Abstract
In the space of a single week in March 1951, the Washington Post’s editorial cartoonist Herbert Block, better known by his nom de plume, “Herblock,” received plaudits from two of America’s most prominent liberals. “I have long admired your work,” declared the noted Harvard historian Arthur M. Schlesinger Jr., “both from an artistic point of view and as a cogent expression of political and social liberalism.”¹ Later that same month, Chester Bowles, the former governor of Connecticut, also congratulated Block on the consistent and high-quality nature of his work. “I honestly do not know anyone in the publication field or