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    Drawing the Line: A Year in Cartoons
    Drawing the Line: A Year in Cartoons
    Drawing the Line: A Year in Cartoons
    Ebook195 pages40 minutes

    Drawing the Line: A Year in Cartoons

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    About this ebook

    All the things which made you laugh, cry and wonder, from the year gone by
    Look back on the year that was through this showcase of the year's best cartoons. Edited by Paul Colgan and David Penberthy of the Punch, this collection features some of the cleverest commentators in the media, including Bill Leak, Warren Brown, Peter Nicholson, Mark Knight and Jon Kudelka. Whether it's the antics of the Government and the Opposition, the big social and political issues or the silly story that somehow got under our skin, this book will take you back to its lighter side. the perfect gift for anyone who doesn't take news too seriously.
    LanguageEnglish
    PublisherHarperCollins Publishers Australia
    Release dateDec 1, 2010
    ISBN9780730493938
    Drawing the Line: A Year in Cartoons

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      Book preview

      Drawing the Line - Paul Colgan

      Introduction

      Acartoonist who, for legal reasons, cannot yet be named, had his work place raided by Australian Federal Police late last week.

      The officer in charge of the operation confirmed that an impressive cache of weaponry had been discovered on the premises, all of which had the potential to cause great harm and embarrassment to our political leaders.

      The arsenal included large amounts of wit, cynicism, ridicule and imagination as well as a collection of subversive texts by, amongst others, the likes of Mark Twain, Ambrose Bierce, H. L. Mencken, Henry Root, Paul Kelly, Simon Benson and Leigh Sales. Pencils, felt-tipped pens, reams of blank sheets of paper, bottles of ink in various hues and a boxful of GPO-issue pen nibs (outlawed under the Dangerous Stationery Act since the creation of Australia Post in 1975) with a street value of between eight and twelve dollars were also seized.

      ‘He won’t be able to do much damage without this lot,’ a police spokesman intoned. ‘The pen is mightier than the sword? My arse!’ he added.

      The spokesman, whose arse has since become a favourite target for cartoonists across the nation, is currently seeking compensation through the courts on the grounds he is a fitness fanatic whose ‘glutes’ bear no resemblance whatsoever to those ‘flabby, hairy and be-pimpled ones’ as depicted by Warren Brown of the Daily Telegraph, a man he described as ‘a worthless individual, more intent on knocking things down from the bottom up rather than building things up from the bottom down'.

      As cartoonists it’s our job to make life hell for our elected representatives. While ‘keeping the bastards honest’ might have been the catchcry for Don Chipp when the Australian Democrats were formed in 1977, all of Australia’s cartoonists knew instinctively that the job would ultimately fall back to them. Those inside the political process, regardless of their noble ambitions, have to be held in check by those who observe it closely while keeping their distance.

      Our job is to uncover and expose those nuggets of truth that lie behind the press releases and sound bites which pass for political discourse these days. The problem is, the politicians themselves are fighting back and they have an armoury of their own. Our politicians now have ways of making life hell for us, too, and they’re refining their techniques to the point where the once one-sided war is not quite as one-sided as it used to be.

      At the risk of personalising the problem, I confess that, as a kid, I went to a lot of different schools. My parents moved around a lot and I, as a juvenile delinquent, was occasionally prevailed upon to move from one school to another. My biggest problem was that, while I showed no talent whatsoever on the sporting field (rugby league, whether you liked it or not), I showed an unusual ability to play the piano quite well and to draw pictures and paint paintings. I was seen as a boy with ‘artistic tendencies’ and we all know what that means. I was not only regarded with deep suspicion by my classmates but I was considered as ‘deeply suspect’ by their parents as well. As a result, I became a cartoonist. I discovered the joys of caricature and so my cartoons of the teachers in sexual congress with each other became popular – and marketable – products in my high school years. So much so, in fact, that the proceeds of selling the originals enabled me to pay for my first surfboard, an acquisition considered as vital on the northern suburbs of Sydney where, without one, you were regarded as an object of such ridicule that, by contemporary standards, a politician seemed almost beyond reproach, whether he surfed or not.

      I didn’t know it then but, as I was either moved or expelled from one school to another, I was experiencing the training – necessary for all cartoonists – to adapt to a new range of faces to draw. It was for me, unwittingly, the preparation for

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