In the October Storm, from Puck c. 1880

Editor: This lithograph by James A. Wales, “In the October Storm, from Puck,” dates to around 1880. The central figure huddles under an umbrella pieced together from a map of southern states. I'm immediately struck by how critical and satirical it feels. What stands out to you? Curator: Consider the umbrella's construction. Each state is a patch, implying these states, sources of raw materials, are merely stitched together, used and exploited. It emphasizes the Democratic Party's dependence on and perhaps manipulation of these regions for its own economic gains. The retail political stand's 'free trade buns' imply a commercial transaction that diminishes these states, wouldn't you agree? Editor: I do. It's interesting how Wales uses the material of the umbrella, states’ geography, as a representation of political weakness or instability. Curator: Exactly. Look at the "Tariff for Revenue Only" sign; it exposes the intention and exploitation embedded in what appears to be common political interest, hinting at an exclusive use of material—resources and people. Wales draws attention to those complex interactions and power structures inherent within even common materials and systems. Do you notice any commentary on labor here? Editor: Yes, in a way! The figure seems burdened not only by the rain but also by the weight of this constructed dependency. It critiques labor and capital – a sort of personification of the Democratic Party struggling under the weight of a problematic reliance. Curator: Indeed! We began by noting how ‘critical and satirical’ it is. Let's finish by agreeing it's a piece that speaks volumes about the manufacturing of consent. Editor: It really is amazing how examining the materials and context opens up such deeper meanings. I'll never look at political cartoons the same way!