By New Left Review
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Extra info for New Left Review 2 (1960)
That leaves Carol, of course, who’s probably an earner and, above all, Father. What Father exactly does, I’ve not been able to discover: I imagine he’s by now the owner of a biggish business (garage? contracting? ) and, if so, not in fact, technically, ‘working- class’ any more. One must visualise, at any rate, an annual income of at least about £3,000 (tax free—or fiddled). ) The case of the Appleby family is even more mysterious. We know George is a prosperous salesman (though not of what), which might mean, with expense account and bonuses (both frequently referred to in the cartoons), a maximum of around £2,500 a year before tax (about which George and Gaye are almost neurotically conscientious).
Dublin is crowded with worn, heroic-faced women, the ‘shawlies’ who assemble like a tattered amazon legion of long ago in the snugs of the Liffey pubs and the nostalgic caverns of the Daisy Market. (Opposite left) In the heart of O’Casey’s Dublin, children in St. George’s Place off Mountjoy Square. The only thing he would have against an artist, Brendan Behan (right) would say, would not be whether he was abstract or fughing realist but if he was fughing illiterate or teetotal. 37 In tense dour Belfast, the slogans of years gone were still a living legend.
Appleby was, I think, an Express ‘discovery’, but the enlistment of Lancaster for his strategically placed (front page) but minute (‘pocket cartoon’) daily drawing, was a master-stroke. The fact is, that for pure visual ‘presentation’, the Express remains unbeatable; and their team of cartoonists (among whom I’d also like to praise their sports artist, Roy Ullyett—though, for our present purposes, he and his sparrow scarcely constitute a ‘family’) is the best there is by far today in England. As for the text which, in its accidental, accessory way, accompanies this galaxy of photographic and cartoonist talent in the Express, one can perhaps only say that its matter is so pre-digested and regurgitated, and its purely technical lay-out so unfailingly effective, that it constitutes a sort of visual appendage to the art work proper: and one of no intellectual content whatsoever.