The first career-spanning volume of the work of two-time Pulitzer Prize winning cartoonist Bill Mauldin, featuring comic art from World War II, Korea, Vietnam and Operation Desert Storm, along with a half-century of graphic commentary on civil rights, free speech, the Cold War, and other issues. Army sergeant William Henry "Bill" Mauldin shot to fame during World War II with his grim and gritty "Willie & Joe" cartoons, which gave readers of Stars & Stripes and hundreds of home-front newspapers a glimpse of the war from the foxholes of Europe. Lesser known are Mauldin's second and even third acts as one of America's premier political cartoonists from the last half of the twentieth century, when he traveled to Korea and Vietnam; Israel and Saudi Arabia; Oxford, Mississippi, and Washington, D.C.; covering war and peace, civil rights and the Great Society, Nixon and the Middle East. He especially kept close track of American military power, its use and abuse, and the men and women who served in uniform. Now, for the first time, his entire career is explored in this illustrated single volume, featuring selections from Chicago's Pritzker Military Museum & Library.Edited by Mauldin's biographer, Todd DePastino, and featuring 150 images, Drawing Fire: The Editorial Cartoons of Bill Mauldin includes illuminating essays exploring all facets of Mauldin's career by Tom Brokaw, Cord A. Scott, G. Kurt Piehler, and Christina Knopf.

This is a collection of editorial and political cartoons focused on the highs and lows of the Chicago and Illinois politics that produced both the first African American president and a string of corrupt gubernatorial administrations.

Willie & Joe: Back Home brilliantly chronicles the struggles and disillusionments of these early post-WWII years and, in doing so, tells Bill Mauldin’s own extraordinary story of his journey home to a wife he barely knew and a son he had only seen in pictures. The drawings capture the texture and feel, the warp and woof, of this confusing time: the ubiquitous hats and cigarettes, the domestic rubs, the rising fear of another war, and new conflicts over Civil Rights, civil liberties, and free speech. This second volume of Fantagraphics’ series reprinting Mauldin’s greatest work identifies and restores the dozens of cartoons censored by Mauldin’s syndicate for their attacks on racial segregation and McCarthy-style “witch hunts.” Mauldin pleaded with his syndicate to let him out of his contract so that he could return to the simple quiet life so desired by Willie & Joe. The syndicate refused, so Mauldin did battle, as always, through pen and ink.

"Thomas Nast (1840-1902), the founding father of American political cartooning, is perhaps best known for his cartoons portraying political parties as the Democratic donkey and the Republican elephant. Nast's legacy also includes a trove of other political cartoons, his successful attack on the machine politics of Tammany Hall in 1871, and his wildly popular illustrations of Santa Claus for Harper's Weekly magazine. In this thoroughgoing and lively biography, Fiona Deans Halloran interprets his work, explores his motivations and ideals, and illuminates the lasting legacy of Nast's work on American political culture"--

This book is a brilliant collection of cartoons from Britain, the United States, Germany, and Russia. It contains the work of all of World War II's greatest cartoonists, including Bill Mauldin, Fougasse, Emett, David Langdon, and Graham Laidler.

In Fantagraphics’ ceaseless effort to rediscover every world-class cartoonist in the history of the medium, we turn your attention to a neglected part of the art form—sports cartooning—and to its greatest practitioner—Willard Mullin. The years 1930-1970 were the Golden Age of both American sports and American comic strips, when giants strode their respective fields—Babe Ruth, Lou Gehrig, and Hank Aaron in one, George (Krazy Kat) Herriman, Milton (Steve Canyon) Caniff, Walt (Pogo) Kelly in the other—and Mullin was there, straddling both fields, recording every major player and event in the mid-20th-century history of baseball. Mullin was to baseball players what Bill Mauldin was to soldiers: advocate and critic, investing them with personality, humanity, dignity, and poignancy; Mauldin had Willie & Joe and Mullin had the Brooklyn Bum, his affectionate 1939 character representing the bedraggled figure of the Brooklyn Dodgers. Willard Mullin’s Golden Age of Baseball: Drawings 1934-1972 collects for the first time Mullin’s best drawings devoted to baseball—depictions of players like Joe DiMaggio, Ted Williams, Yogi Berra, and Sandy Koufax, legendary managers like Casey Stengel and George Steinbrenner, and events like Lou Gehrig’s emotional retirement speech on July 4, 1939, for which Mullin not only drew a portrait but composed a poem (which he often incorporated into his cartoons). Mullin’s fluid line and delicate but vigorous brushwork are shown to beautiful effect, with many drawings reproduced from original art. See why millions of baseball fans from the ’30s to the ’70s looked forward to Mullin’s cartoons in their daily paper.

This book belongs on the reference shelf of anyone interested in the interplay between cartoons, politics, and public opinion. It provides the reader a historic framework in which to understand the cartoons' meaning and significance.

Featuring over 200 illustrations, this book tells the story of American political cartoons. From the colonial period to contemporary cartoonists like Pat Oliphant and Jimmy Margulies, this title highlights these artists' uncanny ability to encapsulate the essence of a situation and to steer the public mood with a single drawing.

This Arizona cartoonist and illustrator of Arizona Humoresque has been published in Saturday Evening Post, Collierï s, and others.

In 1965, Gene Basset, a well-known political cartoonist, was sent to Vietnam by his newspaper publishing syndicate. His assignment: to sketch scenes of the increasingly controversial war in order to help the newspaper-reading public better understand the events occurring in Southeast Asia. In much the same way that M.A.S.H. gave viewers an irreverent, wry view of war and its devastating effects on citizens as well as soldiers, Basset’s sketches portray the everyday, often mundane, aspects of wartime with an intimate touch that eases access to the dark subject matter. In this affectionately curated collection, author, doctor, and longtime friend of the artist, Thom Rooke, deftly leads us through more than eighty of Basset’s cartoons, organizing his insights according to the well-known stages of grief, from denial to acceptance, and demonstrating how Basset’s images convey moments of trauma, coping, and healing. From scenes of American GIs haggling with Vietnamese street vendors to a medic dressing the wounds of a wide-eyed soldier, Basset’s endearing sketches and Rooke’s friendly prose humanize life during wartime. The seriocomic vignettes and analyses are delivered with wit, compassion, and subtle charm sure to please academic, artistic, and casual readers alike.