We're looking at an issue of the Push Pin Graphic that was designed by Seymour Chwast, titled The South. And what's very hard to see in this illustration is that there is a hole that's drilled through the âoâ in the word South. And the hole is drilled entirely through the book, from one end of it to the other. The book starts out with a series of images, large images that describe cliches of the American South. Like this image of steamboats on a river surrounded by palm trees hearkening back to kind of gentile ideas of riverboats on the Mississippi. But inset in the black and white photograph, is a picture of one of the many African Americans assassinated during the struggle for voting rights in the South, so the hole drills through the head of the assassinated Civil Rights hero. Another page with another portrait. This time, the portrait is set against a cliched image of a white couple enjoying a stroll in a palmetto grove. This image of two southern gentlemen enjoying mint julep, again, interrupted by the image of an assassinated Civil Rights worker. Another portrait against the cliched picture of the black minstrel. On this spread, a portrait of Martin Luther King with a hole through his head against an image titled Georgia Peaches. The last spread of the book flips the script entirely. The person with the hole through their head is the clichè of southern womanhood, against the picture of the march in Washington in 1963 in support of Civil Rights. This book is such an interesting example of the ability to create a political message entirely through images that people already know. The truth is, the images of all the clichés are recognizable and at the point that Push Pin published this book, the pictures of the Civil Rights workers would have been recognizable as well. But the combination and the use of the violence of that simple drilled hole through the book make this powerful piece in support of Civil Rights a rather unforgettable piece of graphic design.