Willie & Joe: The WWII Years

Overview

The definitive collection of the complete WWII cartoons of the greatest cartoonist of the Greatest Generation, now in paperback.
During WW II, the closest most Americans ever came to combat was through the cartoons of Bill Mauldin, the most beloved enlisted man in the U.S. Army.
This new paperback edition of the 2008 two-volume, deluxe hardcover set brings together Mauldin’s complete works from 1940 through the end of the war under one cover. ...
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Overview

The definitive collection of the complete WWII cartoons of the greatest cartoonist of the Greatest Generation, now in paperback.
During WW II, the closest most Americans ever came to combat was through the cartoons of Bill Mauldin, the most beloved enlisted man in the U.S. Army.
This new paperback edition of the 2008 two-volume, deluxe hardcover set brings together Mauldin’s complete works from 1940 through the end of the war under one cover. This collection of over 600 cartoons, most never before reprinted, is more than the record of a great artist: it is an essential chronicle of America’s citizen-soldiers from peace through war to victory.
Bill Mauldin knew war because he was in it. He had created his characters, Willie and Joe, at age 18, before Pearl Harbor, while training with the 45th Infantry Division and cartooning part-time for the camp newspaper. His brilliant send-ups of officers were pure infantry, and the men loved it. Mauldin’s cartoons and captions recreated on paper the fully realized world of the American combat soldier.Willie & Joe is edited by Todd DePastino, Mauldin’s official biographer. Willie & Joe contains an introduction and running commentary by DePastino, providing context for the drawings, pertinent biographical details of Mauldin’s life, and occasional background on specific cartoons (such as the ones that made Patton howl).
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Editorial Reviews

Todd Leopold - CNN
“Mauldin’s characters were bluntly honest: War was dirty, absurd, bitter hardwork.”
Laurel Maury - NPR
“These gritty, existential cartoons—everything Mauldin published during the war that still exists is compiled here—are the real deal and then some.”
Bob Greene - CNN.com
“Mauldin's drawings of his muddy, exhausted, whisker-stubbled infantrymen Willie and Joe were the voice of truth about what it was like on the front lines.”
Rob Clough - High-Low
“This collection of all of Mauldin’s World War II work stands out…a worthy platform for a series of brilliant strips drawn with a lively hand.”
David Mitchell - BiblioBuffet
“Willie & Joe is an extraordinarily compiled and presented tribute to Bill Mauldin, the two-time Pulitzer Prize winning cartoonist who chronicled life in the U.S. Army from 1940 to 1945. The set is bound in army green canvas and typeset in the font of an old manual typewriter, the kind an army clerk might have used during the Second World War. The collection is a sensory delight, pleasing to touch and beautiful to see. ... For the winner of two Pulitzer Prizes, for the man who was once America’s most celebrated enlisted man, Willie & Joe is a fitting, and wonderful, tribute.”
Samuel M. Baker - ARMY Magazine
“This compilation of his cartoons helps bring Mauldin’s talent and his life at the front lines both to historians and a new generation.”
James Sturm - Print Magazine
“The cartoonist’s humanistic brush paints a sober picture of war that a newscamera can never achieve. These GIs resonate with real pathos; eachcartoon, however jocular, emanates weariness and resignation.”
Rick Kogan - Chicago Tribune
“[An] amazing and beautiful collection.”
Michael Giltz - The Huffington Post
“First and foremost, Willie & Joe are funny. …[I]t's an absorbing glimpse into the day to day life of soldiers while it was happening and the end not known. It's easy to identify with: employees in any capacity gripe about their bosses. But the more specific Mauldin is, the more biting and fascinating his work is.”
Steven Grant - Comic Book Resources
“Mauldin was arguably the greatest war correspondent of his day.”
Wesley G. Hughes - San Bernadino County Sun
“Cartoonist Bill Mauldin was a genius at bringing the experiences of World War II home to the moms and dads, kids, wives or girlfriends of the GIs on the front lines in a very human way. ... To my knowledge, none of our wars since has produced a chronicler anywhere near the greatness of Mauldin.”
Mark London Williams - The SF Site: Nexus Graphica
“[A] terrific two-volume collection of the legendary Bill Mauldin's 'GI Joe' cartoons from 'the last good war'... Fantagraphics gives us a comprehensive collection of the cartoons that fellow enlisted man Mauldin created during the war, both for civilians and fellow soldiers alike... [T]his compendium is both a great time capsule, and a fitting tribute to an American original.”
David Allen - Inland Valley Daily Bulletin
“Many World War II veterans would surely appreciate seeing these strips again, and anyone who studies that conflict ought to be fascinated by Mauldin's unglamorous take on the drudgery, fear and absurdity of Army life.”
Jeff Salamon - The Austin American-Statesman
“There’s a sad wisdom on virtually every page here.”
Steven Heller - The New York Times Book Review
“Bill Mauldin was my first artist hero, and Willie & Joe: The WWII Years reminds me why.”
Steven Heller
Bill Mauldin (1921-2003) was my first artist hero, and a new two-volume collection of his wartime cartoons, Willie & Joe: The WWII Years, edited by Todd DePastino, reminds me why…The first volume comprises early works, including Mauldin's strip "Star Spangled Banter," which ran in The 45th Division News starting in 1940; the second and decidedly more impressive volume features "Up Front" panels from 1943-45.
—The New York Times
Publishers Weekly

Before becoming one of America's leading editorial cartoonists, Mauldin (1921-2003) first achieved national fame as a young artist during WWII, drawing his iconic pair of soldiers, Willie and Joe. This deluxe two-volume slipcased set, edited by Todd DePastino, collects all of Mauldin's extant wartime cartoons. Volume 1, "Homefront, 1940-1943," traces the teenage soldier's rapid development as an artist, imparting increasing realism to his original "cartoony" style, but these cartoons are unmemorable. Mauldin reaches greatness in the second volume, "Overseas: 1943-1945." Sent to Italy as a member of the 45th Division's press corps, Mauldin observed soldiers in the midst of war, and Willie and Joe emerged. The public image of the American soldier, fostered both by the armed forces and Hollywood, had been an actively heroic, handsome, clean-cut youth. In startling contrast, Willie and Joe, Mauldin's everymen at war, were unshaven and unkempt "dogfaces"; they characteristically slouched with weariness. While funny, Mauldin's cartoons were also darkly ironic. It was clear that Willie and Joe had been beaten down by both the tedium of army life and the overwhelming dangers of combat. Their heroism lies in continuing to survive despite the odds, and these cartoons retain their power and relevance. (May)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
The Barnes & Noble Review
Back at the beginning of this century, someone asked historian Stephen Ambrose to name his candidate for Time magazine's Person of the 20th Century. Without hesitation, he chose "the citizen soldier" -- the enlisted men of the Second World War about whom he wrote in one of his many popular books. No doubt Bill Mauldin -- cartoonist, World War II veteran, and the subject of Todd DePastino's excellent new biography -- would agree with Ambrose's salute to the average G.I. Joe. After all, Mauldin (1921-2003) was essential in creating the very image. His cartoons from the front, published in the service newspapers and reprinted throughout the United States, went far toward explaining the life of the average soldier to his supporters back home. Mauldin himself came from a hardscrabble background similar to many of those men who were sent to the frontline of combat, and his sympathies ran deep, not just because he was a low-level infantryman.

In his engaging and comprehensive biography, DePastino balances his scholarly knowledge of three distinct areas: World War II, the history of cartooning, and the American underclass described so sympathetically in DePastino's first book, Citizen Hobo (2003). The Mauldin clan fit well among the dirt-poor of the American Southwest; Bill and his older brother came of age in New Mexico during the Depression, living with two ne'er-do-well parents given to booze and to disappearing for days on end. Before he reached puberty, young Bill smoked, drank, knew how to drive, and could hunt with the best of them. This helped to make up for the physical reality of being a scrawny, jug-eared runt who was only occasionally protected by his strapping older brother. Fed up with their unreliable parents, the two boys headed to Arizona, where Bill almost finished high school while paying for his room and board by pursuing his developing skill as an artist.

With pen and paper always in hand, Bill began to learn technique from a cartoon correspondence school, and his talents as an artist and writer were recognized by a few of his local teachers, as well as by "Hillbilly Larry" Smith, a Phoenix gag cartoonist who helped the ambitious 15-year-old find work drawing signs, banners, and posters for local businesses and politicians. Determined to become rich and famous, Bill headed to Chicago's Academy of Fine Arts, which didn't require a high school degree. There, he began to study life drawing and to master the techniques that would distinguish his later cartooning from the style then prominent, the so-called "big-foot" cartoons that substituted exaggerated extremities for realistic features. Mauldin had amazing work habits -- he knocked out ten or more cartoons a night after spending his free hours haunting the newsrooms where working cartoonists freely shared their valuable tips.

With war on the horizon and not more than a few cartoons sold, Mauldin put aside his dreams and joined the Arizona National Guard, counting on room, board, and the military training and discipline he had enjoyed in high school ROTC. What he found was quite the opposite: lots of Dust Bowl children, poorly equipped, undertrained, and subject to all sorts of absurd regulations, not to mention outright corruption. At Fort Sill, Mauldin began to understand army "chickenshit," the notion that proficiency and intelligence weren't rewarded, but usually led to K.P. or worse. He also discovered military publications. The 45th Division News became Mauldin's first regular cartooning gig, and he expressed his own disillusionment from the get-go. Though the cartoons are busy with text-heavy word balloons, they capture the lower-class diction and slang of the camp. The gripes are familiar: bad food, poor hygiene, inadequate uniforms, and guard duty. But most of all, Mauldin resented the MPs, inspectors, and assorted "ossifers" who ran roughshod over the enlisted men, exercising their power with callous disregard for the average soldier.

Mauldin learned two things in camp that would fuel his entire career as a soldier-cartoonist: that the rear echelon considers the combat grunts -- Mauldin's "dogfaces" -- to be battle fodder. He also understood what we all now know, that truth is the first casualty of war. Both insights would lead him into all sorts of trouble -- and also to great success. As Mauldin moved closer to the battle front, his cartooning grew by leaps and bounds, both in style and content. Inspired by the American Indians, Mexican Americans, and working-class fellows who made up his company of infantrymen, Mauldin dropped the cheap ethnic jokes and began to eschew humor altogether. A close friend introduced him to Daumier, Hogarth, and other artists of almost documentary-like skill. After a series of cartoons on maneuvers in Louisiana drew some regional acclaim, Mauldin shipped overseas, leaving behind the first of his three wives, who was pregnant with the first of his eight children.

First in Algiers, then Sicily, and eventually at Anzio and Paris, Mauldin cranked out drawings at phenomenal speed. They were often printed as part of a guerrilla-style publishing outfit, as he and fellow journalists hunted down ink, paper, and presses among the bombarded towns, eventually setting up a Mediterranean edition of Stars and Stripes. His cartoons for the Universal Press syndicate, titled "Star-Spangled Banter," were given a major boost by that other poet of the dogface, Ernie Pyle, whose profile of wonder boy Mauldin ran in hundreds of papers. While Mauldin suffered the indignities of infantry life, his work was exploding on the American scene, and the money piled up for his family.

The best part of DePastino's narrative explains Mauldin's difficult relation with the brass. General Patton loathed Willie and Joe, the two tired, unshaven, poorly dressed infantrymen who were the central characters of Mauldin's cartoons. The legendary general did everything he could to silence the outspoken cartoonist, whose increasing realism didn't jibe with Patton's vision of spit-clean, ramrod-straight troops. But Mauldin had his admirers among the top dogs: one arranged for him to travel with his own jeep; another provided art supplies. And General Eisenhower himself eventually told Patton to desist. Like a number of benevolent officers, Ike believed that Mauldin's depictions of muddy landscapes and ruined villages, along with his weary G.I.s, were good for morale and also served the cause at home when enthusiasm for the war was flagging.

Of course, military control of information prevented Mauldin from drawing the full horror of what he saw. But his Pulitzer Prize–winning cartoon of 1944 is pretty bleak, depicting a scruffy Joe escorting some equally ragged German prisoners. The youngest person ever to win the award, Mauldin came back to the States rich and famous, and he proceeded to capitalize on that for years to come with successful books, such as Up Front (1945), Back Home (1947), and The Brass Ring (1971), which combine his journalistic and artistic skills. DePastino doesn't waste a lot of time on Mauldin's postwar career, though it includes a number of interesting episodes: a sojourn in Hollywood, a credible run for Congress in New York, stints as an editorial cartoonist (with a second Pulitzer-winning cartoon), flirtations with the counterculture, and retirement back where he began -- as a self-described Southwestern "shitkicker."

DePastino includes many of the seminal cartoons in his fine biography, but to see the full extent of Mauldin's wartime achievement, you must indulge in the massive two-volume collection from Fantagraphics, Willie & Joe: The WWII Years. Here are both the cartoons very much of their time as well as those that deserve a place in American cultural history for their timeless truths. They're expertly edited by DePastino himself, with superb annotations explaining arcane military references. Mauldin's stylistic development becomes clear -- from his cartoony beginnings to his subtle and expressionist drawings at the height of his career. You witness too his turn from a smart-alecky 19-year-old gag writer to a mature and war-wizened man of few words. In the Fantagraphics set, DePastino truncates his full-length biography in a smart introduction, all the time keeping at the fore the most important fact: the uniquely American nature of Mauldin's remarkable achievement. --Thomas DePietro

Thomas DePietro, a former contributing editor of Kirkus Reviews, has also published in Commonweal, The Nation, and The New York Times Book Review. He recently edited Conversations with Don DeLillo, and his book on Kingsley Amis is forthcoming in 2008.

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Product Details

  • ISBN-13: 9781606994399
  • Publisher: Fantagraphics Books
  • Publication date: 8/3/2011
  • Pages: 692
  • Sales rank: 264,651
  • Product dimensions: 8.10 (w) x 10.10 (h) x 2.20 (d)

Meet the Author

Born in 1921, Bill Mauldin squeezed several lifetimes into his eighty-one years. In addition to cartooning, he acted in Hollywood movies, ran for Congress, piloted airplanes, wrote several books and hundreds of articles, and won two Pulitzer Prizes, the first for his wartime cartoons. He died in 2003.

Todd DePastino is the author of Citizen Hobo: How a Century of Homelessness Shaped America and Bill Mauldin: A Life Up Front, and the editor of the cartoon collections Willie & Joe: The WWII Years and Willie & Joe: Back Home. He teaches history and writes and lives in Pittsburgh, Pennsylvania.

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