How does Signe Wilkenson employ Horatian satire in her political cartoons to explore the social injustices in anti-immigration policy in contemporary American society?

In a world where truth often eludes us, satirical cartoons can be used to expose the absurdities in our society. Signe Wilkinson is a political cartoonist who has contributed significantly to political and social commentary through her artwork, she has been drawing cartoons for Philadephia Daily News since 1985 (Signe Wilkinson). Her cartoons involve various characters and visual techniques to tackle a wide range of contemporary issues, she primarily uses Horatian satire which uses humour and wit to "expose and criticise people's follies or vices" (Hasa). Throughout her cartoons, she addresses the absurd and hypocritical aspects surrounding injustices present in the USA like race, abortion, and immigration policies using a satirical tone and humour, thus, raising the line of inquiry "How does Signe Wilkenson employ Horatian satire in her political cartoons to explore the hypocrisy present in social injustices in contemporary American society?". This essay will explore how Signe Wilkinson employs techniques of Horatian satire in her political cartoons to highlight the disparity between American values and historical identity with its restrictive immigration laws in contemporary American society.

Wilkinson effectively employs Horatian satire techniques to shed light on the incongruity between America's historical identity as the land of immigrants and their restrictive immigrant laws. She humorously portrayed Native Americans expressing anti-immigrant sentiments using linguistic features, labelling, and punchlines in Figure 1.

From their accessories and clothing, we see a family of Native Americans standing in an idyllic land with sunshine and bunnies as they watch the Mayflower's arrival. In response, one of them remarks "We should have built a wall". This cartoon presents a satirical reversal of the modern immigration debate in the United States, where Native Americans, the original inhabitants, are depicted as harbouring the same anti-immigrant sentiments that some Americans hold today.

Wilkinson's use of labelling the boat as 'Mayflower' in this cartoon serves to add a layer of historical and cultural context to her satirical message. The 'Mayflower' refers to the ship transporting the Pilgrims to Massachusetts. It draws attention to the history of immigration in the United States of America during the Columbus era. This labelling serves as a reminder that immigration is rooted in the history of the United States, where people from various backgrounds have arrived on these shores seeking a new life. The satirical punchline 'We should have built a wall' cleverly critiques modern anti-immigrant sentiments by suggesting that Native Americans should have adopted a similar stance towards Europeans during the colonial era. When considering the historical context, European colonists "enslaved many of these native people and treated them with extreme violence and brutality," (Lee) and played a significant role in the displacement of the original inhabitants. It showcases the inherent irony in trying to prevent immigration when the USA has been built on immigration, often at the expense of indigenous communities. In doing so, she criticises Americans who support strict immigration policies today. Wilkinson's use of horatian satire and historical context in this cartoon highlights the need for a more compassionate approach to immigration, reminding viewers of the shared immigrant heritage of the United States.

Along with acknowledging the nation's past, Wilkinson uses an iconic symbol to emphasise the discord between American values and anti-immigrant sentiment, underscoring the need to examine the consequences of divisive immigration rhetoric on the nation's core principles. Figure 2 references a moment in a campaign rally in July 2019 where President Donald Trump sparked controversy by suggesting four Democratic congresswomen should "go back" to their countries, even though three of them were U.S.-born citizens and one had become a citizen as a child. This led to a long chant of "Send her back" by some of Trump's supporters. (The Guardian). In Figure 2,

Wilkenson draws a group of young, Caucasian people who are chanting 'Send her back' while the irritated Statue of Liberty requests 'A one-way ticket to France please'. From the 1880s to 1920s, 14 million immigrants emigrated to the USA through New York (The Immigrant's Statue). During this time, the Statue of Liberty became known as the 'mother of exiles' and acted as a symbol of hope for immigrants seeking opportunities and refuge. Wilkinson utilises visual distortions to depict the Statue of Liberty with an irritated expression to embody the shared frustration of immigrants in the USA and underscores the paradox of a nation built on the dreams and aspirations of immigrants and the current climate of xenophobia. This contrast serves to underline the discrepancy between the values represented by the iconic statue and the actions of some individuals who claim to uphold American values. Trump has exemplified this anti-immigration rhetoric, therefore she uses the letter "T" to label the group of people on the left as Trump supporters and directly connects the racist actions of this group to the Trump administration. Many Trump supporters have often proclaimed their deep love for American values, including freedom and democracy. However, the choir-like 'send her back' chant directly contradicts these values and suggests a rejection of the principles of inclusivity and diversity that the United States has historically stood for. Through the characterisation of the people, she criticises the mob mentality of these Trump supporters who appear joyful singing these xenophobic phrases. The Statue of Liberty requesting "a one-way ticket back to France please" serves as a metaphor for the sentiment that even symbols of freedom feel unwelcome in a climate of anti-immigrant sentiment. By alluding to the Statue's origins, the cartoon underscores the absurdity and hypocrisy of such policies, suggesting that they could ultimately reject not only immigrants but also the very principles on which the United States was built-freedom and opportunity for all. Thus, through satire, Wilkinson exposes the hypocrisy in the anti-immigrant rhetoric and American values.

While the previous two cartoons help emphasise the nation's identity and values, this cartoon underscores the harsh realities of immigration laws in the USA. Wilkenson specifically references an incident following Hurricane Dorian in the Bahamas, where Donald Trump's response was marked by a demand for "totally proper documentation" from Bahamians seeking shelter (Tampa Bay Times). This stance seemingly contradicted the Republican party's reputation for aiming to reduce bureaucratic obstacles, ultimately challenging the notion of Trump as a paragon of compassion. As seen in Figure 3,

the setting is a devastated island where a family of three are seeking refuge. The 'Welcome to the Bahamas' sign indicates it used to be a common tourist destination for US citizens, however, now when they require help, Trump is on a boat asking for 'your papers?". The distressed family of three are depicted in a vulnerable situation where they are wearing torn clothes underscoring their need for refuge and assistance. Trump wishes to declare his 'compassion' through his depiction on the "USS Compassion" boat, symbolising hope for rescue, humanitarianism, and empathy during times of crisis. By choosing the name "Compassion," the cartoonist intentionally invests the vessel with qualities of benevolence, empathy, and humanitarianism. This label implies the boat should represent a sanctuary of care and support in times of crisis, mirroring the highest ideals of American values. Instead of being a symbol of compassion and aid, it becomes an ironic representation of unfulfilled promises and missed opportunities for empathy. This creative juxtaposition underscores the hypocrisy or incongruity between the symbolism of the boat's name and the actions of its "captain," Donald Trump. In this depiction of Trump, he is portrayed with a glaring, angry expression which reinforces the cartoon's critique of his administration's immigration policies as being uncompassionate, effectively conveying Trump's stance on the issue. Furthermore, the punchline, "your papers," serves as a commentary on the harsh realities of immigration policies. The family are in a state of complete despair, which makes it impossible for them to provide the documentation Trump demands. These policies fail to consider the real-life emergencies and suffering of those seeking refuge. Through horatian satire techniques, Wilkinson questions the immigration laws to transmit a clear message about the stark contrast between the humanitarian ideals and the harsh realities faced by immigrants.

Through visual and linguistic techniques, Wilkinson ingeniously exudes Horation satire in her cartoons to make her audience question the fairness and equity of these policies. In her larger body of work, she highlights the absurdity of restrictive immigration practices in a nation built on the dreams of immigrants. She challenges us to reconsider the intersection of historical context, iconic symbols, and political rhetoric in shaping our national identity and values. From the European Migrant Crisis and the Mexican-American Border, the debate over immigration and the treatment of newcomers persist as significant topics in society. Wilkinson draws attention to the importance of reevaluating and reconciling American values with the actions taken by the government in the name of immigration control, pushing us to consider whether these policies truly reflect the nation's historical identity and the principles upon which it was built.

"Donald Trump Says 'Bad People' from Storm-Ravaged Bahamas Not Welcome." Tampa Bay Times, www.tampabay.com/hurricane/2019/09/10/donald-trump-says-bad-people-from-storm-ravaged-bahamas-not-welcome/. Accessed 10 Oct. 2023.

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"Trump Rally Crowd Chants 'Send Her Back' after President Attacks Ilhan Omar." The Guardian, Guardian News and Media, 18 July 2019, www.theguardian.com/us-news/2019/jul/17/trump-rally-send-her-back-ilhan-omar. Accessed 06 Oct. 2023.

Wilkinson, Signe. "Political Cartoon: Send Immigrants Back." Https://Www.Inquirer.Com, 15 Aug. 2019, www.inquirer.com/opinion/cartoons/immigration-trump-statue-of-liberty-20190815.html. Accessed 04 Oct. 2023.

Wilkinson, Signe. "Walling Off Immigrants." Https://Www.Inquirer.Com, 2019, www.inquirer.com/opinion/cartoons/walling-off-immigrants-20190113.html. Accessed 04 Oct. 2023.