Quote of the day: A cartoonist’s Trumpian despair

Edward Sorel, whose marvelous caricatures we first encountered as a teenager in the mid-1960s, is one of the country’s finest political cartoonists.

We first came across his work at a Las Vegas newsstand [remember those?] way back in 1967 in The Realist, that brilliantly subversize zine published by Paul Krassner, which featured both excellent writing and early works by folks who would go on the become one of the nation’s leading political caricaturists.

Few cartoonists captured the insanity of the Vietnam War years better than Sorel, and he’s still drawing away in his incisive and intricate style, and he’s still working away, most notably in Vanity Fair, Harper’s Magazine, Fortune, Forbes, Esquire, Time, American Heritage, and Atlantic Monthly.

Consider, for example, two cartoons, separated by four decades in time, revealing chaotic conditions at 16000 Pennsylvania Avenue as two Republican administrations recording growing internal body counts under the weight of prosecutions and internal dissent.

First up, the White House during the final days of the Nixon administration, as Tricky Dick and his crew go to the mattresses:

And a more contemporary look in the days of the Orange Crusher:

Just for good measure, another offering, capturing the real meaning of Ronald Reagan’s famous “trickle down economics”:

And now for our Quote of the day, from an interview by Henry Chamberlain in Comics Grinder:

I can’t cope with Donald Trump. I haven’t done political cartooning in a number of years. I can’t deal with him. With all other presidents, you could make fun of their hypocrisy and have fun with them. But Mr. Trump is kind of crazy. And he’s dangerous. He’s cruel. Making fun of him doesn’t seem what’s called for. It’s trivializing him. He shouldn’t be trivialized. He’s really a danger. People are really scared. They wake up with Donald Trump on their mind and they go to bed with him on their mind. He’s a heavy presence in our lives now. I don’t know how to deal with that.


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