In addition to 104 full-page black-and-white Sunday strips, this volume includes introductions, annotations, and rare Herriman ephemera from Bill Blackbeard and Chris Ware, and an essay by vaudeville historian Ben Schwartz. This volume is one of a long-term plan to chronologically reprint strips from the prime of Herriman's career, most of which have not seen print since originally running in newspapers 75 years ago. Each volume is edited by the San Francisco Cartoon Art ...
In addition to 104 full-page black-and-white Sunday strips, this volume includes introductions, annotations, and rare Herriman ephemera from Bill Blackbeard and Chris Ware, and an essay by vaudeville historian Ben Schwartz.
This volume is one of a long-term plan to chronologically reprint strips from the prime of Herriman's career, most of which have not seen print since originally running in newspapers 75 years ago. Each volume is edited by the San Francisco Cartoon Art Museum's Bill Blackbeard, the world's foremost authority on early 20th Century American comic strips, and designed by Jimmy Corrigan author Chris Ware. In addition to the 104 full-page black-and-white Sunday strips from 1927 and 1928 (Herriman did not use color until 1935), the book includes introductions by Blackbeard, vaudeville historian Ben Schwartz and reproductions of rare Herriman ephemera from Ware's own extensive collection, as well as annotations and other notes by Ware and Blackbeard. Krazy Kat is a love story, focusing on the relationships of its three main characters. Krazy Kat adored Ignatz Mouse. Ignatz Mouse just tolerated Krazy Kat, except for recurrent onsets of targeting tumescence, which found expression in the fast delivery of bricks to Krazy's cranium. Offisa Pup loved Krazy and sought to protect "her" (Herriman always maintained that Krazy was genderless) by throwing Ignatz in jail. Each of the characters was ignorant of the others' true motivations, and this simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth and sweeping his readers up by the looping verbal rhythms of Krazy & Co.'s unique dialogue.
Herriman was one of the very great artists,in any medium,of the 20th century.
[S]omething way better than the greatest strip: it's a milestone of 20th century visionary art....Geez,this stuff is wonderful.
S. A. Bennett
Reproductions of the strip are unbelievably clean and crisp...a work of absolute genius in the best possible light. Grade: A.
—The Comics Buyer's Guide
Andrew D. Arnold
The new printing of this masterpiece couldn't be much better.
Herriman's comic strip "Krazy Kat," which ran in newspapers from 1913 until Herriman's death in 1944, is widely regarded as one of the greatest examples of the comics as art. Comics creators from Charles Schulz and Bill Watterson to Jeff Smith and Art Spiegelman have sung its praises. This volume is the second in Fantagraphics's series reprinting the complete strips from the Sunday pages, picking up where an earlier series from the now-defunct Eclipse Books left off. The strip's basic situation is simple: Ignatz Mouse loves to bop Krazy Kat on the head with bricks. Krazy, who loves Ignatz, receives each blow as if it were a token of affection, and Officer Pupp, who loves Krazy, tries to thwart Ignatz's abuse. In most of the strips here, Herriman's boldness is hampered by the eight-panel format temporarily forced upon him, but his wit with words, constantly changing desertscapes, and inventiveness are in full play. The strips are presented in their original black and white. Smaller libraries might be content with a sample volume or with the out-of-print anthology Krazy Kat: The Comic Art of George Herriman (Abrams, 1986). Large libraries and specialists in comics history should kollect this klassic komplete. Copyright 2002 Cahners Business Information.
George Herriman (1880-1944), the creator of Krazy Kat, was born in New Orleans and lived most of his life in Los Angeles, California. He is considered by many to be the greatest strip cartoonist of all time.
Bill Blackbeard, the founder-director of the San Francisco Cartoon Art Museum, is the world's foremost authority on early 20th Century American comic strips. As a freelance writer, Blackbeard wrote, edited or contributed to more than 200 books on cartoons and comic strips, including The Smithsonian Collection of Newspaper Comics, 100 Years of Comic Strips, and the Krazy & Ignatz series.
Ben Schwartz is an essayist and screenwriter who has written for The New York Times, Bookforum, LA Weekly, and TV shows too embarrassing to mention. He is working on The Lost Laugh, a history of American humor set between the world wars, for 2011 from Fantagraphics Books.