold V, XLVffl Morin, Jim, LIX, LXIV, 289, 290, 291, 292
Little, Tom, ΧΧΧΠ, XXXIV, XXXVII, XXXVIII, Morris, Dick, 295
XLI, 139, 140, 141, 142 Morrison, Charles M., XXVII
Locher, Richard E., XLIX, LI, LIV, 237, 238, Morrison, Mary E., 2
239, 240 Mossadegh, Mohammed, 234
Loring, Paul S., XXXII Moyes, Newbold, XXIV
Lowe, Chan, LIX Murphy, John K., LVII
Luckovich, Michael E. (Mike), LVI, LXHI, 285, Mussolini, Benito, 23, 64, 69
286, 287, 288
Lurie, Ranan, XLVIII Nast, Thomas, LEI
Natt, Ted, LXI
MacAlamey, Robert E., XXXI, XXXII Neavoll, George, LVIII
Mac Arthur, M. Douglas, 116 Neubeck, William H., LEI
Macauley, Charles R., XXVI, 33, 34, 35, 36 Newton, Eric, LXI
MacDonald, Kenneth, XLVIII, 152, 170 Newton, Virgil M. Jr., XL
MacNelly, Jeff(rey) K„ XLVII, XLVIII, XLIX, Nguyen Van Thieu, 190
LI, LVI, LXVI, 195, 196, 197, 198, 217, Nixon, Richard M., 189, 192, 196, 197, 198, 203,
218, 219, 220, 245, 246, 247, 248 204, 206, 207, 208, 219, 231, 241
Mahaffey, J. Q., XL Nobel, Alfred B., 70, 147, 148
Malenkov, Georgi M., 129, 130 Noyes, Newbold Jr., 170, 200
Malik, Yacov A., 117
Manning, Reginald W. (Reg), XXXV, 115, 116, Oakes, John B., XLI, XLIH
117,118 O'Brien, Robert L., 8, 58
Mao Tse-tung, 177 O'Connell, John M. Jr., XXXV
Marlette, Doug(las) N., XLEX, LVIII, 257, 258, Ogden, Michael J., XL
259, 260 Ogden, Rollo, 58
Marshall, George C., 113, 134 Oliphant, Patrick B., XLIV, XLVI, XLIX, 175,
Marshall, Jonathan, LIU 176, 177, 178
Marvin, Dwight, XXVI Opotowsky, Mel, LVII
Mason, Robert, XLVI Oppenberg, Dietrich, V
Mauldin, William H. (Bill), XXXII, XL, XLI, Orr, Carey, XXV, XL, LXVIII, 139, 153, 154,
XLIV, XLVI, 91, 92, 93, 94, 147, 148, 149, 155, 156
150 Orr, Frank F., XL, XLIX
Maurice, John D., XLIH Osrin, Raymond H., XLIV, XLVI
Maxwell, William D., 152, 170 Ottaway, James H. Jr., LIII
McAnney, Burnett O., XXXVHJ
McCrohon, Maxwell, XLVIII Packer, Fred L., XXXV, 119, 120, 121, 122
McCutcheon, John T., XXVII, LXVffl, 41, 42, Paddock, Stuart R. Jr., XLVI
43,44 Page, Clarence, LXI
McGill, William J., 200 Pakenham, Michael, LVIII
McKelway, Benjamin, 152 Palmer, Andrea A., VI
McKnight, Colbert A., XL Palmer, Robert N., XXXVIII
McKnight, Felix R., XXXV Pannwitt, Fred J., XXXII
McNutt, Paul V., 89 Parks, Rosa, 180
Meany, George, 196 Pasternak, Boris L., 148
Meese, Edwin, 250 Patterson, Eugene C., LVIII
Messner, Eimer R., XXXI Patterson, Grove, XXVII
303
Paulson, H. D., XXXV Reagan, Ronald, Lin, 231, 234, 235, 236, 237,
Payne, Eugene G., XLm, XLIV, XLVI, 179, 238, 239, 240, 242, 243, 246, 247, 250, 251,
180, 181,182 256, 259, 265, 266, 268, 272, 292
Payne, Henry, LVIII Reeves, Gart C. Sr., XLIX
Payne, Philip A., XXIV Reston, James B., 200
Pease, Lute C. Jr., XXIX, XXXIV, 107, 108, Risser, James V., LXVII
109, 110 Roberts, Edwin A. Jr., LVII
Pederson, Rena, LIX, LXVn Robinson, Don W., LXIII
Pepper, William M. Jr., XXXV, XXXVII Robinson, Jackie, 262
Perot, Ross, 279 Robinson, William B., XL
Perry, Stuart H., 58 Rodin, Auguste, 144
Peters, Michael B. (Mike), LI, LHI, LVII, 229, Roe [recte: McCorvey, Norma], 260
230,231,232 Rolph, James Jr., 51
Peterson, Frederick, 10 Romero, Oscar A. (Archbishop), 235
Pett, Joel, LIX Roosevelt, Franklin D., 52, 88, 89, 292
Pew, Marien E., 58 Roosevelt, Theodore, LXVIII, 32, 87
Pfister, Walter!., XXXVII Ropeik, Arnold, LVI
Phillippi, Wendell C., XLVI, XLIX Rosenfeld, Harry M., LXIV
Phillips, Warren H., XLHI Rosenthal, Abraham M., XLVIJ.I
Pilgrim, Jonathan W., VI Rowan, Carl T., XLVffl
Pitkin, Walter Β., ΧΧΠ, ΧΧΙΠ, XXIV, XXV, Rowe, Sandra M., LXVII
XXVI, XXVII Rowlands, Sherry, 295
Pletcher, Eldon, XXXV Royster, Vermont C., XLI, 200
Poinier, Arthur, XL Rudd, Arthur S., ΧΧΧΠ
Poor, Henry V., 17, 131 Rudolph, Eric, 296
Popham, John N., XLI Rugaber, Walter, LXVH
Powell, Wickliffe R., LXUJ Rukeyser, Merryle S., XXVI
Pratt, Newton, ΧΧΧΠ, XXXVJII, XL, 151 Rupp, George, LXVII
Pride, C. Michael, LXI Russell, Bruce A., XXXIII, XXXV, XXXVII, 95,
Pringle, Henry F., XXVII 96, 97, 98
Pulitzer, Joseph, V, VI, XXI, ΧΧΠ, ΧΧΙΠ, XXIV, Ryon, Sue, LXIV
xxv, xxvi, xxvn, xxvm, xxix, xxx,
XXXI, ΧΧΧΠ, ΧΧΧΙΠ, XXXIV, XXXV, Satire, William, LXVII
XXXVI, XXXVII, XXXVm, XXXIX, XL, Sanders, William W., XLVIII, XLIX
XLI, XLIV, XLVI, XLVII, XLVm. XLIX, Sargent, Ben, LIU, 233, 234, 235, 236
LI, Lffl, LVI, LVn, LVffl, LEX, LXI, LXIII, Sargent, Dwight E., XL
LXIV, LXVI, LXVn, LXVm, 2, 3, 7, 9, 13, Sargent, Wayne, LVII
17, 21, 25, 29, 33, 37, 41, 45, 49, 53, 57, 59, Schacht, Hjalmar, 36
63, 67, 71, 75, 79, 83, 87, 91, 95, 99, 103, Schuster, M. Lincoln, XXVII
107, 111, 115, 119, 123, 127, 131, 135, 139, Scopes, John C., 20
143, 147, 151, 153, 157, 161, 165, 168, 169, Scott, Olive R., 123
171, 175, 179, 183, 187, 191, 195, 199, 201, Seaton, Edward, LXVII
205, 209, 213, 217, 221, 225, 229, 233, 237, Secord, Richard, 259
241, 245, 249, 253, 257, 261, 265, 269, 273, Seib, Charles B., XLVI
277,281,285,289,293 Seltzer, Louis B., 152, 170
Pulitzer, Joseph (Π), XXXVIJ, 8, 58 Shanahan, Eileen, XLVIII
Pulitzer, Joseph Jr., ΧΧΠ, ΧΧΠΙ, 152, 170, 200 Shanks, Bruce M., XXXVIII, XLIV, 143, 144,
Pulitzer, Michael E., LI 145, 146
Pulitzer, Ralph, 8, 58 Shelton, William T., XLVI
Shiner, Josette, LXIV
Quinn, John C., XLVI Shoemaker, Vaughn, XXX, XXXI, XXXII,
XXXTV, XXXV, XL, LXVIII, 63, 64, 65,
Rabin, Yitzak, 283 66,99, 100,101,102
Rail, Ted, LXIV Simons, Howard, LVI
Ramirez, Michael P., LXm, 281, 282, 283, 284 Sirica, John J., 204
Raspberry, William J., XLEX Small, Jean A., LI, LIII
Rattray, Everett T., XLVI Smallsreed, George A. Sr., XXXVII
Ray, Silvey J., XXXII Smith, Dorman H., XXXII
304
Snider, William D., XLIX Vendler, Helen, LXVII
Spencer, Dick (III), 2 Volstead, Andrew J., 19
Spenkelink, John, 226, 227
Sprengel, Monika, VI Wade, Henry, 260
Squires, James D., LIV Walker, Joel H., LI
Stalin, Joseph V., 39, 88, 109, 127, 128, 129, 130 Walker, William O., XLVII
Stampone, John, XXXVIII Walters, Basil L., XXXIV
Stayskal, Wayne, XLIX Warhol, Andy, 252
Steiger, Paul, LXVII Warren, L. D., XXXVII
Sterner, Albert, 75 Warren, William S., XXX
Steven, William P., XL Warthun, Nicole, VI
Stevens, Robert, XLIV Washington, George, 111, 197
Stevenson, E. Robert, XXV Webster, Harold T., XXXII
Stone, Melville E., 8 Weiss, Murray M., LIII
Stone, Walker, XXXIV Werner, Charles G., XXX, XXXII, XXXIV, XLI,
Strohmeyer, John, XLIII 67, 68, 69, 70
Summers, William, XXXII Werner, John M., LI
Sweets, Melba A., LI White, Barbara C., LIII
Szep, Paul M., XLVI, XLVIII, XLIX, LI, LIII, Wilder, Donald C., XLVI
201, 202, 203, 204, 213, 214, 215, 216 Wilkinson, Signe, LXI, 273, 274, 275, 276
Wilson, Jean G., LXIII
Taft, William H., 108 Wilson, T. Woodrow, 14
Talburt, Harold M., XXVII, XXX, 45,46, 47,48 Winer, Linda, LIII
Taylor, Jean S., LI Winship, Thomas, XLIII, LXI
Temple, Keith, XXXII Winter, William L., LXI
Thelen, Gil, LXIV Woestendiek, William J., XLVIII
Thorndike, Ashley H., XXII, XXIII, XXIV Wolff, Miles H., XL
Thurber, James, LEX Wright, Dick, LIV
Tiner, Stanley R„ LXI Wright, Don C., XLIII, XLVI, XLIX, LI, LIII,
Toles, Thomas G. (Tom), LVI, LIX, LXIV, 265, LIV, LVI, LVIII, LXI, 171, 172, 173, 174,
266, 267, 268 225, 226, 227, 228
Topping, Seymour, VI, LIII, LXVI, LXVII Wycliff, Noel D., LXIV
Trimble, Vance H., XLVI
Trudeau, Garry, XLVIII, XLIX, LIX, 205, 206, Yarbrough, Marilyn, LXVII
207, 208 York, Robert, XXX, XXXVII, XXXVIII, 135,
Truman, Harry S., 108, 110, 111, 112, 113, 119, 136, 137, 138
121, 122 Young, Brigham, 277
Young, Owen D., 35
Valtman, Edmund S., XXXVIII, XL, XLI, 157,
158, 159, 160 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
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Part C: Nonfiction Literature

Vol.7 AMERICAN HISTORY AWARDS 1917-1991
From Colonial Settlements to the Civil Rights Movement
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306
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From the lucky Discoverer of America to an unfortunate
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Vol.10 NOVEL / FICTION AWARDS 1917-1994
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to Ernest Hemingway and John Updike
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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
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All exhibits mrlmti^g prize-winning exhibits become the property of Columbia University. If a special request is made in
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The Pulitzer Prize Board

George Rupp. President RccaPederson
Cofumbia University Vice Preedent/Editonal Page Editor
Andrew Barnes
Editor, President and C.E.O. Junes V. Kisser, Director
John S. Knight Fellowships,
Louis D. Boccardi
President and Chief Executive Officer Sandra MOD» Rows, Editor
Associated Press TttOnymat
JohnS. Carton Walter Rugaber, President and Publisher
Editor and Senior Vice President
WiQiam Safire, Columnist
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Edward Seaton, Editor in Chief
Jack Fuller, President TtHbLuJutta (Kan.) Miray
Trib ne Publishing Company Helen Veodler, Porter University Professor
Henry Lou» Gates, Jr. Harvard University
W.E.B. DuBoit Professor of Humanities MarflynYarbrough
Harvard University Professor of Lav
Tom Goldman, Dean University of Norm Carolina
Graduate School of Journalism Seymour Topping, Administrator
v/ilnam D. Ketter Graduate School of Journalism
former Editor and Vice President
T4» Part* Lcgrr. Quincy, Mass. November, 1998

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THE PULITZER PRIZE ARCHIVE

A History and Anthology of

PART E: LIBERAL ARTS

K · G · Säur München 1999

Edited with general and special

K · G · Säur München 1999

Die Deutsche Bibliothek - CIP-Einheitsaufnahme

The Pulitzer prize archive: a history and anthology of award

Vol. 13: PL E. Liberal arts. Editorial cartoon awards 1922 -1997 :

Gedruckt auf säurefreiem Papier

Alle Rechte vorbehalten / All Rigths Strictly Reserved

Cover Design by Manfred Link, München

While preparing this book, we had a completely unexpected reunion with

Pulitzer Prize Office, Professor Seymour Topping and Mr. Edward M.

PRESENTATION PRACTICES OF AWARD-WINNING CARTOONS 1

1922 AWARD: ABOUT PROBLEMS WITHIN THE SOVIET UNION

1923 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE

1924 AWARD: ABOUT AMERICAN PEOPLE AND INSTITUTIONS

1926 AWARD: ABOUT LAW AND ORDER VALUES IN 1925 17

1927 AWARD: ABOUT CONFLICTS AND PROBLEM SOLVING IN 1926 .. 21

1928 AWARD: ABOUT PEACE KEEPING WITH LATIN AMERICAN

1929 AWARD: ABOUT ASPECTS OF THE GRAND OLD PARTY IN 1928 . 29

1930 AWARD: ABOUT WAR DEPTS AND REPARATIONS IN 1929 33

1931 AWARD: ABOUT RUSSIA'S INTERNAL AND EXTERNAL ITEMS

1933 AWARD: ABOUT JAPAN'S QUARRELS AND AGGRESSIONS IN 1932 . 45

1934 AWARD: ABOUT AMERICAN LYNCHING PRACTICES IN 1933 49

1935 AWARD: ABOUT STRIKES AND LABOR ACTIVITIES IN 1934 53

1936 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE

1937 AWARD: ABOUT DANGEROUS EUROPEAN CONDITIONS IN 1936. 59

1938 AWARD: ABOUT ARISING OF WORLD-WIDE CONFLICTS IN 1937 . 63

1940 AWARD: ABOUT BREAKING OUT OF WORLD WAR II IN 1939 71

1941 AWARD: ABOUT GERMANY'S BOMBING OF GREAT BRITAIN

1942 AWARD: ABOUT WAR AND ITS ECONOMIC CONSEQUENCES

1943 AWARD: ABOUT WARTIME COMMUNICATIONS IN 1942 83

1944 AWARD: ABOUT CONDITIONS OF FIGHTING NATIONS IN 1943 .. 87

1946 AWARD: ABOUT SUPER POWERS AFTER THE WAR IN 1945 95

1947 AWARD: ABOUT LIVING COSTS AND STARVATION IN 1946 99

1948 AWARD: ABOUT FEARS OF ANOTHER WORLD WAR IN 1947 103

1949 AWARD: ABOUT INTERNAL AND EXTERNAL U.S. PROBLEMS

1950 AWARD: ABOUT TRUMAN'S ADMINISTRATION AND THE PUBLIC

1952 AWARD: ABOUT PRESIDENT TRUMAN AND THE DOLLAR

1953 AWARD: ABOUT CONSEQUENCES OF THE KOREAN WAR

1955 AWARD: ABOUT EAST-ASIAN ZONES OF CRISIS IN 1954 131

1956 AWARD: ABOUT DEFICITS DURING PROSPERITY TIMES

1958 AWARD: ABOUT SOCIAL AND POLITICAL CONDITIONS IN 1957.. 143

1959 AWARD: ABOUT ACTIVITIES OF THE SOVIET UNION IN 1958 147

1960 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE

1961 AWARD: ABOUT KHRUSHCHEV'S ROLE IN WORLD POLITICS

1962 AWARD: ABOUT INTENTIONS OF SOCIALIST COUNTRIES

1964 AWARD: ABOUT ATTITUDES AND HOPES TOWARD INTEGRA-

1965 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE

1966 AWARD: ABOUT CONFLICT PHANTASIES AND REALITIES

1967 AWARD: ABOUT SOUTH-EAST ASIAN TROUBLE ZONES IN 1966 .. 175

1968 AWARD: ABOUT PRESIDENT JOHNSON AND SENATOR KEN-

1970 AWARD: ABOUT AMERICANS DURING THE VIETNAM WAR

1972 AWARD: ABOUT AMERICAN POLITICS AND ECONOMY IN 1971 .. 195

1973 AWARD: ABOUT THE DECISION TO WITHHOLD THE PRIZE

1974 AWARD: ABOUT WATERGATE AND ITS FOLLOW-UP IN 1973 201

1976 AWARD: ABOUT FOREIGN COUNTRIES AND DOMESTIC ISSUES

1977 AWARD: ABOUT FACETS OF THE PRESIDENTIAL CAMPAIGN

1978 AWARD: ABOUT TAX QUESTIONS AND ENERGY ASPECTS

1979 AWARD: ABOUT POLITICS AND CAMPAIGN SPENDINGS IN 1978 . 221

1980 AWARD: ABOUT DEATH PENALTY PROBLEMS OF FLORIDA

1982 AWARD: ABOUT WAR RELICTS AND DEFENSE ASPECTS