The influence of “Peanuts” pervades one variety of graphic novel, th influence of the early MAD magazine another. In 1964, Marshall McLuhan astutely called MAD, which first appeared in 1952, “a kind of newspaper mosaic of the ad as entertainment, and entertainment as a form of madness.” Bill Gaines, Harvey Kurtzman, and the magazine’s other inventors counterattacked the manipulative forms and messages of mass culture with a none too subtle parodic wit that was angry at its root. It fed a furious, slightly scared cynicism in its readers that was born of perceptions of falseness in advertising, certainly, and in perhaps, well, everything with which “they” presumed to know and affect our thoughts. What “they” imagined we must be like, to swallow it all, was caricatured in the sunnily moronic countenance of Alfred E. Neuman. MAD was almost as significant a cultural depth charge of the nineteen-fifties as Elvis was. (I came across my first issue in 1956 or so and immediately phoned two friends. All they heard on the line, before they hung up, was convulsive laughter.) Blending with the popularization of Beat literature and the comedy of Lenny Bruce, MAD’s attitude entered into the great generational joke of the sixties: feigned idiocy, faux innocence, the put-on, camp. (Cogito: people over thirty don’t get it, therefore I am.) Cartooning acquired a new, prevalently drug-enhanced function configuring madness as entertainment. Its new paragon—a writer-artist whose greatness still defies conventional description—was R. Crumb, who inaugurated “Zap Comix” in 1968 in San Francisco, at the center of a countercultural circus that was going rancid around the edges. Crumb regrounded comics in the experience of aging youths who, having embraced lives of antic alienation, were stuck with them.
Even full-on, Crumb’s drawings tend to have an up-from-under feel. The fat shoes of the striding character in his iconic “Keep on Truckin’ ” image suggest a ground-level viewpoint, as does the physiognomy of his feminine ideal: girlish above the waist, rolling thunder below. (His unedifying sexual penchants and frankly jerkish attitudes are inseparable from the truths he tells, unfortunately.) Crumb’s contributions to the physics of comics recall Giotto’s (yes, Giotto’s) to Western painting: acknowledging material mass and the force of gravity. In a Crumb, when something or someone falls the occasion doesn’t require a helpfully lettered “thud,” though he might provide one; feeling the weight, you register its impact. It’s a small matter of emphasis with big correlatives, ushering comics from stylized backgrounds for fantasy to projections of tactile space. The effect needn’t entail anything like realism. Its precedents include, in comics history, the topography of Coconino County, in George Herriman’s “Krazy Kat” (1910-44). In that pocket immensity, as indifferent as the universe, a mouse might hit a cat with a brick, and a cat might enjoy it though a dog objects. After Crumb, a widespread rediscovery of Herriman became crucial to several styles of the nascent graphic novel, in particular that of Spiegelman’s “Maus” (1986, Pantheon). The Jewish mice, German cats, and Polish pigs of that extraordinary epic live their fates in surroundings that not only contain but witness and reflect on the action: the kitchen in which Spiegelman interviews his father, a setting of safety in the here and now, emotionally frames the all but unbelievable ghastliness of the there and then. To become novelistic, comics needed capacious structures of space and time in which their characters could come and go.
Graphic novels induce an enveloping kind of emotional identification tha makes them only too congenial to adolescent narcissism, in the writing n less than in the reading. Why arduously muster the persona of a Charlie Brown o a Jimmy Corrigan when your own fascinating self is right at hand? A problem fo the autobiographical graphic novel is that its author’s life experience may consis mainly in compulsive cartooning. But the trailblazer of this mode, Harvey Pekar is not a cartoonist at all, barely a writer, and well past adolescence, at leas chronologically. Pekar, a lumpish Cleveland file clerk, came to public notice i several appearances on the David Letterman show, in the mid-nineteen-eighties and was portrayed by Paul Giamatti in
Saturday, February 21, 2009
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- Jeffrey Toobin
- WE GET LETTERS
- JUSTIFICATION AND COVERUP.
- TURKEY
- a nation of cowards
- Eric Holder’s confrontational speech
- Investigating Bush's Crimes
- Stimulus: Good Money After Bad
- next Israeli government
- Bill Gaines, Harvey Kurtzman
- MAD Magazine
- Graphic Novelists; MAD Magazine;R. CrumbYou can te...
- OBAMA INAUGURATION TAKE DOWN
- THESE STATEMENTS BY AN AMERICAN PRESIDENT ARE SHAM...
- standing pat, of protecting narrow interests and p...
- Abolish Taxes on Capital Gains.
- no bottom for world financial "collapse
- standing pat, of protecting narrow interests
- when imagination is joined to common purpose
- the time has come to set aside childish things.
- On this day, we gather because we have chosen hope...
- OUR COLLECTIVE FAILURE???
- ANOTHER BULLSHIT ARTICLE ABOUT HAPPINESS AND SUCCESS
- ANNOTATED INAUGURAL SPEECH. I'M NOT FUNNY. DONT J...
- protecting narrow interests
- Let it be said
- OBAMA SOARING RHETORICAL LIES 3
- GREAT GIFT OF FREEDOM
- do astronomers deaden themselves to the starry uni...
- By E. LDOCTOROW City of God
- GENIUSA Mosaic of One HundredExemplary Creative Mi...
- Arthur Koestler
- Mort Sahl
- I Lied About Making $80,000 Working From Home... A...
- Smoove B
- The Israeli Conflict Is Far Too Nuanced And Comple...
- We Should Get That Guy Who Does A Half-Assed Job T...
- Nation's Blacks Creeped Out By All The People Smil...
- more equal and less rapacious.
- the choice between our safety and our ideals.
- HOT AIR.
- with eyes fixed on the horizon and God's grace upo...
- INAUGURATION SPEECH
- another republican fiction
- EMPTY RHETORIC. BENEATH CONTEMPT
- THE DIGITAL DELIVERY OF EDUCATION
- Drug War
- Fascists Under Beds
- preventive detention for terrorist suspects
- ANOTHER STUPID NEWSWEEK FILLER ON HAPPINESS
- 200 SELECTED BOOKS.
- The 11 Best Foods You Aren’t Eating
- “Valkyrie,
- Presidential power
- Tom Waits:
- the culture wars
- The Death of Common Sense
- The Death of Common Sense 3
- self-esteem.
- Was There a Cultural Revolution c.1958-c.1974?
- defining deviancy down.
- UFO theories
- a second Great Depression.”---Paul Krugman
- JIMMY KIMMEL
- ‘Going Nuts in Washington’Riveted by Barack’‘Ten M...
- JAY LENO
- DAVID LETTERMAN
- Feb 19th 2009
- Monologue
- Obamaisms
- America, 1908,
- The Reality of Religion: Putting things in context
- Michael Ledeen
- Illustrating history's essential promise
- Are you better off?
- George Will
- “We are all socialists now.”
- Dark Energy: Astronomers Hot on Trail of Mysteriou...
- find topic pages about people, places, organizatio...
- AM RADIO AND THE FAIRNESS DOCTRINE
- favors only the prosperous
- America bigger than the sum of our individual amb...
- INAUGURATION SPEECH IS PURE CEREMONY
- in a decent society, quality medical attention is ...
- a return to these truths.
- Americans will share a regret about recent mistake
- Why Christmas Matters
- New Deal measures
- that great gift of freedom?
- obama bullshit
- DOUBLETALK
- black men and women wielding power.
- Obama speaks.
- we were tested we refused to let this journey end
- THIS SPEECH MEANS NOTHING
- .----ROBERT BORK
- this new day in America
- 'What Liberal Media?'
- Take the Canoli
- 'The Kennedy Assassination Tapes'
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