Mustn’t Grumble by Posy Simmonds (1993)

In 1987 cartoonist Posy Simmonds brought down the curtain on the weekly strip cartoon she’d been drawing for the Guardian newspaper and which featured the everyday lives and woes of a gaggle of well-meaning middle-aged, middle-class mums and dads, coloured by a feminist slant on the tribulations of being a stay-at-home mum, or a working mum, or a young woman, or just a woman, in a sexist, man’s world.

The strip focused in particular on the married couple George and Wendy Weber, he an earnest, hunched-over, mustachioed lecturer in sociology at a London polytechnic, she an ex-nurse and harassed mother of six trying to do night school classes, the pair of them united by a commitment to touchy-feely liberal socialism, and vegetarianism and environmentalism. They felt a bit out-dated when they first appeared in the paper in 1977, and they and their world had failed to move with the times, with the triumph of Thatcherism, the unashamed declaration that ‘greed is good’, the ‘Big Bang’ deregulation in the City of London which brought tsunamis of new money coursing through the capital, out into the Home Counties and bought tens of thousands of holiday homes around the countryside, while the Thatcher government did its best to dismantle the post-war welfare state, demonised single mums and welfare scroungers, and huge tranches of heavy industry were denationalised or scrapped.

In 1987 Simmonds axed the Posy strip and concentrated on writing and illustrating children’s books. She continued to do miscellaneous illustrations for the Guardian and other newspapers and magazines. Then in 1992 she returned to the paper with a new strip which lasted a year, chronicling the misadventures of a grumpy, middle-aged, male novelist, J.D. Crouch. (Why, I couldn’t help thinking, does a vehement feminist devote a strip to a man, and a grumpy, middle-aged man at that? Is it because men are more interesting to write about – but surely that’s feminist heresy. Or is it because men, middle-aged grumpy men, are such fun to lambast and satirise?)

This volume, Mustn’t Grumble, brings together that miscellaneous work, plus some of the Crouch series, so feels a bit bitty.

I think the title, Mustn’t Grumble, is ironic. I assume it is an ironic comment on what would nowadays be called the white privilege of most of the characters, who are members of the comfortably-off, London, middle-classes – with a particular focus on Crouch and the London world of writing and publishing – who, despite living what a lot of the rest of the British population would regard as a life of luxury, still manage to be unhappy and find fault with everything.


A calendar from 1988

Simmonds created large-format, monthly cartoons – more illustrated texts – for the Spectator magazine through 1988 and 1989. The calendar format allowed Simmonds to focus on a completely new range of characters, one a month, whose lives are taken to typify the ‘greed is good’ decade as it ended and gave way to the 1900s. Thus:

  • January Miles Upmaster (42) LMX broker at Johnson, Duff, Morant, lives in Parsons green with wife Vanessa and daughters Jojo and Davina
  • February Chloe Banister (37) design consultant at a top Soho consultancy, a house in Dulwich Village with husband Hugo (TV commercials director) and son Jack, who’s down for Westminster.
  • March Jackie Green (29) bed and breakfast landlady, husband’s off work ill, Jackie’s doing lots of jobs to make ends meet and can no longer afford to live in the seaside village of her birth.
  • April Desmond Duff (82) retired engineer and resident of Deddingham Court Rest Home.
  • May Mr Robin Chutney-Darke, a dealer in 18th and 19th century paintings, educated at Eton.
  • June Katie Gilleyman (7) is having a birthday party, which in true bilious Simmonds style, is an opportunity for her to describe the snobbery, hypocrisy and showing off among the various mums.
  • July Tony McVitie and Lorraine, waiting exhausted in the departure lounge for the plane back to England from Malta, where they’ve been on holiday and Lorraine’s lovely long legs got a) sunburnt b) bitten by mosquitoes.
  • August Farmer Hughes facing financial ruin.
  • September Prissie Rugeley, mother of four and wife of a British Army infantry officer stationed in Germany.
  • October James Dalston Crouch (59) fading novelist, is at Euston accompanied by sexy young publicity girl from his publishers, having arrived back from a dismal outing to a book signing in Manchester where only six people turned up.
  • November Simon Sandercock (33) single, company director, rugger player, in blue and white striped tie and bright red braces, what a hoot he is!
  • December A characteristically cynical and downbeat take on Christmas, Simmonds focuses on an ageing failed actor named Gerald, who had high hopes, played a number of roles in provincial theatres and a few sitcoms, and now is reduced to working as Father Christmas in a department store.

What’s striking is how wordy these profiles are, how densely worked-out everyone’s backstory is, as if they are characters in a novel. There’s nothing particularly comic or even entertaining about the characters, except, maybe, the wry smile of recognition which I identified earlier as the prime pleasure from a Posy Simmonds cartoon.

And they’re in colour, full colour, unlike all the Posy strips, attention to colour which will come into its own in the later graphic novels.

Six bounden duties

I had to look up the meaning of this phrase. A ‘bounden duty’ is ‘a responsibility regarded by oneself or others as obligatory’. Each of the six is in the page-sized format of the Posy strips.

  1. Conservation A message from Aubrey Shyte, owner of Grade II listed Rakesham Hall, in which he spouts the usual crap of owners of very big houses which are largely funded from the public purse, and explains why it is necessary to close the public footpath through his deer park.
  2. Numeracy and literacy As if for children, the strip compares the world of Smilies (1st class travel, 1st class service, 2nd homes, 2nd cars, 3 hour lunches etc) and Grumblies (1 parent families, 2nd class citizens, 3rd world conditions etc) i.e. the gleeful rich and the miserable poor. The sentiment is hardly novel, and the tone is bleak and bitter. The entertainment, such as it is, comes in the format and in the satirical use of child-style drawings to convey this bitter truth.
  3. A sense of humour Simmonds parodies a range of different comic styles with dead humourless, depressing, grim content i.e. the first little strip is about the gender wage gap, then how we’re killing the planet with radiation, then the health gap between the rich and the poor, then a working class woman complaining about male chauvinism… Hard to see who this kind of thing is aimed at… Is it preaching to the choir to make them feel more bitter and angry?
  4. Keeping the lines of communication open Middle class parents in the kitchen with a bottle of wine open discussing their awful children, lazing around reading porn all day… while the teenage kids are in the living room saying their parents are grumpy because they’re going through the menopause and mid-life crisis – both teams saying it’s just a phase the others are going through. This just feels bleak and depressing.
  5. Not to change one’s spots A comfortably off middle class family claim they haven’t changed a bit, well, they’ve sold the old C CV and bought a Volvo, sold the bean bags and Che Guevara posters, and built a new conservatory on the back of the house, still running a poster shop which is doing frightfully well, and as to politics it’s not them that’s changed, it’s the Labour Party. — Obviously the point is to show how they have changed out of all recognition from their young adult selves.
  6. To record Some kind of satire on the middle class compulsion to record everything with a camera and on video, with a bit of extra satire / bitterness thrown in at the end saying there are some events too traumatic to be photographed… and that’s when the bloodsucking media step in… Odd, because Posy did of course work most of her life for the bloodsucking media.

The cherry orchard A satire on Londoners and their second homes in the country, cast in the form of a parody of the Chekhov play, with the middle class couple lamenting the fact that the orchard across the road was sold by the farmer to a developer who’s built a bloody great garden centre there! The couple can’t wait to sell up and get back to London.

Hard Times (1992)

As mentioned above, Simmonds returned to the Guardian with a new strip rotating about the failing novelist J.D. Crouch, but giving herself the freedom to feature other ad hoc characters and even – the occasional cameo appearance from the old Weber favourites.

  • Hard times An ironic strip in which reinsurance broker Miles Upmaster gets home and berates his young wife for having friends round, eating expensive food etc, seeing as he’s had no bonus for two years, the firm’s reorganising and he might even be sacked. In the final picture he lies back on an elaborate, swagged and bow-tied four-poster bed and laments how hard his life is.
  • An explanation by J.D. Crouch, Author Crouch explains that the recent interview and photos of him at home with his family are a travesty, that he dislikes his grown-up son and is going through a rough patch with his second wife.

  • Mid-life libido in forward and reverse J.D. Crouch first of all rants to his wife that their son had a pretty young woman over to stay and how dare he use the place as a knocking shop. When his wife puts him right, that they’re not shagging, just friends, he slept on the floor etc, Crouch switches to the polar opposite position and says, Good God, why on earth is his son not knocking off such a fabulous ‘piece’, lovely bum in figure-hugging leather. In other words, Men, eh! Lascivious hypocrites.
  • Mens sana Crouch and his adult son have an argument because the old man is always having epic baths, which triggers a trip down memory lane, remembering all the baths he’s had in all the cheap shitty flats, and how much he cared about Thom Gunn and Suez in the 50s, and Ferlinghetti and Czechoslovakia in the 60s, and the more luxury bath he got when his first novel made it big and was adapted for TV. Now we find Crouch splashing about in a huge jacuzzi!
  • Literary party Crouch tells us about a literary party he went to, giving his version of events in which he nonchalantly sailed through the crowd – but this is counterpointed by sub-titles pointing out what really happened, which is that Crouch barely got close to the people he said he talked to, and nobody was interested in talking to him except a waitress who said she thought her granny liked his stuff. Depressing portrait of a man on the way down.
  • Club ability Crouch’s wife Sophie is invited to his club where a crusty old cigar-smoking bore explains to her why they don’t allow women members and she proceeds to take the mickey, yes, my God, what would happen if women were allowed in to remind men of their child-rearing responsibilities or maybe drinking all alone at the bar or… Feminism = helping middle-class women join exclusive London clubs.
  • Haves and have-nots An idealistic young teacher is trying to teach a junior school class to pretend to be flower buds in the soil which slowly wriggle upwards and burst into the light. One little boy gets it, but when she asks the others to do the same they explain he’s only showing off because he’s got a brand new pair of Nike Air trainers.
  • Lost Eden A Victorian picture of children playing in the street is criticised by do-gooding modern parents, tut tut, they might be knocked down by a lorry or abducted by a paedo… contrasted with a picture of today’s young people, packed inside onto a sofa, eating junk food and watching violent videos on TV.
  • Noises off A well-off middle class woman is in bed with her husband and the can hear the coughing of the vagrant who sleeps in their doorway all night, and she then has an aria describing how awful it is and how awful she and her husband feel, and that’s why they’re double glazing the window so they won’t be able to hear him any more.
  • The vileness of penury Vanessa, blonde wife of reinsurance broker Miles (who we’ve met several times by now) answers the door to her ex-cleaner. Miles has been laid off so they’ve had to sack all their staff and the strip consists of a sequence of speeches in which Vanessa asks the tracksuit-bottomed cleaner to feel sorry for her, now that they’re both in the same boat and all.
  • Common market A stuck-up posh mum walks round a London market lamenting the scruffy way the common fruit and veg are displayed and comparing everything negatively with the simply super markets you get in France (where she, of course, has a second home) – and wonders why all the stall-keepers scowl at her.
  • Insecurity Miles and Vanessa Upmaster (again) she wakes up in the middle of the night (in their wonderfully curtained and beribboned double bed) because she hears something outside and her subsequent fears give a list of all the burglars and criminals a posh white lady can imagine, up to and including the hiss of an ocy-acetylene kit until they realise… it’s the sound of someone having a piss in their doorway.
  • Beneath the ivory tower The life of a writer is a hard one, grinding away, wasting time in all kind of displacement activities. And so grumpy J.D. Crouch goes to the grocers where he buys some peas and some such while listening to customers discussing the ups and downs of Lady Di’s marriage to Prince Charles (they were married on 29 July 1981, during 1992 the book about her by Andrew Morton, plus leaked phone recording revealed their marriage was a sham). Crouch takes a characteristically pompous and high line that he doesn’t read ‘newspapers’ or mucky his fingers with current affairs. Whereas we then see him take the groceries home wrapped in a newspaper which he feverishly unfolds, straightens out and reads.
  • Agony and ecstasy The Webers haven’t completely disappeared. Here George makes a reappearance. An old friend from the poly took early retirement and was irked when, shortly afterwards, the poly upgraded to a university. Now he meets George and colleagues in the pub who set him right about how working conditions are ten times harder, no-one will fund their course, the seminar room is always booked, the students are doing so many other modules they can’t concentrate on your courses, and so on…
  • Object lesson A mum who bears a resemblance to an older, grey-haired Wendy Weber, tries to comfort her daughter who’s convinced she’s fat and ugly, the mum telling her she’s not and she should be glad not to be treated as a ‘sex object’, the result of all the battles her mum and the feminists of her generation fought, and any way she’s bombarded with phone calls from boys. That, mum, the girl is explained, is because I can drive. They want me to be their taxi driver. As she slopes away she sobs, ‘I’d rather be a sex object.’
  • Dating a single parent Man arrives to take a woman on a date. Her little one bursts out crying and needs to be comforted. When she asks the teenage daughter to look after the toddler, the teenager bursts out that mum doesn’t care about her revision or her exams. So they all end up crying in a cuddle, and when the mum eventually extricate herself to go with her date, she looks frazzled. Being a woman is so hard!
  • Coming cleanish Crouch is having an affair with a young woman (do writers do anything else, in Posy Simmonds?) and spends the strip working through different scenarios how to tell his wife, ending up with bottling out and not telling her at all.
  • Acquiring the habit Crouch comes across his teenage children quietly reading books and is astonished and delighted and tells wife Sophie to keep quiet, but she insists they’re a load of old rubbish they found at the jumble sale, full of nauseating stereotypes and their bickering puts the kids off reading so they turn on the TV and get glued to the box.
  • Fireworks At a fireworks party a grandad is arguing with his teenage grand-daughter, complaining about her generations’s pessimism, they’ve never had it so good etc. The mother intervenes to break up the fight but finds both the others turning on her, the grandad saying the 60s generation had it lucky, with an economic boom, growth in higher education, jobs galore, cheap flats, sex on tap thanks to the pill, yes and all before AIDS says the daughter and before you know it, old and young have ganged up on the middle-aged mum. It’s tough being a middle-aged woman!
  • Sunbeam corner A bizarre strip in which a balding middle-aged man conducts a smiling exercise, in order to keep optimistic, although the words underneath spell the grim news headlines of the day (Maastricht, wages freeze, subsidiarity, British steel, Downing Street, Public spending freeze, Price increases etc.
  • We’re dreaming of a white Christmas Aubrey Shyte, the pompous rich landowner, has become a real hate figure for Simmonds, and leads this hypocritical rendering of ‘White Christmas’, against the backdrop of a dingy, rundown street somewhere in London with a couple of homeless people sleeping in doorways, until the snow covers up the homeless and the street looks remarkably scenic and festive. God, Simmonds hates Christmas! Of the ten or so Christmas cartoons she’s done, all are dyspeptic.

A calendar from 1989

Another series of page-large pieces, each featuring a person of the month, described in immense wordy detail and accompanied by a full-scale, colour cartoon, with a spattering of other smaller ones illustrating the text.

  • Janvier Mme Rutherford, harassed French teacher, two young children in daycare, husband works at a garden centre, worn down with stress by the horrible kids, growing class sizes, LEA cuts so she has to cover other teacher’s lessons, and soon. God, it’s hard being a woman (teacher).
  • February Conversation among a gaggle of middle-aged men and women attending a health spa in the country, ending with the sort of comedy that they sneak out to scoff a packet of Maltesers in the car park.
  • March A soliloquy from Australian dentist Warren McMurdo moaning about the bad state posh patient Simon Sandercock arrives in.
  • April Rachel (14) on her horse Sultan, at this year’s First Gashford Hunt.
  • May Dido is 18 from Haverstock Hill and at a super private school.
  • June Etiquette for the new landed gentry: Dealing with trespassers i.e. if you’re nouveau riche and bought a whopping house in the country you need to clear trespassers off your land but be damned certain they’re oiks and walkers, and not other members of the gentry who you need to keep buttered up.
  • July Gillian Button (25) with a first in French and Drama, is now a PA at the BBC, and a surprisingly heavy smoker.
  • August Clive Troutley (37) a golf addict.
  • September When harassed housewife Pippa gets to W in the alphabet book she’s reading her kids, she realises everything named in it is either a health hazard or threatened with extinction (panda, whale etc). Depressing.
  • October Adam Nubleigh (27) went to a North London comprehensive but dresses and sounds as if he went to a posh private school and flogs fake antique furniture to the over-rich.
  • November Posh Naomi Padfield is a big opera fan. She is given a soliloquy about how she’s driven up to Covent Garden from Beaconsfield despite the beastly traffic on the M40.
  • December Colin Cockley is managing director of Retouché Studios, here he is at the firm’s Christmas party.

Note:

  1. how everyone is white, heterosexual and all are either Londoners or from the sunny Home Counties. Black, Asian or immigrant experience, lower-middle or working-class experience, are things beyond Simmonds’s ken and which she therefore, wisely, avoids.
  2. The use of rich deep colouring.
  3. The very heavy use of text. At least half, sometimes more, of the space is text. There’s little funny or amusing about these caricatures, but a great deal of effort has gone into thinking through each of the characters’ backstories.

Bumping along the bottom

Being a further set of the weekly strips Simmonds devoted to failing novelist J.D. Crouch, with appearances from other characters, and a few cameo appearances from our old friends George and Wendy Weber.

Does ‘bumping along the bottom’ refer solely to Crouch, or to the entire middle class which was hit hard by the recession of 1991-2?

  • Bumping along the bottom Miles Upmaster, who we’ve met a number of times, is now officially unemployed and trying to sell his house, reduced to scrubbing and cleaning it and then keeping his temper while prospective buyers walk round it poking and prying.
  • Scene from a literary life J.D. Crouch takes his dog for a walk on the common and, noticing people stopping and staring, egotistically assumes because he was on TV last night doing an interview. Simmonds gives him plenty of room to preen and swank before pulling back to reveal that all this time his dog is being shagged by another dog. That’s why people are staring and pointing.
  • Missing persons Canvassers for political parties are shown working their way along a busy road of suburban houses, and the inhabitants making all kinds of excuses for not speaking to them. Only at the end does one of the frustrated canvassers explain they’re all dodging the poll tax (which required that you had to register to pay the council tax in order to get on the electoral register. An estimated million people preferred to have no vote and so avoid paying the tax).
  • Election fever A satire on the Crouch household getting ‘election fever’, told from the point of view of the wife, Sophie, who feels dizzy and nauseous for three weeks (being a Labour voter) compared to grumpy old Crouch the novelist who votes Conservative (Why? ‘Because of my wallet’), the strip follows through election night when, contrary to all the opinion polls, the Conservatives under John Major returned to power (9 April 1992).
  • Tired old sociologist George Weber sits, alone and alienated, in a shopping centre and marvels that people are still continuing on the same mindless consumerism which characterised the 1980s, despite the economic crash, unemployment, bankruptcies and so on. His musings are transformed into those of a naturalist studying the great herds of the African savannah.
  • Topped balls Crouch is trying to get membership of an exclusive golf club but his attempts are ruined by his wife, Sophie, who insists on coming along, bring the two small children and picking mushrooms.
  • Spot the difference Using the split screen or binary technique she’s used elsewhere, Simmonds contrasts the fortunes of a dealer in oil paintings and watercolours at their 1988 ‘view’ and the same event four years later in 1992 i.e. at the 1992 view, he can’t afford canapés, the wine is cheap and nobody is buying.

  • Terminal belly ache Waiting at the airport department lounge with his wife and children, Crouch volunteers to go and get a magazine for his wife to read. When he returns after some delay he is in a filthy mood, complaining about the junk people watch and read and eat and drink. Wife Sophie knows what this means. He didn’t find a copy of one his books in the bookstall.
  • Déjeuner sur le patio A simply lovely English middle-class couple lament that their simple holiday hideaway in rural France has been ruined by all kinds of pollution (from the septic tank, the chlorine in the swimming pool, the copper sulphate they spray the vines with), there seem to be endless repairs, snarling dogs if you go for a walk and they’re the only ones in the village who didn’t vote for Le Pen. God how they wish they could return to the simple life in London!
  • Old rose-tinted spectacles Two big pictures contrasting Then and Now. Once, grown-up folk cast friendly eyes on children… Now they’re scared of them.

Old rose-tinted spectacles by Posy Simmonds (1993)

  • One man’s meat A middle-class couple agonise about what to take to their kids’ school’s International Picnic to represent British cuisine. Everything they think of (bacon, ham, sausage rolls, pork pies) will offend one or other religious or cultural sensitivity.
  • The brood Seems to be the Weber family’s kitchen in which are Wendy Weber, now that much older and with grey hair, talking to her married daughter Belinda, who appears to have had a baby, and the eldest daughter Sophie. Sophie’s thinking about having a baby and has seen something on the telly about how over-50s can be fertilised. Belinda and Sophie both think that’s gross and, more to the point, both think Wendy should be investing her time and savings in them and their babies.
  • P.C. PC 43 A heavy-handed satire about a police constable who uses only politically correct language e.g. referring to the homeless as ‘the involuntarily undomiciled’.
  • A lecture Crouch is invited ‘all the way out here’ to the polytechnic where George Weber works to deliver a lecture. Now, afterwards, George is accompanying him to the train station. Initially Crouch complains about the poor attendance and the bad food and the crappy wine and slowly George – an older, grey-haired George Weber – turns the tables and starts to lecture Crouch about how hard it is trying to keep an underfunded university lit and working despite not having the advantage of fancy-ancy Oxbridge colleges.
  • Sour grapes of wrath Crouch is at a book signing and seethes with jealousy because no one is asking for his signature but crowds are flocking around comedian Nigel Doyle and working mum and TV presenter Denni Welch. His loathing bursts out into muttered insults and abuse with his PR people telling him this isn’t going to persuade people to come over. This struck me as sad, not funny and is, I think, the third book signing strip we’ve seen.
  • The perfect present As usual, Christmas brings out the bilious, cynical and bad-tempered in Posy Simmonds, as she describes the tribulations of a young woman who has become the girlfriend of a married man who left his wife for her. This Christmas the ex-wife is holidaying with her lover in Luxor and the girlfriend knows that, whatever she buys and no matter how much effort she goes to, her boyfriend’s kids will vent all their rage and anger at their parents’ break-up onto her.
  • I’m dreaming of… Packed with resonance for fans of the Posy strip, this shows Belinda, eldest daughter of George and Wendy Weber, now married to her banker, (options trader) Alistair Razor-Dorke and director of her own upmarket catering company, as they ponder whether to spend Christmas with her parents (George and Wendy in their poky terrace conversion) listening to them moan against the government, or with his parents (frightfully posh but live in a draughty old country house and will serve posh but decrepit old food) – or stay in their swish two-bedroom, waterfront, duplex apartment, hmmm, it’s not a difficult decision.
  • I’m dreaming of… Reappearance of the appalling alcoholic Edmund Heep who rings work to say he’s too sick to come in and describes the night before when he went on a pub crawl with a friend, downing an appalling amount of booze, nearly getting into a fight with skinheads before stumbling into a late night caff and ordering scrambled eggs. Now he is claiming it was the eggs, the eggs that made him ill.
  • Christmas: The adoration of the general public As usual, Simmonds’s take on Christmas is jaundiced and cynical. Her Christmas strip for 1988 consisted of one large cartoon showing two sides of Christmas (this binary juxtaposition of past and present or idealised and actual, is an extremely common device). On the left we see the crib with the baby Jesus in it and Mary worshiping surrounded by angels, in the style of a Renaissance painting. On the right we see the identical stable but in this one Father Christmas is doling out presents to excited kiddies whose parents are queueing up in front, under the watchful eye of a security guard with walkie-talkie. There is a comic touch in that many of the mums and dads are saying ‘aaah’ at the religious scene, but the security guard is saying into his walkie-talkie ‘aaah… over.’

The end of January 1989

Once again, this is done in a calendar format, with one strip for every month of the year. I didn’t understand why they’re titled ‘The end of…’ January, February etc. The pictures are smaller than ever and overwhelmed with explanatory text, which sometimes begin to read like short stories.

  • The end of January A wordy sequence explaining the career of Kevin Penwallet, once an anthropology lecturer who quite working at the same polytechnic as George Weber to set up a shop in the sweet Cornish?) seaside village of Tresoddit. He started with health foods in 1979, but was forced to bend to prevailing commercialism and in 1989 turned it into Ye Olde Gift Shoppe full of twee knick-knacks before, in 1988, turning it into an upmarket delicatessen catering to the ever-increasing numbers of wealthy Londoners, to a chorus of disapproval from the locals, and from his old friend George Weber who accuses him of ‘collaboration with the consuming interests of the over-rewarded.’
  • The end of February George Weber is appalled by the mother’s day cards his daughters are browsing and points out to Wendy that they all present reassuring images of motherhood, mostly from the 19th century, and this is because we, as a society, are traumatised and sacred of numerous new hazards – streets full of muggers and addicts, paedophiles, country full of radioactive sheep and cows with BSE, rivers full of junk and pesticides, ozone layer being eaten away, sex is dangerous (AIDS) – and so need mummy’s hand to cling on to. Trouble is, when he tries to envision a perfectly up-to-date vision of mother caring for her young ones, what he sees is… a child-minder.
  • The end of March A sustained blast against the comprehensive pollution and desecration of the countryside, as seen by the endless flow of bumper-to-bumper traffic heading down our polluted motorways.
  • The end of April A soliloquy from an unbearably posh upper-class lady telling us how they’ve done up their house, and the whole neighbourhood is gentrified and you can buy decent prosciutto and the tramps have been kicked out of the square which has been turned into a wildflower garden and they can afford the best private education for their kids, mind you all this comes at the high cost of security, security locks, security buzzers, a panic room and an electrified truncheon.
  • The end of May: Jerusalem A satire on the new young rich and their passion for redecorating their stonking new homes, set to a parody of Blake’s Jerusalem: ‘And did those brogues in ancient times, Walk upon Nigel’s verdant sward, Or were they only just acquired, In Bond Street with an Access card…’ and so on.
  • The end of June: Our friendly neighbourhood Use of the frequent juxtaposition technique, two large pictures showing past and present or appearance and reality, in this case showing the polite greetings made between a cross-section of modern young people out walking, set against…the ferociously aggressive messages conveyed by their huge and frightening dogs.

  • The end of July: Turning back the floral clock A history of the floral clock on the seafront parade of some coastal town, as it evolved from 1959, 1969, 1979 to 1989, with tut tutting comments from each generation of locals.
  • The end of August This is a laboured satire on a middle-class family with two older children, just back from shopping at their local organic grocers’ with their right-on dad, who proceed to find various slugs and maggots in all the fruit and veg, much to the children’s disgust, but the patronising father assures them this is a good sign, shows no pesky pesticides were used.
  • The end of September: A Jeremiad for the new academic year We’re in the staff room of George Weber’s poly where the staff are grimly depressed about the start of a new year, and where the principal lecturer in information design brings them even lower by revealing that his students are doing signs for the new massive ‘Phosco’ superstore being built on the edge of town.
  • The end of October Soliloquy by one of Simmonds’s trademark posh mums with massive hairdo who spends the first half lamenting what blood-sucking bastards the people who bought their house are… and the second half explaining how they’ve screwed a great deal out of the people they’re buying from. Hypocrisy doesn’t come much purer.
  • The end of November: The march of feminism as shown by the changing shape of women’s shoes from 1969 to 1989, with a bit of satire thrown in about how the Forward March of feminism seems to be being held up by sisters in the 1980s. Tut tut.
  • A Christmas Carol A typically sour Simmonds take on Christmas in which the spirit of Christmas, looking very much like our old friend, the alcoholic Edmund Heep, appears to a sleek, well, manicured City banker, all to the accompaniment of a parody of the festive hymn: ‘While Shepherd watched his stocks by night, And monitored the pound, The other chaps went down the pub, And Gloria stood a round…’

As mentioned, there’s so much text and information in some of these cartoons that they read almost like short stories. This affects the size of the pictures, which are often very small and crammed with narrative text, and then further filled with speech or thought balloons – quite a stuffing of text and meaning until the ‘reading’ experience becomes quite complicated or demanding.

All this anticipates the style of her graphic novels with their dense interplay of different types of text (narrative, dialogue, thoughts, along with parodies, songs and quotes) with very tightly-drawn pictures arranged in very precise and rather cramped compositions.

Thoughts

Negative and depressing

When I first read through the six books collected in Mrs Weber’s Omnibus I came to the end deeply disliking Posy Simmonds for her unremitting negativity and satire which I felt lacked wit but overflowed with bile.

Having taken the time and trouble to go through and itemise pretty much every cartoon in Mrs Weber’s Omnibus, I now realise the negative feeling I took away largely stems from this final collection, Mustn’t Grumble, for in it the tone really darkens, she stops being very funny at all and the satire – for example against brutal rich bastards like Aubrey Shyte – becomes genuinely bitter.

Meanwhile the extended series of cartoons about the failure and self-loathing of past-it novelist J.D. Crouch also – for me – had nothing redeeming about it, it’s just episodes from the life of a middle-aged man who is failing and angry against the world.

And the twenty-four calendar characters from the Spectator similarly have next to nothing humorous about them but are all-too-accurate barometers of a society becoming steadily, relentlessly more greedy, self-serving, and shamelessly unequal.

So I realise now that it was mainly this last book which left such a bitter aftertaste in my mind, and overshadowed the fact that most of the earlier collections are much lighter in tone, and do contain genuinely comic moments which are worth savouring and remembering.

Abandoning the Weber family meant, to some extent, abandoning the containment of her bitter vision of the world within the cosy arena of the regular gallery of comic characters.

Set free, unconstrained, but also unsoftened, by the mollifying filter of the Weber characters, Simmonds’s vision emerges in this final collection, as one of real anger and bitterness at the social injustice and the revolting hypocrisy of the new, rich middle classes of Thatcher’s Britain.


Related links

Other Posy Simmonds reviews

Pure Posy by Posy Simmonds (1987)

From 1977 to 1987 Posy Simmonds drew a regular cartoon strip in the Guardian newspaper gently mocking the middle-class lifestyles and liberal concerns of a regular cast of a dozen or so fictional characters, centred on:

  • Wendy Weber, a former nurse, married to verbose polytechnic sociology lecturer George Weber, trying to attend night school while being mother of a brood of six children, ranging from little Benji to teenage glamour-puss Belinda
  • Jo Heep, married to tedious alcoholic whisky salesman Edmund Heep, and mum to two rebellious teenagers who’ve adopted the punk look
  • Trish Wright, married to philandering advertising executive Stanhope Wright, and mother of a young baby

Throughout the period the cartoons were periodically gathered together into books, namely:

  • Mrs Weber’s Diary (1979)
  • True Love (1981)
  • Pick of Posy (1982)
  • Very Posy (1985)
  • Pure Posy (1987)

And these books were themselves gathered together into a huge compendium volume, Mrs Weber’s Omnibus, which was published in 2012 and now appears to be the only way to get hold of the cartoons.

Pure Posy is the fourth and final in the series of collections (given that 1981’s True Love wasn’t a collection but a one-off ‘graphic novel’, following the schoolgirl crush of a naive young woman, Janice Brady, for a regular cast member, tall, suave, philandering advertising executive Stanhope Wright).

Historical context

Pure Posy brings together 75 Posy cartoon strips from 1985 through to 1987, a period of great historical change. In Britain the Miner’s Strike of 1984-5 tore the country apart and polarised political and social opinion, while Mrs Thatcher’s harsh monetarist economic policies saw unemployment continuing at record highs in many parts of the country. And yet those who had jobs, especially nice jobs in the City and service sector, had never had it so good, and thrilled to all sorts of new fashions, big shoulder pads, big hair, jogging, health food etc.

On the international scene the arrival of Mikhail Gorbachev as leader of the Soviet Union in 1985 was soon followed by the launch of his new policies of glasnost and perestroika which, although nobody suspected it at the time, would lead to the sudden collapse of the Soviet Union in 1990, and the collapse of socialist ideology all around the world.

But for the first few years, the ones covered by this strip, all most of us saw was a continuation of the worsening relations between the world’s superpowers and the escalation of tensions which terrified everyone that there might be actually a nuclear war, and which was symbolised, in England, by the ongoing protests by thousands of women at the Greenham Common airbase.


Pure Posy

In general the Posy strip formed a haven away from politics and the hurly-burly of events reported elsewhere in the Guardian newspaper, focusing, as it does, on the domestic concerns and foibles of the Weber, Wright and Heep households, with occasional forays off to meet new, unnamed characters to make other points about middle-class, white, heterosexual, well-meaning liberal Londoners.

As in the previous books the strips are deliberately not placed in the chronological order of their publishing but arranged to create a sort of seasonal progression through one notional year, opening with Christmas-themed strips, and in-between progressing through spring, summer holidays, autumn, and back to Christmas again.

The triumph of Thatcherism

That said the general cultural spirit of the times does hang heavy over many of the strips, depicting the extinction of the old 1960s values of caring and concern, in a welter of greed and materialism.

This is epitomised by a very telling strip from 1986 which depicts a local working-class couple commenting on the changes they’ve seen in their neighbourhood, namely that, in the later 1970s/early 1980s, posh middle-class nobs moved in, all called Gemma and holding dinner parties and hiring au pairs but… they spoke as if they were genuinely concerned about unemployment and the need to invest in infrastructure and the NHS and so on. They were nobs, but they were also ‘sort of middle-class socialists’.

Nowadays a new breed of nobs are moving in, who show all the signs of middle-class gentility i.e. obsession with wine, interior furnishings, hiring au pairs and nannies and having a pretty little place down in the country, BUT… they have abandoned their soft-left scruples: Now they say we’ve got to be realistic about unemployment, they choose private medicine over the NHS, they unashamedly send their children to private school.

In other words, this strip epitomises the success of Thatcherism in making middle-class people across the country feel unembarrassed about making money and spending it selfishly.

This one strip shows how the cosy, rather smugly liberal, soft socialist and feminist and environmentalist worldview of George and Wendy Weber became old hat, old fashioned, musty, irrelevant, marginalised, swept away by a new generation of thrusting young entrepreneurs and money-makers.

This theme is further demonstrated by the ‘Ox and Tiger’ strip in which the Webers are at a dinner table – but no longer accompanied by other bearded sociologists and dungareed feminists – now it’s being hosted by a coiffured chap in stripey shirt and red braces, who looks like a banker out of an Alex cartoon.

The world was moving on around the Webers and they were not moving at all, they were being outflanked and outnumbered, even by their own children (notably their go-getting materialist daughter, Belinda who is given several strips despising their useless, woolly old-fashioned values).

Themes

Changing times / the Weber values becoming passé (9)

  • Pot-head revisited The Webers hire Crispin Naylor, a young fogey down from Oxford to tutor their daughter Beverley. He is astonishingly old-fashioned, dressed in a tweed suit and smoking a pipe, he berates the 1960s generation as the ones who undermined the fabric of society. (The ITV adaptation of Brideshead Revisited was broadcast in 1981. The expression ‘young fogey’ was coined in 1984.)
  • The ox and tiger The middle-aged, middle classes have no idea how they’ve screwed up the world for the unemployed young, who bitterly resent them.
  • W.O.T. For some reason Simmonds coins the expression Wifully Over-Tasked for people who choose to over-work or use work as an excuse not to face relationships or parental responsibilities.

W.O.T. A doctor warns (1986) by Posy Simmonds

  • Fortress Britons Simmonds quotes the famous John of Gaunt speech from Shakespeare’s Richard II (‘This other Eden, demi-paradise..) contrasting the jingoistic words with the reality of a society in which everyone’s afraid of everyone else, has burglar alarms on their cars, persons and multiple locks on doors and windows.
  • Gingerbread without guilt At a very swanky private party given for Stanhope Wright a kind of strippergram arrives, except that she has an odd role, which is to assuage Stanhope’s guilt at revelling in such luxury and persuade him that the party is giving employment and jobs to all sorts of people. She is a ‘guilt-o-gram’.
  • Weights and measures Another strip depicting the fad for jogging, exercising and losing weight, depicting a party of bright 1980s people dominated by a smart woman who shows off how much weight she’s lost… until a very ‘big’ woman joins the conversation at which point they change the subject.
  • Toujours la politesse Belinda Weber’s rich City boyfriend is struggling to write a thank you note to George and Wendy for letting him stay over, and describes the evening to a work colleague, ridiculing George being a househusband, them letting the kids stay up and their general liberal permissive household. Maybe Guardian readers were meant to sympathise with the Webers but the thing is… City boy won.
  • Babaware A balding, paunchy middle-class chap goes to a Mothercare type shop pushing a buggy with a very small child in it and asks an assistant about an item of clothing for it, and the assistant makes the mistake of asking, Is it for your grandson? No my son says the man. So the strip is addressing the (middle-class) trend for men to become fathers older and older.
  • Lunch break An office meeting attended by four men and two women who all appear to be equals discussing business, turnover, profits etc. they break for lunch and the men go to a bar where they’re served by scantily-clad young women, while the two women go to an Italian restaurant where they enjoy being fawned over by handsome young Italian men. Then they reconvene and carry on business. Is this strip making a comment on feminism, or equality, or real gender differences? To a modern reader the most striking thing is that they go to a restaurant for lunch break. Or that they have a lunch break at all.

Women and feminism (7)

  • Rough winds do blow On Bank Holiday the Webers drive down to the countryside to visit friends, but after a stroll through the fields and a drink in a pub, George snaps at his host, and we see him worrying and fretting about his work. Don’t worry, explains Wendy, he’s always like that when it’s his turn to look after the kids. Maybe that’s funny but I thought it just insulted men.
  • The house-keeping A wife suggest to her husband that she stops working (as the dogsbody in an art gallery), they stop employing a nanny, she’ll be able to shop properly and have good hot meals ready, iron his shirts and everything properly washed… then she pulls his nose and says ‘April Fool!’ Presumably this is meant to be funny, because in Posy Simmonds’s view, all men’s deepest wish is to have their wives at home looking after the kids, keeping a good house and so on.
  • A mother’s plea Hand-written in dancing script, this is a letter from the statue of a suckling mother perched high on a plinth over some busy street, about how she is ignored, isolated, mute, passive, and only notice her to call her a single-parent family and a threat to society.
  • Always in the news George is in the front room watching telly with Wendy and two of their older daughters, as the news reports a succession of violent and sexual crimes perpetrated by men, while George – cartoon-style- gets smaller and smaller and smaller until, as the three women tut, ‘Tsk, men eh?’ he makes his excuses and leaves. I guess that’s because all men are rapists, paedophiles and child-murderers.
  • Pictures of the ages Like the Seven ages of women and the Seven ages of men cartoons she drew, this wordless strip shows the progress of a woman in twelve pictures from baby to old lady (dressed all in black in a parody of the painting Whistler’s mother [full title ‘Arrangement in Grey and Black No.1’ by the American-born painter James McNeill Whistler]).
  • Long in the tooth Stanhope is in bed with his wife, Trish and for the first half dozen pictures is flossing his teeth which makes a peculiar tic and toc sound. Suddenly his wife says, ‘Stanhope, I want to have another baby before it’s too late’. ‘What’s brought this on?’ asks Stanhope, continuing to make the tick tock tick tock sound of her biological clock.
  • The world turned upside-down My wife remembers reading this strip back in 1987 in its original Guardian context and laughing out loud, it was so true! A harassed secretary, being leered over by her boss, dreams of a world in which women are in charge and men are patronised, touched up and made to do menial tasks, leered at by security guards and building workers etc.

Difficulties of motherhood and childcare (4)

  • Who worries about the worriers? Looking miserable and exhausted, Wendy walks home with a mum friend and explains how she gives all her energy to supporting her husband, her mother, Benji and Tamsin and Sophie and the babysitter and the bloody car and even the cat… ‘No one ever worries about ME!’

Who worries about the worriers? by Posy Simmonds (1986)

  • An inspiration to us all Having given the kids their tea, Wendy Weber reads an interview in a women’s magazine with a successful globe-trotting woman writers, whose smug patronising tones make Wendy screw the mag up and chuck it in the bin.
  • Nature abhors a vacuum Another ironic reversal: for ten pictures a youngish mum tells Wendy how wonderful it is to finally have her kids off her hands, as they are starting full-time school, painting a vivid picture of what hell it is to be sole carer for young children, and Wendy supportively asks what she’s going to do next, get a job, do a PhD? And the mum dreamily says… ‘Thing is… I thought I’d have another baby.’
  • Cheerful thoughts George and Wendy are in their garden with a heavily pregnant mother, but the conversation soon takes a pessimistic turn as George in particular rants against the horribly violent aggressively materialistic society the new baby will be coming into. Result: general depression.

Childhood and small children (4)

  • The ratings Two youngish children are watching a TV soap in which the characters are shouting and criticising each other, until the voices of their parents in the kitchen get louder and we realise the parents are having a row (she’s accusing him of being selfish and being out every night and leaving her to do all the housework) and so the kids turn away from the TV to watch the squabbling shouting soap which is their parents’ marriage, until the parents quieten down and the bored children return to the TV.
  • Little ones’ lunch A busy strip divided into 4 to six boxes each depicting the various stages of children playing with, putting in their mouths, spitting out, mixing with uneaten food or spitting at their neighbours one of: fizzy drinks, jelly and ice cream, noodles with sauce, chocolate digestive biscuits, stew mash and peas.
  • Men’s talk Two little girls come into a room where two little boys are falling about laughing and eventually find out it’s because one little boy has looked at another boy’s willy. So the girls ask to look at the boys’ willies and themselves fall about with laughter, at which the little boys are aggrieved: ‘S’not funny.’

Men’s Talk by Posy Simmonds (1986)

  • Good sports Little Katie’s birthday party, where the bien-pensant liberal parents are determined to give everyone who takes part in the games presents – although ironically this creates lots of upset and unhappiness because those who genuinely won something are aggrieved that children who didn’t get exactly the same as them.

Divorce

Divorce featured strongly in the previous collection; for some reason it doesn’t feature at all in this one.

Ironies of love (2)

  • Live-in-love Young woman takes her cat to the vet. The cat is furious because after five years of living alone together, the woman’s fiancé has moved in so now the cat is pooing everywhere and generally misbehaving.
  • Moon flush A middle-aged woman is reading a romantic novel (the text of which is given in an unusual font, a type of Courier) and the cat is fidgeting with boredom so she shoos her out into the garden where the cat proceeds to re-enact the ‘romantic’ scene depicted in the novel, with a female cat, till their caterwauling prompts George Weber to throw a shoe at them and the cat scampers inside back to her owner’s lap just as the latter burst into tears at the sad love story she’s reading and the cat sobs at the missed opportunity for a shag.

Sex and adultery (5)

  • Forbidden fruit An ironic reversal of the reader’s expectations, for we find dedicated philanderer Stanhope Wright chatting up a dishy old flame at a Christmas party, and asking whether they can have a quick one for old time’s sake, but, when they sneak outside, it is revealed that they’re both being furtive and ashamed because they’ve nipped out… for a smoke!

Forbidden fruit by Posy Simmonds (1986)

  • Good timing One of the pastiche cartoons Simmonds is so good at, five rows of pictures which depict the four phases of a casual sexual encounter, namely: well before, before, during, and after – and on the left of the rows a bunch of Rococo cherubs hassling one of their number to intervene with an important message. It’s only at the very last picture that you realise they are encouraging him to prompt one or other of the participants to ask: WHAT CONTRACEPTIVE PRECAUTIONS ARE YOU TAKING?’ (Given that this dates from 1986 it’s surprising Simmonds isn’t satirising the Safe Sex / use a condom message, which first appeared in British journalism in 1984.)
  • Just past it That said, this strip from 1987 is about AIDS, featuring Belinda Weber sitting at dinner with her parents and some friends complacently discussing AIDS and how difficult sex is going to be for young people today… until she burst their complacency by suggesting that the AIDS virus has been about longer than people think, like back into the 1960s… at which the smug middle-aged people start panicking.
  • Where there’s a will A long ironic strip wherein inveterate philanderer Stanhope Wright chats up an old flame over lunch and they agree to have a shag, but there’s a snag: wife? au pair? STD!? No, it’s the new neighbourhood watch scheme and the snooping neighbour Primula Stokes. To evade her ever-watchful gaze Stanhope outlines a plan of Byantine complexity and the would-be shagee politely declines.

A writer’s life (3)

  • Nine till five Satire on a woman writer who has to produce a weekly column showing how she puts off all her other chores and social engagements yet still manages to leave it to the last minute and have a massive crisis the night before.
  • J.D. Crouch As far as I can see this is the first appearance of the tubby, middle-aged, bearded writer J.D. Crouch, who will go on to become a regular feature in post-Posy strips (in 1992 Simmonds commenced a year-long strip solely about him and a writer’s life). Here he is in his natural habitat – the book signing – when unexpectedly his ex-wife appears and asks him to sign a copy of the book for: herself who he beat up in 1975, one each for the writer’s she saw him plagiarise (Kingsley Amis, John Updike, Alan Sillitoe, Gunther Grass), one each for the children he has never bothered to visit, one for his former researcher who he was knocking off while his wife lay in hospital… during which recitation Crouch shrinks smaller and smaller until he is hiding under the table. Men, eh.
  • The pleasure of their company A literary party at which a load of writers mill about gossiping about new books, are jealous of more successful writers, criticise book deals and publishing execs and publicity people and generally bitch and backstab, ending with the ironic conclusion that they don’t know why they bother attending them. A strip like this just makes you despise book luvvies even more.

Academia (3)

  • George retires? In the poly canteen George’s colleagues speculate that he’s retiring and in a chorus tell him about the pitiful perks he’s amassed in 17 years working there (a small parking space, use of the Xerox machine, he can claim for cassette tapes on expenses), all of them tending to how pitiful and puny his rewards are, except that… in an ironic reversal… they all reveal that they are madly jealous of these huge perks and tell him he’d be mad to quit.
  • The absent-minded professor George has a nightmare in which he actually really kicks an insufferable colleague he’s dreamed about kicking for years.
  • To whom it may concern George is angry that he’s been asked to provide a reference for one of his pupils without the student asking him first, also that the boy was lazy and rude. At first he types out the truth, but then we see the debate in his wooly liberal conscience as the figure of the student asks what right George has to ruin his life and, slowly, reluctantly, George goes back through his draft revising it and systematically lying.

Middle class mores and hypocrisies (10)

  • Year of the tiger A dinner party where most of the guests are lamenting how awful 1985 (the year of the Ox) was but how they’re looking forward to 1986 (year of the Tiger) and proceeding to chunter on about the new vintages of Bordeaux and champagne and so on – leading to an outburst by the posh host’s son. An unshaven man who points out that he and his girlfriend are unemployed. They represent the new year and the anger of the tigers.
  • Union Jakes In the Brass Monk pub the Weber’s are discussing Britain with some Americans and the conversation somehow gets onto toilets and toilet humour and the assembled Brits make fools of themselves by trotting through the amazing gamut of slang expressions we have for toilets and crapping.

Union Jakes by Posy Simmonds (1986)

  • New minorities A comment on the spread of health food shops and jogging, Edmund Heep is in a cheap corner shop where his punk sons spot him and encourage him to buy a selection of crisps and buns and lollies, but when they go out onto the street we see all the other shops have become gentrified (‘Croissant Neuf’, the Natural Food Store, the Grainery, Herbalism) and it is they who are regarded as oddballs and cranks.
  • Senses and sensibilities A very structured strip in three rows of five pictures, the top row showing three high street shops, including clothes, burgers and records: in the next row pedestrians experience the five sense of sight (nice looking clothes), smell (of fired burgers and chips), taste (people munching burgers on the street), hearing (sounds from the record shop), touch (two women feeling nice clothes). And in the third row is the reaction of passersby to a tramp (unsightly, smelly, distasteful), a busker (unheard) and some vagrants who tell passersby to fuck off (untouchable). This is the kind of strip my daughter (aged 17) read and asked me, ‘So? What’s it meant to be about?’ Maybe Posy’s strips are an early example of ‘virtue signalling’ and reading them was meant to make you feel that, somehow, you more sensitive and caring about the homeless and squalid high streets than anyone else… all without the effort of putting down your newspaper.
  • The Age of REASON A television commentator reports that inhabitants of gentrified Balaclava Road are up in arms because one new incomer has stripped away all the chintzy facade of his house and restored it to being the Victorian artisans’ dwelling (which, we then learn, the entire street, despite their facades, actually consists of).
  • School steps Two teachers at parents’ evening discuss how there’s been a lot of them this evening, them being the parents who fuss about giving their beloved kids extra coaching and tutoring and support and so on and the punchline is that… these are all the signs of over-concerned step-parents. (This 1986 strip is notable for having a non-white person speaking, an apparently Asian male teacher.)
  • What Monet can buy At a house party that posh woman with the big blonde hair and twin pearl necklace we’ve met at her second home and running the Society for People With Second Homes, ribs Wendy because she’s heard Wendy is sending Bev to a private school. No no no no no insists Wendy, however can we expect to tackle inequality and improve the state system if the middle classes abandon it etc etc? But then the daughter in question reveals that she does have a private tutor and Wendy turns bright red with embarrassment.
  • May Day The Webers and children drive through wretched Bank Holiday traffic, the children requiring stops to throw up, everyone getting tired and angry… all to visit George’s mother in her rest home, whereupon she is subtly dismissive of all the presents they’ve brought and moans and complains. Maybe this is meant to prompt ‘the wry smile of recognition’ but I found it simply depressingly accurate.
  • French impressionists A funny strip in which the Webers take some French friends to the Royal Academy and, to the Webers’a amazement, the French rave about the foggy, grey, dull English climate. Really? Yes think of the great masterpieces it has produced and then… they point at some of the shops along Piccadilly showcasing the great names of British art, namely… Harris Tweed, Burberry and Barbour!
  • Smoke signals Bonfire night and three London neighbours have fires which pinpoint their social class: the posh Belpers are burning wood they brought back from the countryside, admittedly with one or two disposable nappies in it; the Timmises are burning an old settee and some shag pile carpet, the Webers are burning old books and magazines and theses (in a symbolic bonfire of so much of the late 60s / early 70s French intellectual content they valued and went out of date like old fruit).

Pastiches and parodies (5)

  • The Christmas carol Good King Wenceslas is retold with the king giving a poor collector of wood in the snow ‘Take this sovereign and this tie / This clever bar utensil / And this stilton and this pie / This matching pen and pencil’… and then the strip cuts to some moustachioed club bores telling a silly joke at a modern party.
  • A second cartoon features Good King Wenceslas and his rich party-goers besieged in their castle by four million unemployed for whom they have zero sympathy: ‘Don’t bore us with talk of strikes / Or your whingeing blather / Off your bums and on your bikes / And pull yourselves TOGETHER!’
  • Pilgrimage An extended skit which takes the opening verses of Chaucer’s Canterbury Tales (‘Whan that Aprill with his shoures soote, The droghte of March hath perced to the roote…’) but applies it to middle-aged, middle class people going on pilgrimage to sanctuaries and health spas.
  • Spring song The text is written in Simmonds’s trademark chintzy hand-written script (technically, dancing script, I think) which tells a jingle (‘As I awoke this morning, I heard a funny thing…’) which is ironically set against poor student Jocasta Wright waking, crunching around in her dingy student flat, and suddenly realising she’s late handing in her dissertation.
  • Household tips from the household gods Not sure it’s really a parody, but the strip is dominated by the Greek gods who give spring cleaning tips on how to clean various dirty areas round the house, like the kitchen floor or the toilet, but give up when – unexpectedly – this includes nuclear waste! A reflection, maybe, of the Chernobyl disaster (26 April 1986).

Second homes (3)

  • Arcadia Also a parody, two large pictures, the first showing an 18th century gentleman and wife admiring a winsome country cottage, the second in the present showing a coachload of tourists turning up to photograph the same cottage, now the second home to rich Londoners.

Old Arcadia by Posy Simmonds (1986)

  • Different species Rich London family enjoy walking round the cliffs near their second home identifying plants and species until, in the final frame, they enter a packed pub of locals and we are shown the latter’s thoughts, assessing their worth, calling them a blight, and figuring out how to mulch them for money doing repairs and gardening.
  • Turning an honest penny Tresoddit is the fictional seaside Cornish village Simmonds has invented to take the mickey out of the way the countryside is colonised by rich Londoners buying up second homes. The strip concerns Kevin Penwallet, one-time lecturer in anthropology who gave it up to open a shop in Tresoddit but has been forced to abandon all his socialist principles and reinvent it as an emporium of revoltingly twee knick-knacks for posh London mums to coo over and pay extortionate prices. Again, this isn’t funny so much as depressingly accurate.

Christmas (3)

  • The book opens with one big photo showing a Santa on top an open-top red bus yelling ‘Ho Ho Ho’ in the middle of an Oxford Street absolutely thronged with harassed shoppers, even the bus driver looks pissed off, and Wendy Weber is among the throng and yells up at Santa, ‘It’s NOT FUNNY.’
  • The book ends with a sequence of Christmas strips:
  • Thinking of you this Christmastide Notorious philanderer Stanhope Wright is slow coming to bed with wife Trisha. Being Christmas-time, she is thinking about all her relations, making a list of everyone she’s got to send a card to. Stanhope, by contrast, is weighed down by fears about his relations which are, of course, sexual in nature: He worries that he may have contracted a sexually transmitted disease, maybe even AIDS!!! and so runs through a list of all the women he’s had sex with – Helen after the D&AD awards, Vicki, Penny, you never know. It is typical of Simmonds to be really depressing at Christmas-time.
  • Edmund Heep’s problem page An oddity made up of two big pictures in which you’re asked to spot the difference – except I don’t think there were any differences. Another in which you’re asked to spot the four policemen – except I don’t think there were any policemen in it. Edmund asks three riddles, none of which I thought were funny or interesting. And then there’s a maze the reader has to navigate to help drunk Edmund back to his house.

Teenagers and the Generation Gap (3)

  • George and Wendy’s eldest, Belinda, is moping round the house leading the parents to worry what it could be – break-up with boyfriend? pregnant? herpes? other STDs? drink? drugs? debt? trouble with the police? general depression? But then she comes bouncing out of the loo happy and clutching a box of tampons: she’s had her period and she’s not pregnant.
  • Family planning Trish Wright is showing her step-daughter Jocasta photos of a family wedding tutting about the ghastly relatives. Jocasta says Don’t knock the family, it’s the cornerstone of society (echoing Thatcherite rhetoric), and then ironically goes on to point out how the young couple getting married in the photo will end up having to support a whole array of ageing relatives (as is coming true in our own time).
  • Hair today A young dud with stubble and a ponytail goes into a barber’s who presents him with a bewildering range of haircuts, until the dude says he needs one that will help when he goes home to see his parents to beg for money since he can’t survive on his grant.

Edmund Heep the alcoholic (3)

  • Good samaritans Heep is staggering home drunk in his sheepskin jacket and beer belly, and about to throw up, ignored by decent couples who pass by on the other side of the road when… he is accosted by two skinhead bovver boys who appear to be rifling through his pockets, finding £20 notes etc, but… it turns out they are looking for a 20p piece to open a nearby street lavatory. They find one, pay, help him into it, wait till he’s thrown up, then help him out and give all his money back, and walk off, two modern angels.
  • Giving up An ironic reversal where the appalling Edmund Heep is propping up the bar at some pub and showing off to friends how he’s cut back on smoking by making a cigarette log which he then shows them and reveals.. he’s smoked two packs already that day!
  • Edmund Heep’s problem page as above

Miscellaneous (4)

  • Live from the scene of the tragedy An odd strip devoted to satirising TV news, showing a reporter shoving his microphone in front of someone who’s just witnessed a terrible (unspecified) tragedy, asking how they feel, and the interviewee does what most of us wish they would do in these situations, which is knee the insensitive, crass reporter in the nuts, grab his microphone, and asks him how he feels now!

We bring you – live, from the scene of the tragedy… by Posy Simmonds (1986)

  • To a tree Wendy gets furious with the council workmen who’ve come to prune the tree in front of the house, insisting they cut the bloody thing down as it is a magnet for dog poo.
  • A modern alphabet 26 acronyms, starting with AIDS and going through to the Zzzz of a homeless person in a cardboard box, via  CND, GBH, PLO, UB40, and VDU among others.
  • Two American tourists wonder just what it was that stood out most for them on their visit to Britain and trot through a set of clichés – was it the pub, the language, the history and culture, the healthy lifestyle – to each of which, as you might expect, Simmonds gives a typically depressing, downbeat ironic visual counterpoint (the language of Shakespeare is old codgers in a pub, the healthy food is sausage and mash and beans) until they conclude – depressingly – that whatever it was they sure are glad they don’t live here.

Animal liberation and vegetarianism (2)

  • Flying fur Unexpectedly, a strip showcasing ‘speciesism’ in the form of a selection of furry toys in a department store all complaining about how humans exploit them for food, fur, research and so on
  • Only connect Linked to this 1987 strip which has a straightforward vegetarian message, as the lamb joint Wendy Weber serves up to guest starts singing and dancing.

Homosexuality (1)

  • A kind of liberation The one and only strip about homosexuality in the strip’s ten year existence, this is an odd one about George going shopping with a gay friend and how the gay friend camping it up has ruined all the effort George has put in over the years to persuade the proletarian shopkeeper that it’s OK for men to do the shopping and the housework. I couldn’t work out if this is insulting or patronising, but I couldn’t see how it could be considered funny.

A kind of liberation by Posy Simmonds (1985)

Politics (4)

  • The game of happy families The one and only appearance of the dominant personality of the age, Mrs Thatcher, showing her playing a game of happy families with a vicar which is ruined when it’s revealed one of the cards has run off with his PA leaving a one-parent family to sponge on the state.
  • Heresies and blasphemies George and Wendy try to persuade their daughter Sophie to come on a march against nuclear dumping. the joke, such as it is, is that they present it as a duty, and Sophie resents it as a duty, which eerily echoes the pieties and sitting and standing and shuffling round which used to accompany attendance at church.
  • Suffering Compares the suffering of anonymous dark third World figures (war, famine, disease etc) with the suffering of the bien-pensant middle classes who read Guardian reports about it; and the real relief (food, medicine, money, water, clothes etc) is juxtaposed with the ‘relief’ felt by the Guardian-reading classes at how much they raised and donated to charity.
  • Consequences A surprisingly blunt and crude ‘political’ strip in comparing the fates of three drivers pulled over by the police. The rich white man talks his way out of it. The posh white woman gets off, although not without the policeman patronising her (‘Is this your boyfriend’s car?’). And then a black man driving an expensive car who doesn’t even wait for the police to ask if he’s stolen it but drives right out of the strip. Ending with the rhyme: ‘If you drive a motor car… You’ll get stopped, the chances are. But as a rule, you’ll be alright, If you’re male and posh and white.’ I found this crude, obvious and patronising, especially from a writer who includes no black or Asian or ethnic minority characters in any of her strips. In fact, the black man in this strip appears to be the only black person who speaks in any of the ten years of Posy Simmonds’ cartoon strips and his role is – to get into trouble with the police. Can’t help feeling Simmonds deals in stereotypes which are as patronising and clichéd as anything you’d find in the Sun or Daily Telegraph but just that they’re the patronising stereotypes of her tribe.

The end of the Webers (2)

  • Cutting the cord At a barbecue George sees his grown-up daughter Belinda in a huddle with notorious philanderer Stanhope Wright and thinks she must be propositioning him. In fact she is asking if he will ‘give her away’ at the big traditional wedding she’s planning to have, since her ‘principled’ feminist father refuses to.
  • Wedding party politics A strip describing Belinda’s marriage to options trader Mr Alistair Razer-Dorke, humorously profiling all the relatives and guests in terms of their party politics. In fact the wedding is an opportunity for Simmonds to review the key characters she’s created and whose company readers have kept over the previous ten years – and to say GOODBYE. The Posy strip’s time was up.

Thoughts

I showed my teenage, feminist daughter this book and she surfed through a dozen or so strips before handing it back saying she didn’t find anything in it funny in it, the opposite. She said she felt she was being nagged or scolded – a common enough feeling for readers of the Guardian, which after all is targeted at self-flagellating liberals who feel guilty because they’re not doing enough about sexism and racism and homophobia and Islamophobia and the environment etc.

Some of the Posy strips are funny, but many of them rely on this mood or attitude – of taking a perverse pleasure in being told off or lectured or harangued. Of course the reader feels that, because they are being told off, they somehow rise above the guilt and responsibility for all the wrongs and injustice of the world. As if being nagged and lectured, cleanses and absolves you. As if, by reading a bitter comic strip about homelessness, and tutting and tsking about it, you have in any way whatsoever ameliorated the problem of homelessness.

It’s a peculiar psychological state, this state of recognition of some social ill, without any kind of proposal for what to do about it – and it is much the most frequent feeling you experience at the end of reading a strip, far more so than humour or comedy.

But the real story of the book is the way the Webers with their polytechnic-level, woolly soft liberal socialism and feminism and vegetarianism and permissive attitudes and touchy-feely concern about society and everyone less well-off than themselves had lived far beyond their sell-by date.

The strip had become stuck in that world, a world which had become a small island, a leftover of faded 1960s ideas, while the big wide world outside had moved on into a violent schizophrenic situation, caught between the millions thrown onto the dole, especially in the North of England and Wales, by the wide-ranging devastation of British industry, symbolised by the Miners’ Strike of 1984-5 (not referred to anywhere) – while down in London, the City and related service industries of advertising and TV and publishing had never had it so good, with money cascading out from bankers’ bonuses into holiday homes, and new fashions for clothes and music and foreign holidays, while the escalating tension between the superpowers gave even the most stoic sleepless nights.

Not much of this, the drastically changing national mood, could be captured in the Webers’ homely little world, which is why it was the right decision to kiss them goodbye. And why I admire the cleverness with which Simmonds did it, the book climaxing in the highly symbolic marriage between the Webers’ own daughter, go-getting daughter Belinda – who had repeatedly repudiated and criticised their narrow old views – and rich, posh, public school City banker, Alistair Razer-Dorke.

Simmonds did, in fact, return to writing a weekly cartoon strip for the Guardian for the year 1992-3, and the Webers and a few other characters do, in fact, make a few scattered cameo appearances in it – but it was entirely the right decision for her to end the Weber strip in 1987 and move on to other projects and new perspectives.

Credit

All Posy Simmonds cartoons are copyright Posy Simmonds. All images are used under fair play legislation for the purpose of analysis and criticism. All images were already freely available on the internet.


Related links

Other Posy Simmonds reviews

Very Posy by Posy Simmonds (1985)

From 1977 to 1987 Posy Simmonds drew a regular cartoon strip in the Guardian gently mocking the middle-class lifestyles and liberal concerns of a regular cast of a dozen or so fictional characters, centred on:

  • Wendy Weber, a former nurse married to verbose polytechnic sociology lecturer George Weber, and mother of a brood of six children, ranging from little Benji to teenage glamour-puss Belinda
  • Jo Heep, married to tedious, drunk whisky salesman Edmund Heep, and mum to two rebellious teenagers who’ve adopted the punk look
  • Trish Wright, married to philandering advertising executive Stanhope Wright, mother of a young baby

Throughout the period the cartoons were periodically gathered together into books, namely:

  • Mrs Weber’s Diary (1979)
  • True Love (1981)
  • Pick of Posy (1982)
  • Very Posy (1985)
  • Pure Posy (1987)

And these books were themselves gathered together into a huge compendium volume, Mrs Weber’s Omnibus which was published in 2012 and now appears to be the only way to get hold of the cartoons.

Very Posy is the third the series of collections, given that 1981’s True Love was a one-off ‘graphic novel’, loosely based on the schoolgirl crush of one of the characters, Janice Brady, for a regular cast member, tall, suave, philandering advertising executive Stanhope Wright.

Historical timeline

Very Posy brings together 91 Posy cartoon strips from 1981 through to 1985. These were the years when I was a student at university. I looked up a historical timeline of the period and discovered that the key events were:

1981

  • Mrs Thatcher is Prime Minister of the United Kingdom
  • Ronald Reagan is President of America
  • Leonid Brezhnev is leader of the USSR
  • In January the Yorkshire Ripper is caught, bringing to an end a reign of terror over the Yorkshire region where he had murdered 13 women over a five year period
  • The Iran Hostage Crisis (which had started in November 1979) ends in January 1981 with the release of American diplomats in Tehran
  • April 4 – first flight of the Space Shuttle Columbia
  • From April to July there are riots in major British cities, the biggest being the Brixton riot in London, the Handsworth riots in Birmingham, the Chapeltown riot in Leeds and the Toxteth riots in Liverpool.
  • MS-DOS was released by Microsoft along with the first IBM PC
  • On 29 July Lady Diana Spencer married Prince Charles
  • In September 1981 a Welsh group, Women for Life on Earth, arrive at Greenham Common air force base to protest against the decision of the British government to allow cruise missiles to be stored there

1982

  • The first CD player sold in Japan
  • Dutch Elm Disease destroys millions of Elm Trees
  • On Friday 2 April Argentina invades the Falkland Islands, sparking an international crisis and a war with Britain which lasts until British victory on 14 June
  • September, the American centres for Disease Control used the term ‘AIDS’ (acquired immune deficiency syndrome) for the first time.
  • November – Leonid Brezhnev dies and is replaced as leader of the USSR by Yuri Andropov

1983

  • The June 1983 general election returns a Conservative government led by Mrs Thatcher with an increased majority of 188 MPs, against the Labour Party led by Michael Foot
  • What would become the world’s most popular word processing programme, Microsoft Word, is launched.
  • In Ethiopia following the worst drought in history the death toll reaches a staggering 4 million.
  • The US starts deploying Cruise Missiles and Pershing Missiles in Europe at the Greenham Common Air Force Base, prompting the growth of the women-only camp of protestors
  • On Saturday 17 December 1983 members of the Provisional IRA set off a bomb outside Harrods in Knightsbridge, killing three police officers and three civilians, and injuring 90 people.

1984

  • February – Soviet leader Yuri Andropov dies and is replaced by Konstantin Chernenko
  • April – the National Cancer Institute announced they had found the cause of AIDS, the retrovirus HTLV-III
  • DNA profiling developed
  • Apple releases the Macintosh computer.
  • 12 October – the IRA bomb the Grand Hotel in Brighton during the Conservative Party conference in a bid to assassinate Prime Minister Margaret Thatcher. Thatcher narrowly escaped injury, five people were killed and 31 were injured
  • 31 October – Indira Ghandi, first woman Prime Minister of India, is assassinated by her own bodyguard and Sikh nationalists
  • 6 November Ronald Reagan re-elected President of the United States, defeating Democrat Walter Mondale.
  • Following the widespread famine in Ethiopia many of the top British and Irish pop musicians join together under the name Band Aid and record the song “Do They Know It’s Christmas, recorded on 25 November and released on 3 December.
  • December 2-3 – the world’s worst industrial accident when the Union Carbide Pesticide plant in Bhopal India leaks lethal gas, leading to a death toll of some 4,000, some estimate long term deaths at 16,000

1985

  • January – Palestinian terrorists the Italian Cruise Liner Achille Lauro and murder an old Jewish man in a wheelchair.
  • March – on the death of Konstantin Chernenko, Mikhail Gorbachev becomes General Secretary of the Central Committee of the Russian Communist Party and so leader of the USSR.
  • May – the Heysel Stadium disaster when Juventus football fans trying to escape from Liverpool fans were pressed against a collapsing wall in the Heysel Stadium in Brussels, Belgium, before the start of the 1985 European Cup Final, leading to the deaths of 39 people – mostly Italians and Juventus fans and 600 injured.
  • Music CDs commercially launched.
  • 10 July – The Greenpeace ship Rainbow Warrior is sunk by French Agents, killing a Dutch photographer.
  • Saturday 13 July – the Live Aid concert is watched by an estimated 1.9 billion viewers, across 150 nations, nearly 40% of the world population.
  • 19 September – Mexico City Earthquake kills 9,000
  • In response to the spread of AIDS governments around the world launch health and public awareness programs, including the promotion of condoms and safe sex.
  • The first .com domain name is registered and the first version of Windows is released.

Very Posy

Next to none of these world-changing (Gorbachev), traumatic (assassinations, terrorist bombings, famine) or innovative (slow spread of personal computers) events are reflected in the Posy strip. The opposite. The Posy strip formed a safe haven from politics and the hurly-burly of events reported everywhere else in the Guardian newspaper. Instead we are treated to the overwhelmingly domestic concerns of the Weber, Wright and Heep households.

Interestingly, Simmonds mixes the strips up so they are deliberately not in chronological order, with strips from 1985 near the beginning, and ones from 1981 at the end. If there is any structure it is a subtle seasonal one with the book opening and closing with Christmas cartoons, with some summer holidays ones in the middle, some spring showers in the first half, giving the whole thing a subtle underpinning of the changing calendar year.

Themes

Women and feminism (21)

  • A soap opera In the form of an opera i.e. everyone sings rhyming arias, Trish Wright rages at her broken washing machine till smug husband Stanhope offers to do it all down the laundrette but discovers it’s not such an easy process as he thought.
  • Men at work Seedy Edmund Heep, in a workspace surrounded by pin-ups, is preparing lewd Valentine Day cards for some of the young women in the office but when he goes to give them he discovers the girls also have pin-ups, of fit young men and he and the other men are (hypocritically) appalled. Tsk, men, eh.
  • The rebirth of Venus in which three women discuss and pester a friend into losing weight in a series of pictures which spoof and parody Botticelli’s famous Birth of Venus to make a feminist comment on how women are forced to conform to body stereotypes.
  • A super woman’s day A cartoon showing how impossible it is to be a modern woman and expected to serve up breakfast to the family, wave them off to work, arrive at the office, do some wise shopping at lunchtime, return to the office, greet the kids back from school, read to them, cook dinner, serve dinner and still have the energy to be… a whore in the bedroom!
  • In a maternity ward three or four female relatives have come to visit a mum with a newborn baby, and the strip shows us all of them, plus visitors to the other mums, all agreeing that a girl is nice but a boy would be better!
  • Momma’s fault Wendy is watching a TV soap in which three generations of women all blame their mother’s for ruining their lives – while her own children stand by, ignored.
  • Acceptable lies and the unacceptable truth A hectic strip in which her assistant and colleagues all lie to clients and customers to cover the fact that Jennifer Cole is not at work because she’s at home looking after her kids during the school holiday. The strip is rounded off with a feminist motto as twee and smug as any Victorian doily: ‘As business folk you now know why / Us working mums are bound to lie.’
  • Waiting for mummy In an anonymous family the mum works while the dad looks after the kids (he is shown reading the paper and ignoring them) until the harassed mum gets home and finds she has to comfort her little girl, and the baby, and her husband and look after the dinner which is coming to the boil. Oh the world is so unfair to women!
  • Debits and credits ‘A full-time working mum has many cares…’ which include trying to persuade her needy infants to accept certain friends round for tea simply to repay the debts she’s accrued from their mums looking after her own kids. Oh it’s so tough being a working mum!
  • Mother’s quiet time Jocasta visits an old friend who’s just had a baby, to discover she is at her wit’s end by the constant endless crying of her infant.
  • Public view A straight-out feminist view on breast-feeding which takes a classical painting of a mother breast-feeding which everyone finds adorable and acceptable in an art gallery, and then cuts and pastes the same image into all kinds of social situations where everyone disapproves.

  • The milk of human kindness A split-screen strip, on one side a frowsy mum, Rose, is disgruntled because she helped out a businesswoman friend for a few hours, tidied and breast-fed the baby and then the businesswoman got home and was disgusted by the breastfeeding and made her feel really inferior – on the other side of the strip the slick businesswoman, Rose, is pissed off because she got home to find Rose had breastfed her baby which made her feel like a negligent mum, made her feel really inferior.
  • Taboo At a packed family lunch Sophie, one of the older Weber children comes and whispers in Wendy’s ear. Then Wendy whispers in all the other women’s ears. Only right at the end do we discover Sophie had whispered that she’d started her period and she nails Wendy’s hypocrisy, for she’d said it was something perfectly natural, something to be celebrated, not something to be hushed up. So why did she whisper about it and not tell anyone?
  • Useful occupations An elderly woman takes a call from her daughter who is upset that she didn’t get a job she applied for. She tries to cheer her up, not least by explaining that women didn’t go out to work in her day – which doesn’t get a very sympathetic response.
  • Medical precautions Jocasta visits her GP who tells her he is planting a chaperone at the door – leading to a misunderstanding where Jocasta assures the doctor he doesn’t think he’ll try anything and the doctor assures her the chaperone is for his sake, in case Jocasta tries anything – leaving them both seething.

  • Fly’s undoing At a business meeting the only women present manages to persuade the men to back her deal. However she knows they’re all going to go off to the gents and persuade each other to change their minds. She wishes she could be a fly on the wall and… is miraculously transformed into a fly and flies into the gents’ and does indeed hear the hawks talking the doves out of agreeing her deal!
  • Paradise lost the Weber’s are on holiday on a hot beach and the women are going topless when George realises a couple of beach bums are commenting, in French, on the shape of every passing woman’s breasts. He intervenes giving them a feminist lecture, name-checking Lacan and Levi-Bruhl and Rousseau to blast them for objectifying women and giving them another chain to shackle them and so on. The French guys just yawn, stretch and stroll away.
  • Grief A woman’s unrestrained grief embarrasses her friends and family. People think grief should be more restrained and demure. The dichotomy is expressed by a contrast between a Picasso image of a weeping woman and an emollient Victorian image of a slightly sad and dignified lady. Sexism!!

Grief by Posy Simmonds

  • The nightmare of Pauline Woodcock Pauline Woodcock (42) international finance correspondent flies to an assignment in the Middle East but has a nightmare in which she is refused entry to the conference because it is for men only, and is forced to go and sit among the harem women who criticise her for having no husband or family and hating women. But it is only a dream and so not a very valid satire on the sexism of Muslim countries.
  • Momentous news Diane, aged 36 and a TV producer, has finally gotten pregnant but when she tells her friends at a garden party they reveal that everyone they know is having a baby late, it’s a fashion, it’s a trend thus patronising and humiliating her.
  • A message to the Monstrous Regiment Peculiarly, this is the final cartoon in the book: It is in the form of a message from Field Marshall Sir Desmond Blundel-Bolass to what he calls The Monstrous regiment, obviously meaning the entire female population, saying they’re a proud little regiment with a long track record of cooking and cleaning and child-rearing, but recently there have been signs of bolshiness and women deserting the regiment to take up jobs in industry, business and so on. THIS MUST STOP and women return to their proper subservient roles. Maybe it triggered a laugh of recognition at the time (1984) but to me it seems elaborate and ‘clever’ but oddly pointless.

Difficulties of motherhood and childcare (2)

This obviously overlaps with the large number of working mum strips, with some of the Childhood and small children strips, and with the Divorce strips, all of which depict small children shedding light on the hypocrisies of divorced couples.

  • Music and movement At little Katy’s birthday party the parents gather in the kitchen and nervously discuss the way the five year olds are jigging and jiving to highly sexualised pop music, while George delivers another of his pretentious semiotic interpretations which is no good to anyone.
  • Charity begins at home Working mum Gemma leaves her two little kids in the care of wonderful nanny, Anita, but she tells so many people how wonderful Anita is that one by one all the other middle class mums in the street get Anita to care for their children until her place looks like a zoo – much to Gemma’s chagrin.

Childhood and small children (7)

  • Timor mortis The Weber children’s guinea pig dies and the parents, and grandma, give the kids contradictory stories about what happens to dead animals
  • On a long-distance drive George and Wendy are pestered to pull over at a roadside pub where the kids pig out on steak and chips but George eventually explodes at the so-called waiter and describes at length why every single item was disgusting.

  • Music and movement At little Katy’s birthday party the parents gather in the kitchen and nervously discuss the way the five year olds are jigging and jiving to highly sexualised pop music, while George delivers another of his pretentious semiotic interpretations which is no good to anyone.
  • The birth of the blues A mum has had a baby and is at home nursing it surrounded by cooing friends and family. The strip focuses on the baby’s sister who is hassled by the grown-ups into saying ‘thank you’ for having a new brother.
  • Monkey business Wendy takes the younger children to the zoo where they see monkeys mating and ask mummy what they’re doing. This dilemma has already cropped up at least twice already in the strip. This time Wendy patiently explains a gentle form of the birds and the bees and the gag is that, as she does so, the monkeys put their hands over their baby monkey’s ears to protect their innocence.
  • Just rewards Billy’s mum takes him to play at a friend’s house where he misbehaves – saying rude words, screaming, snatching things. but each time mummy tells him to stop he does. This, the mum explains to her friend, is because she’s instituted a reward system – every time he obeys mummy he gets a reward, and enough rewards buy him a toy. Cut to Billy who has worked out how to play the system, and so deliberately plays up wherever they go – in order to obey the instruction to behave – and thus earns lots of toys!
  • The dark Two of the Weber kids lock themselves inside the old fridge the Weber’s have thrown out to Wendy’s hysterical horror.

Divorce (3)

This is here because after a divorce, Simmonds is interested in the experience of the mother who usually ends up keeping custody of the children, and so ‘divorce’ comes under the broader heading of Women-Feminism-Motherhood-Childcare-Divorce.

  • Unworthy thoughts Two little children come back from a weekend with their daddy and tell the divorced mummy what a great time they had, he took them on a CND march, introduced them to his lovely new girlfriend, had a barbeque and bought them new clothes. The mum promptly rings up the dad to give him a ear-bashing, asking him why on earth he’s being so nice and trying to suck up to her?
  • Home-sick A divorced dad takes his small kids out to a burger bar and the little girl immediately feels sick. All the way home, including on the bus, he is trying to get the little girl to throw up in the street before she gets home. But she doesn’t. She saves it up for the moment she walks through his ex’s door and throws up all over the phone books – prompting a prolonged ear-bashing from his ex about filling them with junk food etc etc.
  • Dad’s girlfriend A divorced woman’s two little kids are joking and taking the mickey out of her ex-husband’s new girlfriend, Lynn, at which the mum’s smirk of satisfaction grows larger and larger… unti lthe kids say they don’t want to go to dad and Lynn’s at Christmas – at which point the um realises this will ruin all her plans to go skiing with her new boyfriend Robert… and immediately leaps to the defence of Lynn, telling the kids what a wonderful person she is and how she has a really cool new video!

Sex and adultery (7)

  • Strangers in the night In bed together Stanhope discovers his wife is reading a sexy bodice-ripper and teases her about it.
  • Acting one’s age At a crowded theatre bar, Stanhope makes eye contact with a promising young floozy and Simmonds uses the technique whereby they send dotted eye signals at each other while, in another familiar move, she makes the whole thing a parody, with Stanhope imagining the programme to a grand theatrical production of Their Affair… while his wife spots him and reconceives the same events as a tawdry TV comedy titled ‘It always ends in tears’.
  • And no questions asked Stanhope wakes up in bed with a nubile young woman he has slept with and Simmonds uses the comic, or sardonic technique, of counterpointing all the polite things they say to each other with what they’re really thinking, Stanhope in particular smiling smiling and thinking ‘God, when are you going to bugger off?’
  • Flattery A young woman spends half the strip flattering and chatting up a TV star at a party, giving it her best shot until right at the end he makes his excuses and wanders over to the next pretty fan. This is counterpointed by the same events as enacted by a ewe (Aries) trying to chat up a lion (Leo).
  • Married person’s guide to lunching A series of nine lunches which chart the rise, bloom and decay of an affair carried out , as usual, by Stanhope Wright and his latest victim (which includes a(nother) pastiche of Manet’s painting Le Déjeuner sur l’herbe).
  • The transports of love An ironic reference to Stanhope’s car: in the first half he uses it to whisk a pretty young thing off to the countryside where they have a shag, in a picture wherein the car is transformed into an 18th century rococo four-poster bed surrounded by fluttering cherubim – and in the second half, it becomes the scene of an agonised conversation while Stanhope sits with the girl trying to dump her.
  • Derek’s deadly sins A year in the life of a fat gluttonous exec named Derek who regularly stuffs down a heavy lunch with the unbearable Edmund Heep. During the year he chats up a pretty young woman at the office party, and to please his new mistress loses weight, buys new clothes, and the other pub goers take the mickey out of the ensuing affair which runs through May and July but comes a cropper when Derek’s wife finds out about the affair, the relationship breaks up and by the end of the year Derek is back to wearing bad clothes and has his great big beer belly back again.

Academia (8)

  • In his good books Wendy has to sit through dinner with George’s academic colleagues from the Poly all showing off but when they ask her her favourite book, she says Mrs Tiggiwinkle by Beatrix Potter
  • Full stretch George does his yoga while worrying that he is becoming out of touch with developments in the humanities, and ponders resigning.
  • Liaison Presumably published around Valentine’s Day time, this ironically describes the rivalry between the Liberal Studies and Business Studies departments at George’s poly, ending with the suggestion that the two departments amalgamate, which is ironically depicted with one of Simmonds’s flowery rococo pastiches of a valentine’s card between the two.
  • An important meeting George and a colleague go to see the Chairman of governors of the poly but emerge with a surprisingly favourable decision – a big drawing shows what was going on inside each of their skulls, namely that the Chairman made a quick decision because he has a hangover.
  • Unwrappings George and Wendy’s American friend Frisbee Summers is staying. the family pop into a newsagents and while Wendy buys the kids ice-creams George and Frisbee end up discussing the top-row porn mags in high-falutin’ terms of signifying aspects of patriarchal ideology etc. Until Wendy bursts their bubble by whispering ‘Perverts!’ at them both.
  • A notice goes up at the Poly telling staff that unofficial visitors are not allowed. George and his fellow parents on the faculty realise this is a directive designed to stop parents bringing in their children during half term.
  • Eros denied the entire strip is told as a spoof of the Greek gods, wherein Eros fires a dart which hits Mrs Rutland, the Dean’s wife, as she’s chatting to George, and she is suddenly overcome with passion for him, making him blush and the gods panic until another of the gods sends a divine wind to blow away her infatuation and she is restored to normal banality.
  • Funeral rights George is blubbing so much at the funeral of a colleague from the poly who was killed in a car crash that Wendy is proud of him for breaking down sexist stereotypes which insist men keep a stiff, upper lip, and feeling free to express his emotions and… then starts to worry that such an excessive display of mourning will lead colleagues to think he must have been having an affair with the dead woman!
  • The sausage roll that changed the world At a party at his polytechnic, George is pressing the Dean about rumoured cutbacks which might run his new course on Turn of the century Vienna, when the Dean chokes on a sausage roll and Wendy steps in to perform the Heimlich manoeuvre thus saving the Dean’s life – who promptly changes his tune and tells George he’ll see what he can do. (‘It’s an ill windpipe…’)

Middle class mores and hypocrisies (12)

  • Shifting values George and Wendy take a crappy painting his aunt has left him to a valuers who makes an elaborate song and dance over it so that G &W’s opinion is transformed.
  • Black looks George tells Wendy he has just been through an ordeal every bit as bad as the mocking looks he got from his working class dad and his mates when young George went home as an Oxford student – but this time it was the black looks he got as he walked the gauntlet of Belinda and her unemployed punk mates hanging outside the house, as George unpacked the crates of Rioja wine from their Volvo.
  • Left overs George and Wendy have friends round for dinner who praise the cassoulet until Wendy reveals it’s from the freezer of Aunt Gwen who died recently, and left them all her belongings including the contents of her freezer.

  • Killjoy was here Stanhope gets a taxi back from the airport, tanned and still holding his skis from a wonderful skiing break but the glum cab driver soon brings him back to earth and depresses him.
  • Cornish wrestling Taking a cab to the station after a relaxing half-term holiday in Cornwall, George finds a ten pound note down the side of the seat and spends the whole journey agonising whether to hand it in as lost, or use it to pay the fare. He pays the fare.
  • Lingua franca Pippa offers Wendy and the kids a lift back from school and on the way reveals that she’s taken her daughter out of state school and sent her to a private boarding school. ‘They’re very strong on English,’ Pippa explains. They have to be, her daughter in the back thinks – almost all the young ladies at the boarding school are from abroad.
  • Snobs Wendy’s daughter is upset that they won’t buy her a leather skirt for £60, saying all the other girls have got one, and look down on her because she’s poor. What a sordid attitude, Wendy exclaims and tells her daughter that she is in fact, relatively well off with a home and a room of her own and goes to a good school – not to ‘that revolting school in Prosser Street – with all those nasty thugs from the flats.’ To which the family cat comments ‘Sordid attitude’ and Wendy realises what a hypocrite she is.
  • Carping at the shop corner A little gaggle of locals carp about how the local corner shop has changed over the years.
  • Standards of living Wendy leaves Benji with a friend and when her mother and Wendy go to collect him later, the mother spots about a thousand fire and health hazards in the home, whereas Wendy only sees the Noddy book (which I think is meant to be a joke because Noddy books were under fire for being racist).
  • A garden of Eden In early September George and Wendy and a couple of friends are sunbathing in the garden. Then their teenage kids turn up and they become uncomfortably aware of the bumps and blemishes and flab and cover themselves up. Paradise lost.
  • Every picture… At the Wrights’ lovely holiday cottage Stanhope’s art student daughter Jocasta takes Polaroid photos of each other. The joke, such as it is, in the discrepancy between the personal worries and grievances we get to read in their thought bubbles, and the big cheesy smiles they put on for the camera. My daughter read this strip and said, ‘What are they meant to do… shout and scream at the camera? Everyone smiles for bloody cameras and then gets back to their lives.’
  • Lady Bountiful Wendy is walking home from Sainsburys with a friend who points out that Wendy smiles inanely at everyone she meets. Wendy corrects that she only smiles at people less fortunate than her, or who she thinks needs encouraging.  The punchline is that she realises why… why people smile back at her. Standing there weighted down with carrier bags and trailing two mewling children, the reader can see why.
  • Bivouac throughout the strips ‘Bivouac’ is the name given to a kind of Ikea self-service home furnishing company. the strip describes the excitement of buying something in the store, loading it into the car and can’t wait to get it home, then having second thoughts about the extravagant expenditure, and then bickering about who persuaded who to buy it, and then the fate of the bi boxes from Bivouac which is to sit unopened and unloved.

Christmas (8)

Simmonds appears to hate Christmas. Put it this way, all the Christmas-themed strips parody, undermine or satirise the season and its sentiments.

  • Village Christmas
  • What’s in store George and Wendy take the kids to a panto, where they each find something to offend all the family!
  • Och! They’re such a worry The Heeps’ punk sons get kicked out of parties and are forced to go home for New Year’s Eve
  • Festive whirl A circular strip in which George is reluctant to go to a Christmas party, is chivvied into going by Wendy, says they won’t stay long but ends up having a whale of a time, chatting to everyone, then starting to have regrets in the car home, saying he made a number of faux pas, can’t believe he said this, can’t believe he was indiscreet about x, and wakes up the next morning determined not to go to the next Christmas party. Until…
  • The strip World of work has a Christmas theme, consisting of Edmund Heep and a colleague discussing how to wangle the longest break over Christmas.
  • Christmas present George is revolted by a traditional Christmas card from Aunt Bunny containing a traditional cake. George rails against ‘Looking Back Disease’, everyone wanting to preserve a fantasy of some Olde Worlde Christmas and says, if he had his way, they’d dispense with the stagecoach on the Christmas card cover, the Victorian dress, and the port and the lanterns and the snowman, and the robins, out with Santa, in fact out with everything except a message of goodwill. Except that, as he’s dispensed with each of these things, they have been removed from the strip itself until it is just… George and Wendy and a few kids huddling together on a great wide snow-covered plain… with the sound of something hungry howling in the distance.
  • Past 2 o’clock The posh lady with the stiff hairdo and the frightfully, frightfully manner is woken by strangers knocking at the door. It is a reincarnation of Joseph and Mary turned away from the inn and trudging through the snow, and so the humour comes from the tone of voice and excuses made by the posh lady as she explains that she can’t put them up in the main house – the builders are making a frightful mess, but she can put them up in the shed next door, it’s currently housing Sara’s pony but they’re going to do it up and put in a shower and a utility room and decorate it with some rather super tiles they saw in France etc.
  • Christmas wishes A rather bleak strip consisting of two nearly identical big pictures, at the top George and Wendy wishing us a Happy Christmas next to a mantlepiece covered with Christmas cards – underneath, exactly the same scene, but each of the cards has been transformed by one of the worries of contemporary life e.g. a nuclear power station has appeared on the hill behind the sleigh, the wise men had been pointing at a star but now they’re pointing at a mushroom cloud, some deer were looking at a decorated Christmas tree but now they’re looking at a barbed wire fence with a Ministry of Defence Keep Out sign on it. It’s quite funny as humour, but it’s really interesting as social history, as a reminder of just how terrified everyone was of nuclear war or a nuclear accident back in 1983, 36 long years ago.

Pastiches and parodies (7)

Many of the cartoons liven up otherwise mundane events by dressing them in parodies of 18th century rococo or Renaissance paintings, or set them to the tunes of Elizabethan or Victorian songs (updating the words for comic effect) or in other ways frame or transform events into alternative genres, such as when Stanhope imagines a possible affair with a young woman in terms of a grand theatrical production, and visualises a theatre programme giving his and her names as the leading roles…. whereas his wife sees what is going on and imagines the same events as the subject of a silly TV sitcom titled ‘It always ends in tears’.

So humour is often derived not from the events, but from this clever transplanting of them into comically inappropriate genres and formats.

  • The joke Valentine’s Day card in Liaison
  • The appearance and speech of the Greek gods in DIY
  • The use of theatre programmes and the Radio Times format to parody Stanhope chatting up a young lady at the theatre in Acting one’s age
  • Spring fever Spotty punk Julian Heep tries to talk young Helene into shagging him but she refuses saying he’ll just tell everyone at school. The final scene parodies a classical painting of a young man putting his arms round a lady dressed in a classical gown.
  • The transformation of the car into a rococo love nest in Transports of love
  • The rebirth of Venus in which three women discuss and pester a friend into losing weight in a series of pictures which spoof and parody Botticelli’s famous Birth of Venus to make a feminist comment on how women are forced to conform to body stereotypes.
  • Cat lovers is told in the form of a rhyme (as are several others), thus: ‘The cat sat on the mat. Back to the flat come Pat and Jack. Jack hates the cat. The cat hates Jack. Pat loves the cat. The cat loves Pat. Pat sat on Jack’s lap. Jack pets Pat. Jack and Pat want a nap. Scram, cat, scram! Drat the cat!’ which tells the tale of a couple coming back to the flat, smooching and then wanting to go to bed… only to find a big cat poo on the duvet. In strips like this you can see a basic childishness, a simple-mindedness about the strip, which means it wasn’t a big departure for Simmonds to branch out into children’s books – the most successful of which were about… cats!

Teenagers (7)

  • Nature, nurture (and nutrition) Fashionable young Belinda Weber has scorned going to university as her parents hoped and is helping out as waitress in a Directors Dining Room because, as she shouts at her mother, she is sick of living in a poky conversion, sick of kidney beans and lentils, sick of pine dressers. She wants to meet someone rich and drive a Saab and live in a nice house. Thatcher’s children.
  • Virtue’s work Father Stanhope gives lazy skiving art student Jocasta a talking to about needing to get a job.
  • Reaction A mother has a trio of teenagers over, slumped in front of the telly, and is appalled at how heartless and cynical they are, fondly remembering when they were small and got upset at Disney films etc. Suddenly she hears them yukking and moaning and goes in to discover that… they are appalled and revolted by the middle-aged clothes, the bell-bottoms and open shirt being worn by a TV news reporter!
  • Honcho Gun The two punk sons of Edmund and Jo Heep go to the cinema but are so obnoxious they keep being asked to move and are eventually kicked out. Home embarrassingly early, they fend off a bollocking from their dad by ad libbing an enormous long complicated science fiction plot which they make up. ‘When in a spot, baffle ’em wiv Sci-Fi!’
  • Home Jocasta is skint and fed up of living in sordid student accommodationso she turns up back at her parents’ house and moves in, stuffing her face with good food, smoking on the sofa and reading in the bath. As so often, there is an ironic narrative counterpoint to all this as music staves run above the strip depicting the lyrics of the Victorian song ‘there’s no place like home’. My daughter read this strip and asked me, ‘Is it meant to be funny? Because it’s just… obvious’.
  • ABC (as it is spoken) Two young leather-jacketed dudes go into their local pub where the landlord asks them for proof of their age and they get stroppy. The ‘gag; is that the entire dialogue, by all parties, consists of abbreviations: ‘L.O.’ ‘2 G.n.T’ ‘A?’ and so on. Clever. Not particularly funny.
  • Marriage à la mode Belinda announces to her parents that she is going to marry one of the rich directors at the offices where she works as a cook. George and Wendy are distraught that Belinda’s not making the most of her education, those A-levels, doesn’t want to be the strong, independent feminist they brought her up to be and worst of all, wants George to ‘give her away’ at the traditional church service… like a medieval chattel. Ugh!

Second homes (5)

  • Village Christmas The book opens with quite a bitterly satirical cartoon showing a cluster of village cottages round a village church covered in snow in complete silence on December 22, and then in successive pictures how holiday home owners arrive down from London, animate the houses with lights and real fires and arguing and partying over Christmas, nursing hangovers on Christmas Day, and are packed up and gone leaving the village silent again, by 27 December. Looking back from 2019 it’s fascinating to see the seeds of the current housing crisis and resentment at the holiday home-owners who have gutted large numbers or rural and coastal communities, being sown so long ago. But the really striking thing about it is how beautifully it is drawn. In the rest of the book Simmonds’s looseness with faces, which are often erratically drawn, is still in evidence. But her depiction of things, and the details of scenes and scenery (indoors or out) go from strength to strength.
  • Home is the sailor During this period Simmonds introduced the Cornish seaside hamlet of Tresoddit whose point is that it is overrun with Londoners who’ve bought up all the available cottages as second homes.
  • One man’s meat The Weber’s visit posh friends who have a home in the country, and the mum delivers a long speech about how the locals buy really expensive processed food at the local store instead of eating the kind of fresh, vegetarian fare which she recommends.
  • Up and down in the country A satirical speech delivered by the same pomaded lady in a quilted Barbour jacket as the previous strip, who explains the work of the Society for the Preservation of Owners of Second Homes or POSH.
  • Nice little men The same woman with a Barbour jacket and over-elaborate hairdo has such a worry about her second home in the country, and calls out a simply super little man who lives locally, but the nice little man overhears her describing him in belittling, superior, patronising tones on the phone and so does a rush job and clear out grumpily… leaving posh lady wondering ‘But he was such a NICE little man, too.’

Edmund Heep the alcoholic (3)

  • Edmund Heep steps in for a colleague at a conference and gives a deeply embarrassing speech
  • Distinguished service Heep is out of action nursing a hangover so his secretary Jackie has to rummage around in his chaotic filing system to find the needed paperwork.
  • World of work On a crowded bus at Christmas, Heep discusses with a colleague precisely how many days off work they can wangle, this Christmas and next Christmas holidays. Neither of them understand why the two blokes behind them become so angry that one of them shoves Heep’s hat down over his ears until… they pair get off the bus at the next stop and go into the local Job Centre – at which they simply feel SHAME.

Miscellaneous (3)

  • Upright citizens Waiting in a long bus queue an old lady reflects that it’s one of life’s little unfairnesses that whereas young people can lounge or sit in doorways, the elderly cannot without being taken for vagrants.
  • Minor op Wendy goes into hospital for a minor operation. The amusement comes from the way Simmonds quotes Shakespeare’s ‘All the world’s a stage’ speech to name all the ‘roles’ someone having an operation is called on to perform.
  • The house that Jack bought Nice middle-class Jack sells his house in order to move into the one Mr Shite is selling him but at the last minute Shite gets a higher offer and sells it to someone else leaving Jack’s family stuck in expensive rented accommodation. This just seems to be an utterly humourless comment on the sheer hell of trying to buy or sell a house in Britain.

Politics (2)

  • Don’t know A visually funny strip where Jocasta the art student is wakened by a ringing at her doorbell, trudges all the way down the stairs and the hallway to answer the door to a man canvassing for the local Labour candidate. Jocasta takes the flyer, trudges back upstairs and dumps it next to all the other ignored flyers.
  • Judicium extremum Atom bombs fall and wipe out the world. At the pearly gates there are two queues of the dead, one of hawks and one of doves, both of them blaming each other for what has happened.

Household chores and worries (1)

Possibly the once about the Bivouac shopping trip fits in here as well.

  • DIY A parody in which the Greek gods of the household oversee George and Wendy’s frustrated attempts at spring cleaning.

Thoughts

This detailed enumeration of the strips makes it crystal clear that it contains little or no politics but is overwhelmingly concerned with the cosy mundanities, and stroppy grievances and petty frustrations, of domestic and personal life. Feminism, or the role of women, and in particular a) harassed mothers and b) even more harassed working mums, are the most recurrent subjects.

On the plus side is young Belinda Weber, the glamorous teenager/young woman, strong, independent-minded, who rejects all her mother’s pussy-footing, soft soap liberalism and just wants to marry a millionaire. It’s odd how, having root and branch rejected old-style feminism, Belinda is consistently shown as a well-adjusted, happy winner.

One other thing is striking to the modern reader, which is that all the characters are white and straight.

There are no black, Asian, Muslim or ethnic minority characters, whether in the street, in shops, in the various offices or at the poly, in the schools or at any of the parties, lunches and get-togethers. Race appears as an issue once or twice, for example in the strip when Wendy says she smiles at the new Pakistani woman who’s moved into the street, and says the one person she doesn’t smile at is the appallingly racist woman across the road. When Edmund Heep irritates the men sitting behind him on the bus, one of them is black. That appears to be it.

Similarly, there are no gay or lesbian characters anywhere. The rights and wrongs endured by middle-class white women women women women are proclaimed from the hilltops. The experiences of black, Asian, immigrant or lesbian and gay people are invisible. The Posy cartoon strips are a strictly white, middle-class and heterosexual affair. This, I think, goes a long way to explaining why they have such a cosy, reassuring feel. Nothing threatening or strange ever happens in them.

cf Celeb

Surfing cartoons on the internet I stumbled across the ‘Celeb’ strip drawn by ‘Ligger’, which has been appearing in Private Eye for 30 years or so, describing the sardonic attitudes of an ageing rock star named Gary Bloke. Every one of these Celeb cartoons made me laugh out loud.

Celeb by Ligger

I found more laughs in one Celeb cartoon than the entire 488-page Posy collection but then laughs are not really what she’s after.

Credit

All Posy Simmonds cartoons are copyright Posy Simmonds. All images are used under fair play legislation for the purpose of analysis and criticism. All images are freely available on the internet.


Related links

Other Posy Simmonds reviews

Posy Simmonds: A Retrospective @ the House of Illustration

‘The humour tends towards the wry rather than laugh-out-loud’

I hadn’t realised she was so posh. Rosemary Elizabeth ‘Posy’ Simmonds (MBE) was born in 1945 in the Royal County of Berkshire and educated at the independent, fee-paying Queen Anne’s School in Caversham before going on to study art at the Sorbonne in Paris, and then returning to London to attend the Central School of Art & Design.

In the video interview included in the exhibition, she remembers growing up in a house full of books which included leather-bound volumes of Punch magazine, which she loved looking through from a very early age.

The exhibition includes a display case of some of the earliest sketches and drawings she did, while still a child, spoofs of 1950s glamour magazines and so on.

In 1969 Simmonds began her first daily cartoon feature, Bear, in the Sun newspaper, and she also contributed to The Times and Cosmopolitan magazine. But it was her move to the Guardian in 1972 that fully established her as an artist and social commentator.

Throughout the 1970s and 1980s, Simmonds entertained readers and won critical acclaim with her low-key but bitingly satirical comic strips, commenting on the changing face of the English middle classes. She has worked on other newspapers and magazines, but it was her Guardian work that made Simmonds’s name.

The Silent Three

After years of contributing ad hoc and topical cartoons, in May 1977 Simmonds started drawing a weekly comic strip for The Guardian. It was initially titled ‘The Silent Three of St Botolph’s’ as a tribute to the 1950s comic strip ‘The Silent Three’ by Evelyn Flinders, and parodied the tradition of the harmless adventures of girls at precisely the kind of jolly hockey-sticks private school which she had herself attended.

The strip quickly focused on three girls in particular and contrasted their school adventures with the ongoing tribulations of their grown-up, adult selves, set in the contemporary world of the late 70s. They were:

  • Wendy Weber, a former nurse married to polytechnic sociology lecturer George Weber and struggling to look after a large brood of children
  • Jo Heep, married to alcoholic whisky salesman Edmund Heep, with two rebellious teenage sons who form a punk band
  • Trish Wright, in an ‘open marriage’ with philandering advertising executive Stanhope Wright, and their small baby

The Silent Three by Posy Simmonds

Posy

The strip eventually dropped the references to ‘St Botolphs’ and became known simply as ‘Posy’. It ran for ten years, from 1977 to 1987. During that period the cast of characters was expanded, as the children grew up and developed characters of their own. The strips don’t tell a consecutive narrative: each one focuses on an issue or event or slyly comic theme, and Simmonds gave herself the freedom to depart from the well-known cast altogether, as well as experiment with format and layout.

Periodically, the strip was collected into a number of books, namely:

  • Mrs Weber’s Diary (1979)
  • True Love (1981)
  • Pick of Posy (1982)
  • Very Posy (1985)
  • Pure Posy (1987)

The three families are distinct middle-class ‘types’; they each occupy a specific niche within the broad sprawling category we English refer to as the middle classes and the humour, such as it is, comes from the precision of Simmonds’s depiction of all the aspects of each group and their ‘set’ of friends.

But although the strip sometimes left all the known characters behind to experiment with purely political or satirical commentary, at its core were the couple of Wendy and her husband George – epitomes of the popular conception of the Guardian reader – intellectual, ex-hippie, bookish, left-wing, vegetarian and wracked by a whole raft of liberal causes – anti-sexism, anti-racism, anti-nuclear and so on.

The point is that the humour is often at their expense, Simmonds gently satirising ‘the furrowed brow of liberal guilt’, showing the thousand and one ways in which they fall short of their own high ideals. In particular, many of the strips mock the high-falutin’ modishly French intellectual ideas George is liable to bring to completely inappropriate situations, such as the choice of new kitchen blinds dinner party chat.

Consumers, a George and Wendy Weber comic strip by Posy Simmonds

The five books listed above were eventually brought together into hefty omnibus hardback edition comprising some 480 pages (Mrs Weber’s Omnibus) which makes up a fascinating and revealing social history of the bien-pensant liberals of its time.

Feminism

Alongside the regular Posy strip, Simmonds produced topical cartoons and illustrations for other publications and for one-off occasions. According to the wall label:

In her newspaper strips and graphic novels, Simmonds returns regularly to the experience of women. An affirmed feminist, she has been advocating for women’s rights since the 1970s, challenging the injustices of male privilege and sexism in the home, at work and in wider society. Simmonds’ regular contributions to The Guardian newspaper’s women’s page have enabled her to make comment on issues ranging from the judgement women face when breastfeeding to the portrayal of ‘femininity’ in advertising.

So the exhibition includes a wall of narrative cartoons satirising women’s experiences of being harassed in pubs, or walking down the street, or by leery bosses, and so on. Take this satire on the way women only ever appear in the cartoon genre as foxes, babes and sex dolls, with all other periods of women’s lives completely ignored by the genre.

Seven Ages of Woman by Posy Simmonds

Children’s books

Also during the 1980s, Simmonds turned her hand to writing, and in particular to writing children’s stories. Thus began the sequence of illustrated children’s books including:

  • Bouncing Buffalo (1984)
  • Fred (1987)
  • Lulu and the Flying Babies (1988)
  • The Chocolate Wedding (1990)
  • Matilda: Who Told Lies and Was Burned To Death (1991)
  • F-Freezing ABC (1996)
  • Cautionary Tales And Other Verses (1997)
  • Mr Frost (2001)
  • Lavender (2003)
  • Baker Cat (2004)

The exhibition includes original artwork from most of these children’s books. The illustrations to Hilaire Belloc’s classic cautionary tales show a sketchy, washed-out style a little like Edward Lear. But it was the intensely coloured illustrations of a book like Fred which I liked most.

Illustration from Fred by Posy Simmonds (1987)

Text heavy

Comparing Simmonds’s children’s illustrations with the adult ones revealed one single, central, massive difference – the amount of text.

The children’s books have almost no text and, as a result, feel light and airy. The adult strips, on the other hand, are packed with text. I thought it revealing that, at the start of the Mrs Weber Omnibus there is an extensive cast list which gives not only names but information about each of the characters’ lives, careers and interests, right down to the number of A-Levels the older children are taking.

I think this may explain why I found hardly any of the hundred of more strips on show here very funny. Certainly none of them made me laugh out loud, it’s not that kind of humour. A few of them made me smile. And it wasn’t just me: there was no audible response from any of the other visitors who shuffled around the rooms in respectful silence. The humour, as another online reviewer points out, ‘tends towards the wry rather than laugh-out-loud’.

More than that, I’d say you have to pay a lot of attention and read the text very carefully, in order to ‘get’ many of the strips – in order to notice the very slight nuances, and digs and satirical swipes at the affluent middle-class types who she so likes mocking.

The graphic novels

This becomes evident in Simmonds’s graphic novels. In 1981 she published True Love, which is an extended parody of sensational romance comics. In it the plain and mousy young Janice Brady – who we first met in the Weber strips – is working in a male-dominated publishers office and mistakenly imagines that tall blonde handsome Stanhope Wright is in love with her. In reality he is juggling at least two other love affairs which he is trying to keep hidden from his wife – but in her naive innocence Janice dreams that, if she applies enough make-up and wears the right glamour clothes – Mr Wright can be hers!

True Love by Posy Simmonds (1981)

True Love is now generally acknowledged to be Britain’s first ‘graphic novel’, although I’m not sure the genre really existed when it was written and it’s certainly not what you associate with the walls of graphic novels you can find in any bookshop nowadays.

In fact the narrative is pleasingly ‘unstable’ in the sense that it is still made up of self-contained ‘strips’ and some of them wander away from the central plot altogether to show characters from the main strip, e.g. the ever-agonising liberal George and Wendy at the cinema, and the tiresomely cheery Edmund Heep also makes some appearances.

There is a central event of sorts, which is an advertising shoot out in the country which requires the hiring of some sheep to make it look more scenic. Janice overhears Stanhope on the phone to what she thinks is his mistress, and his mention of ‘sheep’ sets off a broadly comic misunderstanding in which Janice wonders if they’re into perversion and bestiality.

On the day of the filming, Janice is sent by the crew filming the ad to find Stanhope and discovers him having a little ‘picnic’ with his pretty mistress. From her hiding place in a copse of trees Janice rolls down downhill towards the spooning couple the tin of cheese which Stanhope gave her at the firm’s Christmas party (and which has become a sort of comic totem of their love). Unfortunately the tin bounces off a tree root and hits Stanhope on the head, giving him concussion and forcing a trip to the local hospital, which he then struggles to explain to his long-suffering wife Trisha.

Anyway, from a visual point of view, Simmonds enjoys counterpointing the freckly, bong-nosed young heroine with impossibly glamorous images of gorgeous pouting dollybirds from 1950s and 60s romance comics, and the entire book mimics the genre’s exaggerated glamour, overblown prose, capital letter fonts, and the liberal use of glamour magazines’ tell-tale colour – hot pink.

It is without doubt clever, and full of subtle references (like this copying of the form’s visual style), but I rarely really found it funny. It all seemed too predictable to me. It is exactly the kind of rather obvious satire you’d expect an exasperated feminist to make. And mocking 1950s glamour magazines for being unrealistic… it’s not a difficult or novel target for satire, is it? By the 1980s.

Gemma Bovery (1999)

In the late 1990s Simmonds returned to the The Guardian with the first of what has turned into a series of graphic novels, Gemma Bovery.

Gemma Bovery is a modern, comic-strip reworking of Gustave Flaubert’s classic novel Madame Bovary. In Simmonds’s hands this becomes a satirical tale of English expatriates in France, enmeshed in divorces, whining exes, needy children and ghastly rich banker neighbours. It was published as a graphic novel in 1999 and was made into a feature film in 2014.

Given that the wall labels emphasise what a feminist Simmonds is, and how she has spent her life campaigning against sexist stereotypes, I was surprised that this long graphic novel is devoted to a fabulously slender, attractive and sexy young woman who has numerous ‘affairs’ (i.e. super-idealised, glamorous sex) with a succession of tall, handsome, slender young men. Here she is, getting it on with the tall, slender, good-looking aristocrat Hervé de Bressigny.

A lot has happened in the 18 years since True Love. Simmonds’s drawing style is infinitely more sophisticated: she can draw anything now, and the arrangement of pictures and text on the page is far more professional and effective. True Love felt like an extension of the weekly comic strip consisting, in effect, of a series of gags and comic scenes – Gemma Bovery really feels like a graphic novel.

Nonetheless, moving a few yards along the exhibition wall from one to the other, I couldn’t help being puzzled by the apparent contradiction. In 1981 true romance was despicable, unrealistic, sexist stereotyping – in 1999 it deserves a long, intensely imagined novel.

Tamara Drewe (2006)

This apparent contradiction was emphasised by the frames on display from Simmonds’s next graphic novel, Tamara Drewe. It also depicts a wide range of middle class characters who are, as usual, skewered for being pretentious, rich, snobbish, hypocritical and so on and yet, once again, the story focuses on a strikingly tall, statuesque, slender, shapely, nubile young babe, the eponymous Tamara.

The homely clunkiness of the Webers and of freckly, dumpy Janice Brady seem light years ago. The fusty little world of George and Wendy fussing about lentil soup or fretting about the introduction of business studies at the polytechnic where he teaches, have been replaced in both these graphic novels by tall, streamlined young sex goddesses living wonderful lives of affluence and foreign travel.

Tamara Drew makes her first appearance in the revised graphic novel, 2007 by Posy Simmonds

Both these novels features sexy heroines and they are about love affairs and sex and emotions. The women in them have careers, of sorts – Gemma is an interior decorator – but seem to define themselves by their relationships with men. For all the feminist rhetoric of Simmonds’s own cartoons, and of the curators’ wall labels, I couldn’t help feeling disappointed, as if earlier thoughts and beliefs had been abandoned.

Tamara Drewe debuted in the Guardian’s Review section on 17 September 2005 and ended, with episode 109 and an epilogue, on 2 December 2006. It was published as a book in 2007 and was also made into a film, starring tall, nubile young actress Gemma Arterton.

On the upside, both these graphic novels really do read like novels. I borrowed Gemma Bovery from the library, read it in one sitting and was slowly entranced. The characterisation initially felt thin and the satire of ghastly rich Brits abroad was irritating, but slowly, something deeper and more tragic genuinely emerged, and by the book’s last few pages I was absolutely gripped.

Cassandra Darke (2018)

Most recently – and in a relief from this succession of nubile young heroines – Simmonds has produced a much darker graphic novel, about a disgraced art dealer, Cassandra Darke. She’s caught selling dodgy fakes to the rich clients she despises, sentenced to community service, and then emerges almost penniless into a dark, gritty London just at Christmastime which is when the genuinely threatening sub-plot kicks in, concerning the young daughter of a friend who she lets her basement room to and who’s gotten involved with some seriously violent people, guns and drugs.

There are only three exhibition rooms in the main gallery of the House of Illustration and the entire third room was devoted to Cassandra Darke, with a book-size strip running continuously right around the wall and a set of display cases showing original artwork for the book, including early sketches of the characters, the initial paste-up sheets showing rectangles of paper with the text printed on them, glued onto the drawings – all this giving insights into how the book progressed from conception to completion.

What interested me was how distinctly darker and more pessimistic the story and the images are than anything else Simmonds has done. The Webers, back in the late 1970s, inhabited a safe and cosy world, cosy in the sense that they felt confident that good people everywhere shared their values. They were at home in what felt like a relatively benign society, everyone turned out for the annual street party or went on CND marches.

Now, forty years of feminism, identity politics, mass immigration, and neo-liberal right-wing economics later, the world feels a lot, lot, lot less friendly. It feels dark, rundown and dangerous, with vandalism, graffiti and the threat of violence on every corner.

Cassandra Darke goes to the rundown East End of London looking for clues as to the identity of the murdered young woman at the centre of the plot

What an immense distance we have travelled from the jolly hockey-sticks girls of St Botolphs. And it feels like Simmonds’s laser-sharp satirisation of changing middle-class mores has reflected every step of those socio-economic changes.

Social history

All in all, then, there are a few smiles but no laughs – I found this more of a thought-provoking exhibition than I expected.

The feminist stuff from the 70s and 80s reminds you what a horrible hairy, drunken, lecherous world it was back then. The Weber strips remind you of a whole type of knit-your-own yoghurt, ‘concerned’ and caring moustachioed polytechnic lecturers blabbing on about the nouveau roman and structuralism, who don’t seem to exist any more.

In fact the first half of the exhibition reeks of a world which is long gone. When True Love satirises the glamour images of the 1950s you can see Simmonds taking revenge on the sexist bilge she was fed as a girl, but, as a parent struggling to bring up my own teenage girl in 2019, not only the 1950s originals but also Simmonds’s 1980s satires on them, have a massively dated feel. The Weber strips feel like they could contain the threat. Satirise her characters as she did, you still had the sense their values were good, were the right ones, and would triumph.

But they didn’t. They were squashed and obliterated. Thatcherism confronted organised militant left-wing politics but what really killed that entire world of earnest, moustachioed left wingers was the collapse of the Soviet Union and the Eastern bloc in the early 1990s. The demise of actual socialism around the world left a huge intellectual, ideological and imaginative hole. Suddenly the underpinning for everyone on the soft or hard left just disappeared. Into this vacuum rushed Tony Blair and Gordon Brown’s Third Way, slowly acclimatising all of us to the soft form of neo-conservative capitalist economics and consumer culture which we have inhabited ever since.

Thus it is that the graphic novels seem to come from a completely different world from tut-tutting George and Wendy Weber. You can see that Simmonds ceased drawing them not only because she was bored of doing the same old thing, but because their world was fading into insignificance compared to the bright and brash, shiny consumerist paradise which the 1990s promised everyone.

Gemma and Tamara – as the names suggest – come from the heart of the shiny, comfortably-off 1990s when old-style Labour politics had been obliterated and people were now making immense amounts of money ‘in the City’ or in advertising or in TV or in publishing – where the rich were buying up holiday homes around Britain and in France (where Gemma and Tamara are set) and beyond.

Certainly all of the characters in the graphic novels are comfortably off and well-heeled in a way the make-do-and-mend Weber family never was. They inhabit different imaginative universes.

So that’s why I liked the Cassandra Darke section of the exhibition most – because it is fascinating to see posh 1950s public schoolgirl Simmonds’s take on the world most of us now live in – not slender sexy heroines bonking in French chateaux – but the grisly streets of modern British cities, filled with closed-down shops, odd-looking people from all around the world speaking a babel of languages, the sense of public decay and dereliction, all contrasted with the comfortably-off art world which Cassandra inhabits and which gives her a window onto yet another world, that of the really genuinely super-rich international art collectors, the American and Russian and Arab billionaires who buy up art like they buy London properties, to add to their investment portfolios. And lurking beneath all this glitter, in the main plot of the novel, the threat of serious violence from white working class hard men.

It is a modern world where everyone is on their mobiles phones all day long, locked into their own little Facebook universes, consuming music, TV, movies and American culture like there’s no tomorrow, utterly heedless of the careful, caring values which George and Wendy devoted their lives to.

George and Wendy worried about their children showing the tiniest signs of becoming a bit materialist, and quoted French cultural critics to make snide, knowing criticisms of ‘consumer culture’. Their world has been obliterated, buried, drowned in an unprecedented global tide of mass consumption, and it is the unbridled greed and heartlessness of the modern world which Cassandra Darke conveys so well.

Illustration from Cassandra Darke by Posy Simmonds

So reading about the everyday trivial hypocrisies of the 1980s lower middle-classes, of competitive gossip in the playground – the difficulty of telling your childminder what to do without offending her, or the frustrations of stay-at-home mums or the even worse frustrations of mums who go out to work – all this was mildly entertaining. But as my cruel teenage kids would say, ‘Yeah, so what, grandad?’ They don’t give a monkeys what happened ten, twenty or thirty years before they were even born.

So I think the curators were right to devote the last room entirely to Simmonds’s most recent book. Satire, or observational cartooning like this, is at its most powerful when it is about the now. And I found the rich colouring and the depth of texture of the illustrations to Cassandra Darke as interesting, as new, and as up-to-date, as its gritty, violent storyline.

And lastly, what a relief that the central character, Cassandra, is a grumpy, frumpy, older woman, well into her 60s, maybe 70-something, what a relief and a pleasure. After the nubile heroines Gemma and Tamara, it felt good to see Simmonds being true to the critique she herself made all those years ago in that ‘Seven Ages of Women’ cartoon, and depicting a woman who is not young and lithe and sexy and obsessed with bonking, but is nonetheless just as interesting and rewarding a character and easily meriting a book of her own.

Hooray for frumpy, grumpy Cassandra Darke, and hooray for Simmonds’s detailed, deep and discomfiting cartoons!

Preparatory character studies for Cassandra Darke (2014) by Posy Simmonds


Related links

Reviews of Posy Simmonds’ books

Reviews of other House of Illustration exhibitions

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