Cartoons

A cartoon is doing the rounds online, critiquing American isolationism and the reluctance to engage with the war in Europe. It lampoons the head-in-the-sand myopia of the America First movement – and feels highly relevant today. But this cartoon isn’t new; it is from 1941. And its targets aren’t Donald Trump and J.D. Vance, but Charles Lindbergh and Joseph Kennedy. The cartoon, while acerbic, has a cosy, familiar quality reminiscent of children’s books – for good reason. It was drawn by Dr Seuss.   He was particularly critical of Lindbergh – an aviator hero, appeaser and possible Nazi sympathiser Long before the Cat donned his Hat and the Grinch stole Christmas,

Georges Remi, better known as Hergé, the creator of Tintin, was a failed journalist. His first job after leaving school was on a Brussels newspaper, Le Vingtième Siècle, but boringly in the subscriptions department. His mind was set on becoming a top foreign correspondent like some of the leading names of the 1920s. Having failed to join the ranks of renowned reporters, Hergé had created one in Tintin He really had started on the bottom rung, for subscriptions were located in the basement of the newspaper building. At every opportunity he would migrate upstairs, to the busy newsroom and especially to the cuttings library, where he discovered the world at

Laughter has always been a coping mechanism for dealing with war. Some of this country’s most memorable cartoons have been born out of conflict. Think of Gillray’s ‘Plumb-Pudding in Danger’, Bairnsfather’s ‘Well, if you knows of a better ’ole, go to it’ or Low’s ‘Very well, alone’ – they are the quintessential images that defined the Napoleonic, first and second world wars. War didn’t stop cartoonists in the thick of the action from making light of their circumstances. Bruce Bairnsfather, a young officer who began sending jokes to the Bystander in 1915, was invalided out of Belgium suffering from shell-shock, but continued to draw. His work was initially dubbed ‘vulgar

Of the many challenges cartoonists face — rejection, money, drink, or lack of — one of the trickiest is the growing pressure to depict diversity. Nowadays readers often write to publications complaining about the dearth of ethnic minorities in our drawings and demand for cartoons to be more inclusive. It’s like being trapped in a bad political cartoon, walking a tightrope above a minefield. A quick survey of my colleagues in the Professional Cartoonists’ Organisation highlighted the following: Cartoons involve laughing at someone. If that person is black, you risk appearing racist; even including a BAME character in the background of drawing can lead to accusations of tokenism (‘background box-tickers’).

I am having very little success in getting my collection of cartoons of great religious founders published. Perhaps it is because I am not known as a draughtsman and publications are notoriously conservative in hiring new talent. It is all very dispiriting. My drawings are, I think, puckish and yet respectful. For example, there is one of the Ethiopian emperor Haile Selassie, the man somehow regarded as divine by Rastafarians. He is depicted in a game of ten-pin bowling with Benito Mussolini, the controversial former leader of Italy. Both men seem to be enjoying themselves — Benito is holding a pint of lager while Selassie is biting into an almond

Eighty years ago this month, the cartoonist Graham Laidler — better known as Pont — died of polio. He contracted the disease while evacuating refugees from London in his car. He was only 32. In 1940, thousands of people were dying in the war, but Pont’s death was marked by an appreciation from J.B. Priestley in the Times, and an outpouring of grief in readers’ letters to the magazine with which he had become synonymous: Punch. Pont, the son of a successful painter and decorator, originally trained as an architect. But after he caught TB, doctors advised him to abandon his work and travel to Austria to recover. There he

Corona mysteries Sir: John Lee highlights the issue of dying of seasonal flu vs dying of coronavirus when assessing attributable deaths (‘The corona puzzle’, 28 March). The obvious solution would be a high autopsy rate. However, autopsies on known or suspected coronavirus deaths are not being done in case they lead to mortuary technologists and pathologists becoming infected. (Tuberculosis, HIV and even rabies infections are easier to prevent in mortuary work than coronavirus.) This contributes to a lack of information about how coronavirus affects people. In the long term, it also seems unlikely that anatomical examination of the dead will revert to its pre-coronavirus autopsy rate of 17 per cent

A cartoon caption is a work of art. It is a sitcom in miniature — but whereas a situation comedy might take half an hour to reach its punchline, a cartoon caption has to do so in seconds. Cartoonists toil endlessly, revising and rephrasing, to perfect a caption. There are rules. The funniest word has to appear at the end. The caption has to be a balance between anticipation and delivery. The line has to be succinct and the rhythm has to be right — clumsy phrasing can ruin an otherwise strong comic idea. In 2006 a blogger called Charles Lavoie wrote that every New Yorker cartoon could be captioned