We go pogo

Free ebooks ==> www.Ebook777.com www.Ebook777.com Free ebooks ==> www.Ebook777.com we go pogo www.Ebook777.com Great Comics Artists Series M Thomas Inge, General Editor We Go Pogo Walt Kelly, Politics, and American Satire Kerry D Soper University Press of Mississippi Jackson Free ebooks ==> www.Ebook777.com www.upress.state.ms.us The University Press of Mississippi is a member of the Association of American University Presses Copyright © 2012 by University Press of Mississippi Unpublished interviews and other materials from the Walt Kelly archive at Ohio State University, copyright © Okefenokee Glee & Perloo, Inc Used by permission All rights reserved Manufactured in the United States of America First printing 2012 ∞ Library of Congress Cataloging-in-Publication Data Soper, Kerry We go Pogo : Walt Kelly, politics, and American satire / Kerry D Soper p cm — (Great comics artists series) Includes bibliographical references and index ISBN 978-1-61703-283-7 (cloth : alk paper) — ISBN 978-1-61703-284-4 (pbk : alk paper) — ISBN 978-1-61703-285-1 (ebook) Kelly, Walt Pogo (Comic strip) Cartoonists—United States Satire in literature I Kelly, Walt II Title III Title: Walt Kelly, politics, and American satire PN6727.K4Z87 2012 741.5’6973—dc23 2011041673 British Library Cataloging-in-Publication Data available www.Ebook777.com to lisa This page intentionally left blank t e n t s Acknowledgments viii Introduction Chapter One Walt Kelly’s Biography and a General History of Pogo 19 Chapter Two Comedy and Satire in Pogo 50 Chapter Three Walt Kelly, Pragmatic Auteur 99 Chapter Four Representations of Race, and Borrowings from African American Folk Forms in Kelly’s Work 137 Chapter Five The Aesthetics of Pogo 168 Chapter Six Walt Kelly, Mid-Century Poplorist 195 Notes 219 Works Cited 221 Index 229 vii acknowled gments There are a number of people to thank for their help in creating this book: Allen Tullos for his mentoring as I first wrestled with the complex issues of race and Southern identities in Walt Kelly’s work; George Handley, Stan Benfell, Matt Ancell, Kristin Matthews, and Phil Snyder for reading drafts and offering essential advice; Carolyn Hone for bailing me out on numerous occasions; John Rosenberg, Greg Clark, Scott Sprenger, Ron Woods, Jared Christensen, Mike Call Sr., and other people at Brigham Young University for providing generous resources and support (this includes the people in the College of General Education whose Alcuin Fellowship helped pay for critical research trips); Taylor Ball-Brown, Ben Tingey, Kirsten Steiger, Shannon Dame, Rachel Gilman, and Jaime Bingham for their stellar work as research assistants; Lucy Caswell and Jenny Robb for their patient aid when I spent time at the Billy Ireland Cartoon Library and Museum; Pete Kelly (the epitome of generosity), Carolyn Kelly, Bill Crouch Jr., and Steve Thompson for providing useful leads, corrections, and critical help in shepherding this work into print (Steve Thompson deserves a special thanks, in fact, for working so tirelessly, for so many years, in doing foundational research into Walt Kelly’s life and work—I look forward to reading his definitive biography of Kelly someday); Walter Biggins, Seetha Srinivasan, John Lent, Jeet Heer, Judith Yaross Lee, Thomas Inge, and all the scholars in the Comics Section of the Popular Culture Association for their interest and faith in my work; Lanny, Shirley, and my parents for their generous support; Haley, Devin, Taylor, Emmy, Stan, Cammy, Holly, and David for taking an interest in what I even when it isn’t very interesting; and Walt Kelly, of course, for creating the best comic strip to ever appear on the funnies page viii Free ebooks ==> www.Ebook777.com we go pogo www.Ebook777.com works cited reprinted in The Best of Pogo Selby Kelly and Bill Crouch, Jr., eds New York: Simon & Schuster, 1982 185–86 Kelly, Walt “Ka-Platz: The Delight in the Unexpected.” Pluperfect Pogo Bill Crouch Jr., ed New York: Simon & Schuster, 1987 Kelly, Walt “Letter, August 14, 1957.” Billy Ireland Cartoon Library & Museum, Ohio State University, Walt Kelly Collection, Box 8, folder 10 Kelly, Walt “Letter to Al Capp, December 16, 1954.” Personal correspondence of Walt Kelly, Billy Ireland Cartoon Library & Museum, Ohio State University, Walt Kelly Collection, Box 4, Folder 14 Kelly, Walt “Letter to the Editor.” Life June 1952 Kelly, Walt “London Calling: Kelly Interviewed by the Sunday Times.” Pluperfect Pogo Bill Crouch Jr., ed New York: Simon & Schuster, 1987 Kelly, Walt “Okefenokee.” Walt Kelly Papers, Billy Ireland Cartoon Library & Museum Box 8, folder 16 Kelly, Walt “Pogo and Creator Walt Kelly Are Both for the People.” Syracuse Journal 1952: Kelly, Walt “Post-Hall Syndicate Promotional, 1954.” www.pogopossum.com 2010 Kelly, Walt “Senate Hearing Transcript on Comic Books and Juvenile Delinquency.” Foley Square Federal Court House, Manhattan (21 April 1954) Kelly, Walt Ten Ever-Lovin’ Blue-Eyed Years with Pogo New York: Simon & Schuster, 1959 Kelly, Walt “The Bunny Rabbit Strips.” The Best of Pogo Bill Crouch Jr and Selby Kelly, eds New York: Simon & Schuster, 1982 198–201 ——— “The Land of the Elephant Squash.” Pogo Even Better Selby Kelly and Bill Crouch, Jr., eds New York: Simon & Schuster, 1984 49–50 Kelly, Walt “Unpublished Autobiographical Sketch.” Billy Ireland Cartoon Library & Museum, Ohio State University, Walt Kelly Collection, Box 5, Folder 16 Kelly, Walt Ten Ever-Lovin’ Blue-Eyed Years with Pogo New York: Simon & Schuster, 1959 Kelly, Walt “Unpublished Autobiographical Sketch.” Billy Ireland Cartoon Library & Museum, Box 5, Folder 16 Kelly, Walt “Zeroing in on Those Polluters: We Have Met the Enemy and He is Us.” The Best of Pogo Selby Kelly and Bill Crouch Jr., eds New York: Simon & Schuster, 1982 224 Kerouac, Jack On The Road New York: Penguin, 1957 Kercher, Stephen Revel With a Cause: Liberal Satire in Postwar America Chicago: The University of Chicago Press, 2006 Kimball, Ward “W.K Meets W.K.” The Complete Pogo Comics: Dreamin’ of A Wide Catfish Mark Burstein, ed Forestville, CA: Eclipse Books, 1990 7–12 Landay, Lori Madcaps, Screwballs, and Con Women: The Female Trickster in American Culture Philadelphia: The University of Pennsylvania Press, 1998 Levine, Lawrence Black Culture and Black Consciousness: Afro-American Folk Thought From Slavery to Freedom New York: Oxford UP, 1977 Lindvall, Terry and Ben Fraser “Darker Shades of Animation: African-American Images in the Warner Bros Cartoon.” Reading the Rabbit Explorations in Warner Bros Animation Kevin S Sandler, ed New Brunswick, NJ: Rutgers UP, 1998   works cited Lockwood, Alma R “Walt Kelly Visits Real Swamp; Pogo Insulted by Real Possum.” the Bridgeport Post 14 April 1955: A2 Lockwood, George “Walt Kelly.” Cartoonist Profiles 67 (September 1985): 48 Maltin, Leonard Of Mice and Magic: A History of American Animated Cartoons New York: Plume, 1987 Marschall, Richard America’s Great Comic Strip Artists New York: Abbeville Press, 1989 ——— “Walt Kelly Remembers Bridgeport.” Connecticut Sunday Herald 28 October 1973: 8A Marschall, Richard “Interview with Al Capp.” The Comics Journal 37 (March 1978): 15 ——— “National Cartoonists Society newsletter, July 15, 1954.” Billy Ireland Cartoon Library & Museum, Ohio State University, Walt Kelly Collection, Box 4, folder 15 ——— “National Cartoonists Society newsletter, May 14, 1955.” Billy Ireland Cartoon Library & Museum, Ohio State University, Walt Kelly Collection, Box 4, folder 14 Marschall, Richard, and Groth, Gary “Charles Schulz Interview.” The Comics Journal (January 1992) Mastrangelo, Joseph P “Remembering Walt Kelly: A Last Hello From the Old Swamp Boat.” Washington Post, 10 November 1973, B1 Maule, Rosanna Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s Bristol, UK: Intellect, 2008 ——— “Pogo’s Campaign Launched While Crowds Yell Approval.” the Times-Picayune (21 October 1952) May, Elaine Tyler Homeward Bound: American Families in the Cold War Era New York: Basic Books, 1990 Mendelson, Edward “Possum Pastoral.” Phi Beta Pogo Selby Kelly, and Bill Crouch Jr., eds New York: Simon & Schuster, 1989, 15–20 McCloud, Scott Understanding Comics New York: Harper, 1993 Nachman, Gerald Seriously Funny: The Rebel Comedians of the 1950s and 1960s New York: Pantheon, 2003 O’Sullivan, Judith The Great American Comic Strip Boston: Little, Brown and Company, 1991 O’Sullivan, Judith The Great American Comic Strip: One Hundred Years of Comic Art Boston: Little, Brown and Company, 1991 “Over the Transom.” Excerpts from fan letters Billy Ireland Cartoon Library & Museum, Ohio State University, Walt Kelly Collection, Box 2, Folder Pells, Richard H The Liberal Mind in a Conservative Age New York: Harper & Row, 1985 “Pogo Campaign Memorabilia.” Reprinted in The Best of Pogo Selby Kelly and Bill Crouch Jr., eds New York: Simon & Schuster, 1982 183–97 ——— “Police Seize 28 in Wild Harvard Riot.” the Boston Post 16 May 1952: A5 “Possum Attack in Vancouver, British Columbia.” A collection of news clippings reprinted in Phi Beta Pogo Selby Kelly and Bill Crouch Jr., eds New York: Simon & Schuster, 1989 118–22 Ritvo, Harriet “Learning from Animals” Natural History for Children in the Eighteenth and Nineteenth Centuries,” Children’s Literature 13 (1985): 72–93 Rodgers, Richard “Pogo Genius Advises Clubmen On Merits of Chocolate Ducks.” the Evening Star Washington, D.C 18 April 1952: A21 works cited Sampson, Henry T That’s Enough, Folks: Black Images in Animated Cartoons, 1900–1960 Lanham, MD: The Scarecrow Press, 1998 Sanders, Allen “The Comics from Pow to Wow!” The Cartoonist (Spring 1957) Sandler, Kevin S Reading the Rabbit: Explorations in Warner Bros Animation New Jersey: Rutgers University Press, 1998 Sartwell, Frank “America Needed a Possum, and That’s Why We Got Pogo.” the Evening Star Washington D.C (2 December 1953) Schickel, Richard The Disney Version: The Life, Times, Art and Commerce of Walt Disney 1968 ——— “Walt Kelly Insists Comic Strip Aims at Amusement.” the Times Picayune, (22 October 1952) Schickel, Richard The Disney Version London: Michael Joseph, 1986 Sewell, David Mark Twain’s Languages Berkeley: University of California Press, 1987 Silverman, Samuel J “Legal document sent by Kelly and his lawyers to Governor Averill Harriman.” Walt Kelly Papers, Ohio State Cartoon Library (8 April 1955) 1–2 Sito, Tom “The Disney Strike of 1941: How It Changed Animation & Comics.” Animation World Network www.awn.com 19 July 2005: 1–4 Web 21 July 2010 Snyder, Susan “As You Like It: A Modern Perspective.” Folger Shakespeare Library: As You Like It Barbara A Mowat and Paul Werstine, eds New York: Washington Square Press, 1997 231–42 Solomon, Charles Enchanted Drawings: The History of Animation New York: Random House, 1994 Soper, Kerry “From Jive Crows in Dumbo to Bumbazine and Pogo: Walt Kelly and the Conflicted Politics of Reracinating African American Types in Mid-20th Century Comics” The International Journal of Comic Art (Fall 2010, Vol 12, No 2/3): 125–49 Stewart, Bhob “King Features Went Back to the Future on Its 75th Anniversary.” Witty World Summer/Autumn, 1991: 18–24 ——— “Students Claim Mishandling In Police Methods at Melee.” the Harvard Crimson 16 May 1952: A1 Strausbaugh, John Black Like You: Blackface, Whiteface, Insult & Imitation in American Popular Culture New York: Penguin, 2006 Swift, Jonathan “Verses on the Death of Dr Swift, D.S.P.D.” Jonathan Swift: A Critical Edition of the Major Works Angus Ross and David Woolley, eds New York: Oxford University Press, 1984 Thompson, Steve “McCarthy, Krushchev, and Castro.” Pogo Files for Pogophiles Selby Daley Kelly and Steve Thompson, eds (Richfield, MN: Spring Hollow Books, 1992): 87—94 Thompson, Steve “Pogo’s Adolescence.” At the Mercy of the Elephants: The Complete Pogo Comics, Vol Mark Burstein, ed Forestville, CA: Eclipse Books, 1990 7–10 Thompson, Steve “Returning to Our Gang,” Walt Kelly’s Our Gang: 1945–1946 Seattle: Fantagraphics Books, 2007 3–11 Tilton, John Cosmic Satire in the Contemporary Novel Lewisburg: Bucknell University Press, 1977 Trudeau, Garry “Introduction,” The Best of Pogo, Bill Crouch Jr., ed., (New York: Simon & Schuster, 1982) Turberville, Gus “Pogo in the Fifties.” The Best of Pogo Selby Kelly and Bill Crouch Jr., eds New York: Simon & Schuster, 1982 94   works cited Vervain, Chris “Performing Ancient Drama in Mask: the Case of Greek New Comedy.” NTQ 20:3, August 2004, 245–60 “Walt Kelly.” Walt Kelly Exhibition Guide Springfield, MA: Museum of Cartoon Art, 1973 Ward, John “About Walt and His Friends.” The Rhode Islander (23 March 1958) 2–4 Watkins, Mel On The Read Side: Laughing, Lying, and Signifying; The Underground Tradition of AfricanAmerican Humor That Transformed American Culture From Slavery to Richard Pryor New York: Simon & Schuster, 1994 Wadsworth, Philip A “The Art of Allegory in La Fontaine’s Fables.” The French Review Vol 45, No (May 1972): 1125–35 Watkins, Mel On The Read Side: Laughing, Lying, and Signifying; The Underground Tradition of AfricanAmerican Humor That Transformed American Culture From Slavery to Richard Pryor New York: Simon & Schuster, 1994 ——— “Walt Kelly Insists Comic Strip Aims at Amusement.” The Times Picayune 22 October 1952: Watterson, Bill “Some Thoughts on Pogo and Comic Strips Today,” Phi Beta Pogo Selby Kelly, and Bill Crouch Jr., eds New York: Simon & Schuster, 1989 10–14 Weisenberger, Steven Fables of Subversion Athens: University of Georgia Press, 1995 Wells, Paul Animation and America New Jersey: Rutgers University Press, 2002 Wexman, Virginia Wright “Introduction.” Film and Authorship Virginia Wright Wexman, ed New Brunswick, NJ: Rutgers UP, 2003 1–18 White, David Manning, and Abel, Robert H “Introduction: Comic Strips and American Culture.” The Funnies: An American Idiom White and Abel, eds London: The Free Press of Glencoe, 1963 White, Timothy R “From Disney to Warner Bros.” Reading the Rabbit Kevin S Sandler, ed New Jersey: Rutgers University Press, 1998 Williams, Martin “The Hidden World of L’il Abner.” The Comics Journal 147 (December 1991): 76 Woolacott, Janet “Fictions and ideologies: The case of situation comedies,” Popular Culture and Social Relations, Tony Bennet, ed (Philadelphia: Open University Press, 1986) Zwigoff, Terry Crumb Sony Classics Films, 1994  i n de x Page numbers in italics indicate illustrations Abbott and Costello, 87, 94 Adventures of Huckleberry Finn, The, 61, 152; African American identities, stereotypes of, 9, 17, 25, 84, 137–67, 194; double dialect in, 156–57, 163; trickster tales/ consciousness, 85, 220n; griot, 84, 152; Little figures, use of, 156–57 Black Sambo/pickaninny type, 143, 147–48, aesthetics, 17, 48, 168–94; amplification through simplification, 76, 178; of 149; romanticized other, uses of, 161; Stepin Fetchit, 141 animation, 6–7, 17–18; backgrounds/ Agnew, Spiro, 96 backdrops, 170–71; caricatures of topical Albert, 6, 33, 54, 65, 70, 71, 72, 76, 77, 78, 79, 80, figures, 46, 181–84; carnivalesque qualities, 82, 86, 86–90, 87, 88, 89, 91, 93, 138, 142, 16; character construction, 28, 33, 173–74; of 150, 173, 174, 181, 188, 189; as absurdist fool, comic books, 17, 28, 176–79; of comic strips, 87; aesthetics of, 175, 177; as alazon, 151; as 10, 17–18; commercial pressures, effects of, buffoon, 88–89; Dionysian aspects, 87; early 170; deconstructive qualities, 16; of Disney/ versions of, 28, 60, 63, 86, 89, 142, 148, 150, influence on aesthetics of Pogo, 6–7, 17, 61, 162, 177; as everyman, 89; Freudian qualities 126, 172, 173, 176, 185; in European comics, of, 63, 87–88, 151; love and marriage, 193; gutters between panels/frames, 178; feelings about, 94; as Sophist, 87; wordplay, influences on Kelly’s, 184–85; lettering, use of, 72, 83–84 187; linework/brushwork, 173–74, 177, Alger, Horatio, 30, 212 179–80, 185, 186; metafictive elements, 189; Alice in Wonderland, 38, 78, 184 minimalism, 190–92; music-like qualities, All in the Family, 71 172, 189; non-art elements, 186–89; panels/ Animal Comics, 28–29, 109, 141, 146, 219n frames, 169, 178, 187–89; of political animation, 6, 13, 16, 24–27, 100; aesthetics of, cartoons, 7, 17, 179–84; reader identification 6–7, 17–18, 24–25, 47, 59–60, 169–76, 190– through iconic distillation, 171, 175–76, 178; 91; commercial pressures on, 59–60, 169–70; satiric qualities, 18, 176, 181; “shaping,” labor issues, 26–27, 169–70, 190; production 174, 177; shifts in the 1960s, 47, 189–94; methods of, 108–9, 133–34, 169–70, 173, 186, typefaces, 163–64, 168, 187; ugliness in, 190–91; Manga, 194; mediations of, 47–48; 175; values, creation of, 179, 180–81; verbal- minimalism, 190–91; “shaping,” 174 visual elements, relations between, 168, Archie Bunker, 71 185, 187 Aristophanes, 75 Aesop’s fables, 57–58 Aristotle, 81 African American folklore/folk forms, 9, 10, 17, Army Foreign Language Unit, 27 18, 103, 137–67; appropriations of, 9, 17, 58– Arno, Peter, 184, 185 61; authenticity, issues of, 139–40, 161–62; As You Like It, 61, 72, 92, 94 dialect in (see dialect[s]); malleable nature auteur concept, 5, 11, 100–102, 135; limitations of, 153; subversive/counterhegemonic energies of, 9, 17, 84, 140, 152, 153, 154, 159, 163, 167 of, 100–102 Avery, Tex, 172, 191  index Baby Weems, 27, 108 Bumbazine, 9, 14, 15, 88, 137, 143, 146, 147, Baez, Joan, 13, 214 148, 162, 177; physical appearance of, 147; Bakhtin, Mikhail, 51–52, 67, 102–3, 164–66, removal from Pogo, 137–38, 178; trickster 205–6 Ball, Lucille, 94 figure qualities, 146–47, 148, 150–51 Bush, George W., 183 Bambi, 60 Barnaby, 30 Barnes, Joseph, 31 Calvin and Hobbes, 10, 11, 45, 104, 194, 202; aesthetics of, 193–94 Barnstable Bear, 90, 95 Candide, 196 Barnum, P T., 22 Caniff, Milton, 42–45, 95, 120–21, 122, 131 Barthes, Roland, 102 Capp, Al, 8, 40, 127–29, 209–18; artists’ rights, B.C., 47, 190; aesthetics of, 191 advocate of, 210, 218; as auteur, 11, 104, 206, Beat writers/poets, 159, 167, 195 218; carousing lifestyle, 209, 213–16; college Beauregard Bugleboy, 54, 70, 72, 78, 80, 83, 90, students/fans, relations with, 210, 213–16, 95, 181, 188 218; countercultural movement, relation Beckett, Samuel, 87 with, 213–15; critical praise of, 210; Ham Bellows, George, 179 Fisher, feud with, 127–29, 209; Walt Kelly, Benchley, Robert, 27 compared to, 209–18; as misanthrope, 213, Ben-Day dots, 179, 181 214; National Cartoonists Society, critic of, blackface minstrelsy, 6, 8, 9, 14, 22, 25, 26, 28, 131–32, 133, 209, 218; politics of, 192, 214; 60, 77, 84, 151, 219n; interpretations of, as poplorist, 18, 209–18; as satirist, 210, 144, 219n; Jim Crow, 144; layered qualities 212–13, 218; self-congratulatory qualities of, of, 77; pastimes featured in, 61, 151; satiric 213, 214, 218; syndicates, relations with, 114; qualities of, 84; social uses of, 144, 145; teenage/high school years, 209; women, songs, 141; Zip Coon, 71 relations with, 43, 95, 213–18 Black Muslim Movement, 197 Captain Easy, 184 Bloom County, 11, 65, 104; aesthetics of, 193 Carroll, Lewis, 8, 14, 24, 38, 67, 120 blues, 57, 159 Castro, Fidel, 46, 96, 120, 126 Bluestein, Gene, 9–10, 13, 140, 153, 198–99, Catch-22, 67, 73–74 219n Cathy, 193 Bone, 194 Cervantes, Miguel de, 95, 210 Boondocks, The, 11, 65, 104; aesthetics of, 194 Chandler, Raymond, 77–78 Boss Tweed, 182 Chaplin, Charlie, 78 Breathed, Berke, 11, 13, 37, 104, 114 character types, 72, 80–96, 103, 128; absurdist Bridgeport, Connecticut, 7, 15, 20–21, 30, 143, 187, 209 fool, 87; blackface minstrel, 84, 138, 144–45, 151, 219n; buffoon, 87–89; duos, 86–87, 94; Bridgeport Post, 22 everyman, 82, 145; female types, 44, 92–95, Bringing Up Father, 30, 65 216–17; fool/jester, 72, 82, 83, 84, 145, 211; Bruce, Lenny, 18, 197, 206, 208 griot, 84, 152; hillbilly stereotypes, 210, Buckwheat, 143, 146, 146–47 211–12; polysemic qualities of, 149; racial Bugs Bunny, 191, 219n types (see African American identities, index stereotypes of); trickster figures, 82, 95, 145, 29, 110; Comics Code, 123; congressional/ 148, 211, 219n; wise fool, 71, 78, 82, 83, 84, senate hearings on, 7, 41, 120–22, 125, 133; 145, 151, 219n delinquency, cause of, 41, 120–21; genre Chesnutt, Charles, 61 patterns of, 110; gutters between panels/ Chicago Sun-Times, 31 frames, 178; limitations of, 110; potential of, Churchy LaFemme, 4, 33, 70, 71, 72, 76, 77, 80, 178; superhero genres, 29 82, 90, 91, 115, 151, 164, 174, 186; wordplay, use of, 83–84 comic strip industry: artist rights, 99, 104, 112–15, 132–33, 135; collaboration within, Cicero, 68 101; contracts with artists, 112–14, 201; Citizen Kane, 101 female cartoonists, 95, 129–30; mediations Civil Rights Movement, 195 within, 7, 11, 14, 31, 32, 37, 39, 105–6, 113–14, Colbert, Claudette, 94 117, 122–23, 125–26, 192; popularity polling Cold War, 4; culture of, 197 within, 115, 117–18; production practices Coltrane, John, 160 within, 101–3, 127–28, 191; sabbaticals, 135; comedy, 4, 16, 50; buffoons, 71; burlesque qualities, 66, 75–76; carnivalesque, 62, 63, sexism, within, 95, 127, 129–30, 216 comic strips, 16; aesthetics of, 6, 7, 10, 16, 17, 67, 68, 69; character types (see character 28, 33, 168–94; bourgeois qualities of, 123; types); classic (Greek and Roman theatre), cancellation of, 11, 36, 39, 118, 125–26; 75, 76, 80; cross-dressing, 62, 76–77, 94; carnivalesque qualities of, 8, 192; censorship deadpan, 77; deconstructive qualities, of, 12, 39, 105, 115, 117, 122, 125–26; comic 53–55, 69, 70; dialect (see dialect[s]); books, conflicts with, 7; continuity strips, doggerel (see wordplay); farcical qualities, 64; copyrights on, 11, 36–37, 112–15; 66, 76; malapropisms (see wordplay); mask cultural status of, 50, 52, 58, 76, 102, 115–16; wearing, 75, 76, 77; miscommunication/ economic pressures on, 11, 192; editors of, misunderstandings (see wordplay); 11; as family-friendly medium, 8, 41, 117, mistaken identities, 66, 67, 75, 76; parody, 119, 125–26; gag strips, 64; hybrid qualities, 75, 77–78; pastoral, 4, 7, 8, 23, 61–63, 74, 102; jazz-like qualities, 8; mediations of, 83, 92, 94; politics of, 62, 97; punchlines, 7, 11, 14, 31, 32, 37, 39, 105–6, 113–14, 117, 65; puns (see wordplay); rebel comedians, 122–23, 125–26, 192; merchandising, 11, 37, 206–8; satiric qualities of, 50–51, 53–55, 68, 104, 113–15, 135, 149, 201; minimalism in, 75; saturation, 69; schadenfreude, 78, 213; 190–92; national syndication, effects of, 8, screwball, 94–95; situational, 66; slapstick, 85–86; popularity polls for, 14; potential of, physical, 4, 14, 15, 50, 66, 74–80, 92–94, 97, 14, 40, 60, 115, 117; production of, 101–3, 173, 179; slapstick, verbal, 14, 50, 66, 97, 179 127–28, 191; readership of, 60, 192; size (see also wordplay); social inversions, 67, 76; dimensions of, 14, 64, 65, 76, 135, 178, 191, of superiority, 213; tendentious jokes, 71; 193; syndication of, 8, 14, 31–33, 85–86, 102, tragedy, links to, 53; vaudevillian, 6, 13, 75, 76; wordplay in (see wordplay) comic books, 7, 14, 28–29, 109-10; adult genres, 112–15 Communism, 12, 197 Conley, Darby, 104; as artist, 194 29; aesthetics of, 10, 176–79; business of, conservatism, 97 101; censorship of, 123; children’s genres, copyrights, 11   index countercultural movement, 13 170; labor relations at, 109; merchandising, country music, 57 86; narrative style, 66; production methods Crane, Roy, 184 of, 108–9, 169–70; racial stereotypes, use of, Crucible, The, 90–91 25–26; worker strikes, 26–27, 169–70, 190 Crum, Bartley, 31 Don Quixote, 95 Crumb, R., 127, 192–93 Doonesbury, 11, 45, 104; aesthetics of, 182, 193; Cul de Sac, 194 Cythera, 64 novelistic qualities, 65 Dormal, Alexis, 193 Douglass, Frederick, 156 Dahl, Roald, 27 Dr Suess, 134 Darwinian theory, 59 Dubois, W E B., 220n Daumier, Honoré, 184, 185, 210 Dumbo, 6, 9, 25, 108, 141, 145, 158 Davies, Christie, 84 Dylan, Bob, 13, 18, 138, 160; as poplorist, 208–9; Davis, Elmer, 219n as syncretist, 209 Davis, Miles, 160 Deacon Mushrat, 4, 37, 38, 73, 83, 90, 90–91, 93, 164, 165, 186, 188; negative qualities of, 90; wordplay, use of, 72, 83–84 EC Comics, 120–21, 122–23 editorial/political cartoons, 7, 14, 16, 29–31, 110–12; aesthetics of, 10, 179–84, 186 DeBeck, Billy, 184 Eisenstein, Sergei, 172 Dell Western Publishing, 7, 28–29, 109, 120 Eliot, T S., 158 Dewey, Thomas, 7, 30, 111, 181 Ellison, Ralph, 157 dialect(s), 9, 10, 13, 20, 21, 29, 31, 60, 84, 143, Endgame, 87 152–67, 219–20n; Bakhtinian/carnivalesque/ entertainment industries, 13 heretoglossic qualities, 164; bebop existentialism, 28, 63, 66, 196; in suburban jazz, connections to, 160; comedy, 68; America, 197 deconstructive/subversive qualities, 17, 140, 152, 157, 163; low cultural status of, 155, Face to Face, 43 219–20; Southern, 28, 85; trickster tales, fans, 3, 4, 11, 12–13, 16, 18, 31, 34–36, 45–46, 61, links to, 152–53 62, 103, 107, 117, 118–20, 166, 197, 199–206, Dickens, Charles, 8, 14, 24 218; carnivalesque events, 205–6; children, Dick Tracy, 77 198, 201; collaboration (“call and response”) Dilbert, 193 with, 199–206, 207–8, 209, 213; college Disney, Walt, 24, 26–28, 109, 153, 173; politics students, 3, 62, 87, 107, 117, 198, 200–204, of, 146 Disney Corporation, 14, 23–27, 48, 108–9; aesthetic of, 6–7, 10, 61, 108, 169–76, 190–91; African American folk forms/ 213; conservative, 107; Harvard rally, 203–5; “I Go Pogo” campaigns, 3, 117, 199–204; intellectuals, 4, 62, 74, 87, 213; Pogomania, 3, 34, 203; reading clubs, 201 dialect, use of, 158–59, 220n; character Fantasia, 6, 25, 60, 108 construction, 59–60, 86, 173; corporate Feiffer, Jules, 13, 33 culture of, 145–46, 169–70; folklore/myths/ Felix the Cat, 86, 149, 174–75, 219n fairy tales, appropriations of, 60, 153, 159, Ferri, Jean-Yves, 193 index Field, Marshall, 31 Heller, Joseph, 67, 74, 197 Fisher, Bud, 22, 30, 32, 217 Hepburn, Katharine, 94 Fisher, Ham, 41, 127–29, 209 Herblock (Herbert Block), 33, 35–36, 41, 103, folk revivalists, 18, 159, 166, 208–9 For Better or Worse, 11, 65, 104; aesthetics of, 194 123–24, 182, 219n Hergé, 171 Herriman, George, 8, 10, 11, 36, 68, 85–86, 102, Frazetta, Frank, 128, 216 103–4; aesthetics of, 184, 185, 189; African frontier theories, 56 American forms/identities, use of, 138, funnies page, 6, 33, 50, 99; carnivalesque 157–58 qualities, 52; limitations of, 7, 40, 124–26; Heywood Broun Award, 111 potential of, 14, 40, 60, 115; topical satire Hitchcock, Alfred, 100 on, 117 Hogarth, William, 110 Hollander, Nicole, 13, 104 Gaines, William, 120, 123 Garfield, 64, 104 Gasoline Alley, 65 Hollywood studio system, 11, 13, 47–48, 66, 99, 100, 105, 145, 170, 171; censorship in, 119; genre films in, 78, 100 Geerdes, Clay, 47 Hoover, J Edgar, 46, 183 Gerald McBoing Boing, 190 Hope, Bob, 206, 208 Get Fuzzy, 65, 104; aesthetics of, 194 House Un-American Activities Committee Gilded Age, The, 59 Ginsberg, Allen, 197 Goldwater, Barry, 96 (HUAC), 28, 30 Howland Owl, 4, 54, 65, 70, 80, 82, 90, 91, 96, 118, 186, 188; wordplay, use of, 83–84 Gramsci, Antonio, 105, 135 Hughes, Langston, 155, 157 graphic novels, 194 Hurston, Zora Neale, 155 Gray, Harold, 78, 117, 214 Gremlins, 27 I Love Lucy, 94 Groening, Matt, 13 Israel, 30, 31 Grundoon, 95 Guaraldi, Vince, 136 jazz, 8; bebop, 159, 160, 161, 163 Guthrie, Woody, 160 Joe Palooka, 127 John Birch Society, 96, 214 Hall, Bob, 31 Johnson, Crockett, 30 Hansen, Irwin, 131 Johnson, Lyndon B., 46, 184 Harlem Renaissance, 153, 155, 219n Johnston, Lynn, 11, 13, 104; as artist, 194 Harris, Joel Chandler, 7, 9, 17, 28, 59, 64, 137, Jolson, Al, 145 138; African American folk forms, uses of, Jones, Chuck, 47–48, 133–34 17, 59, 60, 140, 143, 153, 154–56, 167, 177 Joyce, James, 67, 69 Hart, Johnny, 47, 95, 191 Jungian theory, 58, 60 Harvard University, 3, 18, 203–5 Hays Code of Censorship, 119 Keillor, Garrison, 195 Hearst, William Randolph, 85, 101, 102 Kelly, Genevieve MacAnulla (mother), 20   index Kelly, Helen DeLacey (first wife), 23–24, 27, 103 36–37, 114; editors, relationships with, 16, Kelly, Selby Daley (third wife), 39, 44, 48, 103, 34, 41, 46, 99, 105, 107, 119–20, 123–27; 134, 135, 143 Kelly, Stephanie (second wife), 43–44, 47, 103, 133 Kelly, Walt: African American civil rights, education of, 19, 22, 24, 35, 42, 169, 184; as existentialist, 196, 197; family/family life, 20, 24, 27, 43–44; financial challenges, 42, 107, 132; free speech, defender of, 120; champion of, 9, 26, 40, 41, 123–24, 143; health issues/illnesses, 20, 42, 47, 48, 135; African American forms and dialect, Heywood Broun Award, recipient of, 111; admirer/use of, 20, 21–22, 25–26, 29, ideological heterogeneity, champion of, 139, 138–67, 177; animation, critic of, 47–48; 165–66; as illustrator, 5, 23, 27; as journalist/ as animator, 5, 10, 23–27, 47–48, 60, 100, newspaperman, 7, 19, 22, 27, 29–31, 43, 108–9, 133–36; Army Foreign Language 107, 108, 123, 124; as lecturer/chalk-talker/ Unit, work for, 27; artist rights, advocate stage performer, 5, 19, 22, 34, 117, 130, 198, of, 16, 104, 112–15; assistants, use of, 39, 204, 208; as lyricist, 5, 70–71; as maverick, 42, 44, 103, 186–87; as auteur, 5, 10, 11, 12, 132–33, 170; McCarthyism, critic of, 28, 18, 32, 41, 49, 86, 97, 99, 102–8, 111, 122, 37–40; as media age raconteur, 167, 195, 125, 132–33, 135, 136, 170, 195, 198, 218; 198; misanthropic/grouchy qualities, 43–44, blackface, interest in, 6, 14, 17, 22, 25, 28, 202, 208; musicals, love of, 22, 25, 108–9, 141, 144–45; bourgeois qualities of, 42, 47, 141, 143–44; National Cartoonists Society, 97, 107, 119, 132, 192; as businessman, 11, president/representative/member of, 15, 16, 13, 16, 41, 85, 97, 99, 106–8, 112–14, 123; 33, 40–41, 44–45, 99, 100, 117–23, 127–33, carousing lifestyle, 25, 29, 30, 40, 42, 47, 48, 209–10; newspaper/comic strip industry, 88, 95, 130, 209, 216; as cartoonist/comic critic of, 40, 104, 107; opportunistic strip artist, 10, 15, 17, 22, 24, 28–29, 32, 33, qualities, 115, 119; personality of, 19, 27, 99, 115–17, 168–94; childhood, 14, 19–20; 30, 35, 42, 43–44, 48, 202; as political colleagues, relationships with, 35–36, 44–45, cartoonist, 5, 15, 17, 29–31, 110–12; politics/ 103, 107, 117, 127–33; college tours, 15, 18, worldview of, 4, 12, 13, 21, 22, 26, 28, 29, 30, 19, 34; as columnist, 5; as comedian, 11, 14, 41, 45, 46, 52–53, 54–55, 66, 81, 83, 97–98, 19, 22, 40, 50, 55, 97, 130, 208; comic book 139, 143, 195–96; pollution, critic of, 40, writer and artist, 5, 14, 17, 27–29, 109–10, 135–36; as poplorist, 5, 10, 12–13, 18, 103, 176–79; comic books, critic of, 16, 29, 41, 166–67, 195, 199–208, 218; popularity polls, 110, 117, 119–23; comic strips, critic of, critic of, 118; as postmodernist, 66–67, 103; 117–18; contract with syndicate, 32, 36–37, pragmatic/flexible nature of, 41, 100, 123, 201; counterculture, relationship with, 47, 124, 125, 133, 136; as prankster/practical 119, 127, 192; as cultural critic, 5, 7, 12, 14, 16, joker, 5, 25, 40, 42; professionalism, 18, 28, 41, 50, 58, 60, 97, 111, 195–96, 208; devotion to, 17, 46, 127–29; promotional death of, 42, 44, 48; decline of popularity efforts, 34, 123, 199–201; as pundit, 5, 22, and cultural importance, 45, 46, 47, 126–27, 45, 111; readers/fans (see fans); religious 189–94, 202; designer, 5; dialects, love of, affiliation, 21; Reuben Award (Cartoonist of 28; as Disney employee, 6, 14, 17, 23–27, the Year), 33; as sateur, 12, 102–8, 114, 136, 60, 103, 132, 134, 135, 141, 145, 169–76, 198; satire, critic of, 40; as satirist, 10, 11, 209; drawing methods, 186–89; earnings, 12, 16, 18, 40, 50–55, 103, 218; self-reflexivity index of, 53, 196, 197; as singer, 71; as syncretist, 210; Rabelasian qualities, 211, 217; satire 5, 9, 26, 139, 140, 166, 209; syndicates, in, 210; Schmoos, 210, 216; sexual themes/ relationship with, 100, 105, 112–15, 124; innuendo in, 216; Southern themes/setting, targets of satire, 4, 5, 52–53, 96, 166, 196–97; teenage/high school years, 19, 21–22, 143–44, 209; television, critic of, 29, 122; 209, 210–11 Li’l Abner, 212; as fool, 211; as hillbilly stereotype, 212 trickster qualities, 123; union-organizing, lithography, 179, 180 attitude toward, 26, 42, 109, 127, 130–33; Little Nemo in Slumberland, 10 women, relationship with, 24, 42–43, 95, Little Orphan Annie, 65, 77–78, 117 130, 216; work, early jobs, 22–23 Lomax, Alan, 159 Kelly, Walter Crawford (father), 20, 143 Looney Tunes, 47–48, 133–34, 172 Kerouac, Jack, 67, 139; African American forms Low, David, 184, 185 and dialect, uses of, 160–61, 163, 167 Kimball, Ward, 25, 103, 141 MAD magazine, 8, 13, 47, 123, 127, 192 Kingston Trio, The, 159 Mam’selle Hepzibah, 44, 217 Kley, Henry, 184, 185 Marschall, Richard, 10 Krazy Kat, 8, 10, 102, 116; aesthetics of, 184, Mary Worth, 64 185, 189; African American themes in, Matisse, Henri, 184, 185 157–58, 219n; metafictive qualities, 189; Melendez, Bill, 136 popularity of, 36, 85, 103–4; wordplay in, McCarran, Pat, 96 68, 86, 157 McCarthy, Joseph, 11–12, 28, 37–40, 43, 52, 73, Krazy Kat: African American identity of, 158–59, 219n; identity of, 85–86; as revolutionary protagonist, 85 Kruschev, Nikita, 96, 126, 183 Ku Klux Klan, 38, 39, 183 Kurtzman, Harvey, 192 91, 96, 164–65, 182 McCarthyism, 5, 11–12, 13, 28, 30, 37–40, 62, 73, 91, 138, 164–65, 197, 203, 214; blacklisting, 11; red-hunting/witchhunts, 11, 28, 37, 73, 165 McCay, Winsor, 10 McCloud, Scott, 76, 171, 175–76, 178 Larcenet, Manu, 193 McGruder, Aaron, 11, 13, 104; as artist, 194 Laurel, Stan, 78 McManus, George, 30 Laurel and Hardy, 87 Meyer, Helen, 120 Leacock, Stephen, 67 MGM Animation Studios, 48, 133–35, 169, 190, Lennon, John, 13, 214 liberalism/leftism, 4, 12, 21, 38, 53, 62, 97, 133, 195–96 191 Mickey Mouse, 25, 85–86, 174–75, 219n Miller, Arthur, 90–91 Life in Hell, 13 Milne, A A., 67 L’il Abner, 8, 11, 77, 104, 114, 181; female Miss Sis Boombah, 92–94, 93, 165 characters, depiction of, 216–18; hillbilly Miz Beaver, 90, 92–94, 93, 95, 130, 216 stereotypes, 210, 211–12; Hobbesian Miz Mam’selle Hepzibah, 90, 92–95, 93, 130; qualities, 212–13, 218; misanthropic qualities, 213; novelistic qualities, 65; picaresque qualities, 211; popularity of, wordplay of, 92 modernism: as art/literary movement, 101; dialect, uses of, 158   index Mole MacCaroney (“Molester Mole”), 4, 37, 73, 78, 79, 79–80, 96, 96, 165, 172, 183 Moliere, 75, 89 Pinocchio, 6, 25, 108 PM, 30, 111 Pogo: absurdist qualities, 85; aesthetics of (see Moore, Fred, 25, 174 aesthetics); African American influences, 5, Mouly, Franỗoise, 219n 9, 17, 18, 6061; allegorical qualities of, 7, 8, Mr Magoo, 78, 190 17, 26, 46, 57–58, 80, 173, 192; as animation, Mr Miggle, 95 133–36; blackface minstrelsy, influences Murphy, John Cullen, 131 of, 8, 9, 26, 57, 60; “bunny rabbit” strips, Murrow, Edward R., 38, 43, 219n 46–47, 96, 125–27, 192; cancellation, results Mutt and Jeff, 22, 30 of, 36, 119–20, 124–25; caricatures, use of, 7, 46, 181–84; carnivalesque (Bakhtinian) NAACP, 148 qualities, 16, 51–52, 62, 67, 69, 72, 74, 102, Nast, Thomas, 182 103, 143, 164, 191, 206; censorship of, 39, National Cartoonists Society, 7, 15, 16, 33, 124; character types in (see character types); 40–41, 127–33; as fraternal/supper club, 131; characters, qualities of, 33, 65–66; comedy sexist practices of, 40, 42–43, 127, 129–30, of (see comedy); Communism, targeting, 216 12; continuity within, 66; copyright, Newport Folk Festival, 159–60 ownership of, 11, 32, 36–37; decline in newspaper industry, 14, 40, 43 popularity and cultural importance, 8, 15, New York Star, 7, 15, 17, 29–31, 111, 162, 179–81 45–47, 48, 189–94; deconstructive qualities, Nixon, Richard, 46, 96, 182, 215 7, 15, 53–55, 72–74, 78, 187, 189; democratic qualities of, 85; dialect in, 17, 18, 31, 60, Okefenokee swamp, 62–63 111, 162–66; dialogical qualities of, 18, 73, Oliphant, Pat, 186 143, 187; Disney, influence of, 6, 172, 177; Ong, Walter, 68 early versions of, 7, 30–31, 111–12, 137–67, On the Road, 67, 161 176–77; existential themes, 28, 63, 66, Our Gang (“Little Rascals”), 7, 27, 28, 109, 141, 196; fans of (see fans); female characters, 146–47, 219n; aesthetics of comic book treatment of, 44, 92–95; folk wisdom, series, 176 celebration of, 56; Freudian themes, 7, 8, 28, 57, 63, 69, 85, 87–88, 112, 150, 177, 213; Parker, Charlie, 160 heteroglossic (Bakhtinian) qualities, 67, 102, Pastoralism, 4, 7, 8, 23, 61–63, 74, 83, 92, 94, 196 103, 207; hybrid qualities, 5, 6, 14, 37, 103, Paul Bunyan, 190 195; ideology of, 4, 38, 66, 75, 81, 90, 139, Peanuts, 45, 47, 104, 135–36; aesthetics of, 163, 164, 196, 218; “I Go Pogo” campaigns, 191–92; merchandising of, 135–36 3, 117, 199–204; intellectual qualities, 31, Pearson, Drew, 219n 36, 74, 203; jazz-like qualities, 8, 70; literary Peet, Bill, 170 influences on, 67–68; lowbrow qualities, 74, Person to Person, 38 97; lyrics, songs in, 70–71, 115; mediations Peter Pan, 25 of, 7, 113, 124, 192–93; merchandising of, 37, Picasso, Pablo, 184 86, 113–15, 178, 201; metafictive qualities, Pico Bogue, 193 53–54, 70, 78, 168, 189; modernistic Pigs Is Pigs, 190 qualities, 68; narrative qualities of, index 64–67, 179; nostalgic/romantic themes, 57, 83, 84, 86, 178, 205, 211; wordplay/dialect, 62–63; novelistic qualities, 65, 67; pastoral use of, 83, 148, 162 themes, 7, 8, 15, 28, 56, 57, 60, 61–63, 74, Pogo Special Birthday Special, The, 47–48, 133 83, 92, 166, 172, 177, 196, 213; picaresque Polly and Her Pals, 184 qualities, 8; poetic/literary qualities of, Popeye, 8, 65 68; Pogomania, 3, 34, 203; popularity of/ poplore, 9–10, 12–13, 17, 18, 199 syndication levels, 33, 34–35, 36–37, 112, popular culture, 8–9, 13, 74, 77, 103, 135, 140; 116–17, 126–27, 208; postmodern qualities, cultural incorporation of, 105; intertextual 67, 102, 103; progressive political qualities, qualities of, 102; mediations of, 104, 105; 9; promotions of, 31–33, 116, 123, 199–201; negotiations over, 105–6; production of, 101 religion in, 90–91; revivals, attempts at, 49; satire, targets of, 4, 5, 52–53, 58, 62, 71, 80, 91, 96 (see also satire); self-criticism, theme of, 39, 52, 81, 90, 197–98, 213; setting of, 15, 17, 55–64, 141, 170–71, 172, 210–11; slapstick, Porky Pine, 4, 33, 38, 62, 68, 70, 72, 77, 80, 83, 89, 90, 91, 91–92, 93, 174, 183, 188, 189, 196; existential qualities of, 63 Post-Hall Syndicate (Publishers-Hall Syndicate), 31–33, 100, 112, 201 physical and verbal in (see comedy); Pound, Ezra, 158 Southern themes, 55–57, 111, 171–72, 210– P T Bridgeport, 91, 95, 164, 187, 188 11; storylines, 64–67; syncretic qualities, 5, Puck, 179 9, 26, 139, 140, 166, 167, 209; syndication Pup Dog, 95 of, 31–33, 112–15, 163; topical satire in (see satire); trickster tale qualities, 7, 9, 13, 15, 17, Rabelais, Franỗois, 67, 210 18, 28, 5761, 62, 164, 177, 213; vaudevillian Rackham, Arthur, 184, 185 qualities, 6, 13, 70, 75, 173; violence in, Raggedy Ann and Andy, 27 78–79; “We have met the enemy, and he is regionalist humor, 61, 154 us,” 39, 52, 81, 90, 198, 213, 219n; wordplay Reluctant Dragon, The, 6, 25, 108, 170 in (see comedy; wordplay) Retour la Terre, Le, 193 Pogo, 4, 6, 33, 45–46, 54, 62, 70, 71, 72, 79, 80, Reuben Award, 33 81–83, 82, 83, 86, 87, 89, 91, 93, 96, 124, 149, Rhoads, Fred, 131 150, 151, 163, 173, 175, 183, 188, 189, 196, 200; rock and roll, as absurdist fool, 87; aesthetics of, 175, 176– Rocques, Dominique, 193 78; African American identity of, 85, 138; Rogers, Will, 195 Apollonian qualities, 87; blackface roles, 61, Romanticism, as art movement, 101 77, 138, 151; Bumbazine, replacement of, Russell, Rosalind, 94 148; early versions of, 28, 60, 81–82, 148, 150, 162, 176–78; everyman qualities, 81–82, Sahl, Mort, 13, 18, 206–7, 208 138, 152, 178; existential qualities of, 63; folk Santa Claus Funnies, 27 wisdom of, 83, 85; as griot, 84; as jester, 82; Sarcophagus MacAbre, 96 love and marriage, feelings about, 94; as sateur concept, 12, 17, 102–8, 198 minstrel, 82, 83, 86, 138; as populist hero, satire, 4, 7, 16, 80–81, 84, 196–97; aesthetics, 85; as presidential candidate, 34, 38, 85, relations to, 168; Augustan, 98; 117, 178, 202–5; as Socrates, 87; as trickster carnivalesque, 16, 51–52, 62, 67, 72, figure, 81, 148, 178, 211; as wise fool, 62, 82, 97; cosmic, 7, 51, 52–53, 75, 97, 194;   index deconstructive, 7, 15, 51, 53–55, 78, 97, 189, syncretism, 9–10, 17, 26, 61, 139, 208–9 197; Hobbesian, 212–13, 218; Juvenalian, syndicates/syndication, 8, 14, 31–33, 100, 210; literary, 8, 50; parody, 77–78; politics of, 112–15, 122 97–98; punitive, 213; reformative qualities, 80–81, 90; scapegoating, 40; topical, 7, 11, Tammananny Tiger, 95 37, 46, 50, 75, 117, 124, 181–84 Tartuffe, 89 Schulz, Charles, 45, 47, 117, 135–36; as artist, Teena, 129 191–92; as auteur, 104, 136; as critic of Kelly, Tell-Tale Heart, The, 190 135 Terry, Hilda, 129 Seegar, Pete, 18, 139, 159, 166, 208 Terry and the Pirates, 42 Segar, E C., This Modern World, 13 Seldes, Gilbert, 102, 116, 190 Thomas, Danny, 206 Seminole Sam, 89, 90, 95 Thompson, Richard, 194 Shakespeare, William, 61, 72, 75, 83–84, 89 Thurber, James, 67 Shame of the Cites, The, 30 Time, 124–25 Shepard, Ernest, 184, 185 Tintin, 171 Shikuma, Henry, 103 Tomorrow, Tom, 13 Showboat, 141 Tom Sawyer, 95 Simmond, Posy, 193 trickster tales, 7, 9, 13, 17, 20, 26, 28, 57–61, 62, Simple J Malarkey, 4, 37, 73, 78, 79, 79–80, 96, 164, 172, 182, 183 87–88, 89, 211, 219n; appropriations of, 59– 61, 154–58; call and response construction, Sloan, John, 179 153; dialect, links to, 152–53; Harlem Smith, Harry, 159 Renaissance in, 219n; satiric/subversive Smith, Jeff, 194 qualities of, 58–59, 148, 153, 154, 156–57; Smothers Brothers, The, 13, 77 settings of, 58; trickster figures, methods Snavely Snake, 96 Snow White, 26, 109 Social Realism, 179 Some Like It Hot, 57 of, 71, 95, 148 Trudeau, Garry, 45, 116, 135; as artist, 182, 183, 193; as auteur, 11, 13, 37, 77, 104; National Cartoonists Society, critic of, 130 Song of the South, 25, 158–59, 220n Truman, Harry, 30, 31 Spiegelman, Art, 219n Trump, Donald, 182 Steffens, Lincoln, 30 Truth about Mother Goose, The, 190 Stein, Gertrude, 69 Twain, Mark (Samuel Clemens), 8, 9, 14, 24, 56, Steinbeck, John, 210 67, 81, 95, 151, 195, 210; African American Sterne, Laurence, 210 folk forms and dialect, uses of, 10, 17, 61, Sterrett, Cliff, 184 Steve Canyon, 42 139–40, 156–57, 161, 163, 164–65, 167 Twelfth Night, 72–73, 83–84, 89 Sturges, Preston, 100, 102 Sullivant, T S., 184, 185 Uncle Julius, 61 Swift, Jonathan, 81, 98, 181, 210 Uncle Remus, 9, 20, 25, 29, 59, 137, 138, 153, 155, Sylvia, 13, 104 158–59, 162 Free ebooks ==> www.Ebook777.com index Uncle Wiggily Animal Comics, 27 (Bakhtinian) qualities, 67, 102, 103, 207; underground comix movement, 13, 47, 127, 192 limericks, 72; malapropisms, 65, 69, 71–72, Unicorn in the Garden, 190 84–85, 92, 153, 163, 164, 219n; metafictive United Features Syndicate, 114 qualities, 70; miscommunication/ Universal Press Syndicate, 114 misunderstandings, 28, 65, 72, 87; mock UPA (United Productions of America), 47, eloquence, 153; neologisms, 69, 70, 73, 84–85, 163; onomatopoeia, 69–70; profanity, 190–91 69; puns, 65, 69; satiric qualities of, 15–16, Voight, C A., 184 73; slang, 163; verbal slapstick, 14, 50, 66, Voltaire, 196, 210 67–74, 97 World War II, 26 Waiting for Godot, 87 Walker, Mort, 95 vaudeville, 6, 13, 75, 76, 143, 145 Ward, Fred, 109 Victorian Age, 59 Ward, George, 39, 42, 44, 103, 186–87 Warner Brothers Animation Studios, 169, 190, Yoe, Craig, 219n 191 Watterson, Bill, 10, 13, 79–80, 116; as artist, 186, 193–94; as auteur, 11, 37, 45, 66, 104, 194; merchandising, attitude toward, 115; as satirist, 194; syndicates, relations with, 114 We Have Met the Enemy and He Is Us (animated film), 48, 135, 136 Welles, Orson, 100, 101–2 Wertham, Fredric, 119, 122 Westerns, 56 Wilder, Billy, 57 Wiley Cat, 37, 96 Williams, Bert, 77, 145, 151 Wingert, Dick, 131 Winnie the Pooh, 184, 185 Wodehouse, P G., 94 Wooster and Jeeves, 94 wordplay, 4, 50, 65, 67–74, 83, 84–85, 87, 92, 163, 219n; absurdist qualities, 87; carnivalesque (Bakhtinian) qualities, 69, 72–73; cosmic qualities, 72; deconstructive qualities, 7, 53, 69, 70, 72–74; dialect wordplay (see dialect[s]); doggerel, 68, 70–71, 72, 152; Freudian aspects of, 69; Freudian slips (parapraxis), 69, 72; heteroglossic www.Ebook777.com  ...Free ebooks ==> www.Ebook777.com we go pogo www.Ebook777.com Great Comics Artists Series M Thomas Inge, General Editor We Go Pogo Walt Kelly, Politics, and American Satire Kerry... ebooks ==> www.Ebook777.com we go pogo www.Ebook777.com This page intentionally left blank introduction Introduction In 1952 a political rally at Harvard University overflowed with enthusiasm and... Kelly’s playful “I Go Pogo campaign was a grassroots craze, prompting students at 150 colleges to endorse the character as their official candidate—and producing 50,000 requests for Pogo buttons and