Ernest Brennecke, looking back on the rise of the comic strip from the vantage point of , praises the comics for representing "true things" rather than the "pursuit of the good and beautiful. Taken together, Brennecke and Seldes present a remarkably coherent vision of the comic strip as a realist deflation of bourgeois illusion. Coherence disintegrates, however, when these critics address the fact that many strips contain elements so far removed from realism as to deserve the label "fantastic. Gilbert Seldes draws the distinction between realism and fantasy more sharply when he writes, "At the extremes of the comic strip are the realistic school and the fantastic," identifying George Herriman's Krazy Kat as the best example of the latter genre.
Comics veteran Hy Eisman has had more ghostly adventures than Casper. Once almost entirely the professional domain of men, cartooning has seen its practitioners diversify considerably in recent years. Charles M. Schulz, the creator of Peanuts , is among the most influential and respected cartoonists of all time. But people haven't always shown that respect by taking the time to make sure they've spelled his name correctly. Nat Gertler surveys some errant attempts at crediting a globally known icon.
Hogan's Alley , a publication devoted to comic art, is subtitled the magazine of the cartoon arts. It has been published on an irregular schedule since by Bull Moose Publishing in Atlanta. Covering comic strips, comic books, cartoons and animation, each hefty issue contains at least pages with a square-backed spine. Originally planned as a quarterly, the frequency is closer to that of an annual, with 20 issues published in 22 years. The designer is David Folkman.
Introduction by Bill Blackbeard. Northampton, Mass. THE recent flap over the "Cry Baby" cartoon depicting a diaper-clad Newt Gingrich in a tearful tantrum is a vivid example of the direct communicative power of cartoons. Featured on the front page of The Daily News, the wonderfully vulgar caricature of the Speaker of the House provoked reactions from the general public as well as politicians, ranging from glee to outrage. The response to this cartoon recalls the emotional and financial impact that newspaper cartoons regularly elicited at the turn of the century.