Bill Griffith: Lost and Found: Comics 1969-2003


Pre-Zippy underground classics from Bill Griffith.
Bill Griffith is best known as the creator of the Zippy daily comic strip, currently running in over 300 newspapers nationwide, but Zippy was conceived as an underground comix character before he became embraced in the mainstream, and Griffith himself was a seminal figure in the underground comix movement, during which he was a cartoonist, an editor, and an entrepreneur.Bill Griffith: Lost & Found collects hundreds of ...
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Pre-Zippy underground classics from Bill Griffith.
Bill Griffith is best known as the creator of the Zippy daily comic strip, currently running in over 300 newspapers nationwide, but Zippy was conceived as an underground comix character before he became embraced in the mainstream, and Griffith himself was a seminal figure in the underground comix movement, during which he was a cartoonist, an editor, and an entrepreneur.Bill Griffith: Lost & Found collects hundreds of Griffith’s early underground comics, most of them long out of print and unavailable. Much of the work will be unfamiliar and a real revelation to those readers who only know Griffith from his long-running Zippy strip.
Beginning in 1970, Griffith contributed stories to a long list of legendary undergrounds. Lost and Found is not only a collection of these underground comix — hand-picked by the artist himself — but a mini-memoir of the artist’s comix career during the early days of the San Francisco Underground and his nearly twenty year on-again, off-again involvement with Hollywood and TV. Griffith’s running recollections and commentary serve as a wry and often hilarious counterpoint and context to the stories themselves. Lost and Found follows Griffith’s career from New York to San Francisco in chapters like “New York: The East Village Other and Screw”; “The Arcade Years”; “First Zippy Appearances”; “Young Lust” ; “Cast of Characters: Claude Funston, Mr. The Toad, Shelf-Life, The Toadettes, Alfred Jarry and the Griffith Observatory.”
While the vast majority of the book is non-Zippy comics, it also features the earliest appearances of Zippy, not seen in any other collection. Zippy fans will be happy to see the very first Zippy stories from 1971 to 1974, when Zippy was primarily a sidekick for Griffith’s first major character, Mr. The Toad. Also included is a 19-page, unfinished, never-before- published comics version of the first few scenes from the Zippy movie screenplay, Zippyvision. Intended as a companion piece to the unproduced film, the story details Zippy’s sideshow origins and his later life in a boarding house catering to showbiz wannabes.
Previously uncollected later work features Griffith’s comics for High Times, The National Lampoon, The San Francisco Examiner and The New Yorker.Bill Griffith: Lost and Found finally collects the work of one of the great, pioneering cartoonists.
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Editorial Reviews

Steven Heller - The Atlantic
“Lost and Found is a milestone book...”
Ray Olson - Booklist
“Prefaced by Griffith’s long, anecdotal accounting of his work and including stories featuring other characters who’d eventually join the strip’s cast as well as 48 pages in full color..., this collection attests the perdurable wit, style, and smarts of one of the greatest of the 1960s San Francisco underground cartoonists. [Starred Review]”
Noel Murray - The A.V. Club
“While other colleagues[']. . .graphic novels draw serious attention in literary circles, Griffith remains the 'Are we having fun yet?' guy to many.. . Lost and Found: Comics 1969­-2003 [might] change that. . . Lost and Found shows off more facets of Griffith, putting his obsessions with Hollywood, suburbia, and a certain type of corporate cockiness into a larger context.”
Matthew Thurber & Rebecca Bird - The Comics Journal
“Lost and Found... testifies to Griffith’s heroic output of underground comics, and his commitment to a lifetime of making work that is challenging, inventive, and beautifully drawn. His signature narrative discombobulation and linguistic elasticity unite all these disparate pieces into a cohesive statement of surprise and protest...”
Paul Buhle - The Jewish Daily Forward
“Bill Griffith, the one prominent figure of underground comix to reach the daily comic page mainstream, has delivered again . . . Day by day,week by week, year by year, Zippy reveals the oddness of post-­modernity . . . Not even Griffophiles (or is it Zippophiles?) like this reviewer knew most of the details offered here...”
The Barnes & Noble Review

Contemporary readers of Bill Griffith's comic strip, Zippy the Pinhead, know with certainty that the illustrator is one of the most accomplished draftsmen working in comics today, his talents on a par with those of Robert Crumb. His art — nuanced shading; economical linework; evocative textures; fidelity to dress, gesture, expression, architecture, automotive design, and the thousand and one other accoutrements of modern life — is an unfailing daily marvel, especially considering the speed and regularity at which the strip is produced. Moreover, Griffith's staging and pacing are exemplary.

Of course, this praise for the visuals fails to do justice to the strip's fabled wit, its blend of surrealism and satire, nostalgia and au courant hipness. I imagine that, though there are probably not quite as many Zippy strips as Dilbert ones gracing cubicles around the nation, Zippy's bon mots are to be found mainly in establishments of the extremely wise and sardonically perceptive.

Knowing all this, current fans of the strip are in for a surprise, a shock, and, ultimately, a major treat, when they pick up Griffith's new career retrospective, Lost and Found: Comics 1969-2003, and discover an artist whose rudimentary skills were on a par with those of, say, a young Aline Kominsky. Likewise, apprentice Griffith was a writer fond of every juvenile joke possible, involving chases, pratfalls, sexual shenanigans, and rude nose-thumbing at authority figures. Despite the early presence of some familiar characters such as Mr. The Toad, Claude Funston, "Griffy" (the artist's avatar, looking distinctly Tim Burton–ish at this stage), and a proto-Zippy (dubbed "Danny" upon his 1971 debut), these strips of Griffith's youth perfectly encapsulate the DIY anarchic zeitgeist of their natal era. The journey from these energy-packed, overstuffed, unpolished early comics to the elegant masterwork of the present is a journey greater than that of Gary Trudeau with Doonesbury or Charles Schulz with Peanuts.

Griffith charts the highlights of his personal odyssey for us in an illuminating and charming introductory essay that makes the reader wish for a full-scale autobiography. (This desire is partly slaked by personally slanted strips such as "Is There Life After Levittown?" and "The Pin Within.") The West Coast comic-artist/hippy/entrepreneur community he describes seems utopian from this hardscrabble remove of 2012, full of idiosyncratic geniuses such as Deitch, Spain, Crumb, and Kinney. Following this scene-setting text comes a bumper crop of black-and- white comics — a few toward the end of the book in color — all previously regarded as hard-to-find treasures in various time-swamped periodicals and anthologies.

Griffith's main attractor when starting out was a zestful tendency toward somewhat blunt-instrumented parody and lampoon. He was responsible for founding the Young Lust comic, which expertly mimicked the romance tropes of the fifties with a naughtiness newly rampant. He also did takeoffs of horror and gangster modes, and tossed in allusions to Carl Barks's Duck comics, too.

But as early as 1974, he began to experiment and branch out, stretching his talents. Biographical strips about Tallulah Bankhead, Henri Rousseau, and Liberace presage the work of Drew Friedman. The recurring feature known as "Griffith Observatory" cast a jaundiced eye at pop culture and mores. Then, in strips like "Dollboy" and "Commeddia dell' Zippy," he used the not inconsequential plots as foils for beautiful renderings of buildings and landscapes, frequently antique. It's a strategy Tony Millionaire employs today. From 1977, "Situation Comedy" is a dadaist delight, every panel portraying an unrelated stock storytelling scene while incongruous sitcom dialogue runs oblivious throughout.

By the 1980s, Griffith had attained his maturity with both trademark sophisticated visuals and writing. Symbolically, 1980's "Cast of Characters" is a retrospective, wherein Griffith — all of thirty-six-years old — imagines himself ancient and decrepit in a nursing home for obsolete cartoonists, where his troupe of rebellious inventions torments him until he gains the upper hand and is rejuvenated. After this relaunch, so to speak, Griffith never really looked back, moving on from one new triumph of gorgeous non-sequitur tomfoolery to another. His early reign as an oversexed adolescent-minded wiseacre gives way to a long golden afternoon of wry and wistful philosophizing, with frequent salient eruptions of deserved ire and malice toward all!

Author of several acclaimed novels and story collections, including Fractal Paisleys, Little Doors, and Neutrino Drag, Paul Di Filippo was nominated for a Sturgeon Award, a Hugo Award, and a World Fantasy Award — all in a single year. William Gibson has called his work "spooky, haunting, and hilarious." His reviews have appeared in The Washington Post, Science Fiction Weekly, Asimov's Magazine, andThe San Francisco Chronicle.

Reviewer: Paul Di Filippo

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Product Details

  • ISBN-13: 9781606994825
  • Publisher: Fantagraphics Books
  • Publication date: 1/30/2012
  • Pages: 392
  • Sales rank: 1,467,402
  • Product dimensions: 8.10 (w) x 10.00 (h) x 1.20 (d)

Meet the Author

Bill Griffith is the artist behind the legendary weekly comic Zippy. Griffith's prolific output has been included in such publications as the Village Voice, National Lampoon, and the New Yorker. Along with Art Spiegelman, Griffith co-founded the influential anthology Arcade and is credited for coining the popular phrase, "Are we Having Fun Yet?" He currently lives in Connecticut with his wife, the cartoonist Diane Noomin.
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