George Herriman Books

the best and funniest of the 3 archie and mehitabel books offered period how could you not love a book written by a cockroach on a typewriter by slamming his head on the keys one at a time and skipping punctuation and capitalization of letters because comma well comma archie is a cockroach with a not so big reach and only one head to slam keys with period what would you leave out if you were in his same situation question mark
much is still relevent today comma especially the references to the scopes monkey trial period
and mehitabel comma why comma the song of mehitabel is simply one of the funniest poems ever written period garrison keiller lists it in his book good poems period

When I was in high school, ovefr sixty years ago, I used to read Dan Marquis clever column in, I think, the New York World Telegram and found it a fascinating piece of imagination. Coming back to it now, nothing has changed. In telling the story of the typewriting cockroach and the wayward cat he touches, with great humour, so many of our human foibles and hopes too.

It's a bit of a stretch for todays kids, but I think they can imagine a mechanical typewriter and once they get a hold of this the fantasy should grab them.

A classic book from an author who thoiught outside the box - you'll love it.

Anyone who hasn't read Don Marquis' stories of the adventures of Archie and Mehitabel, have missed what is doubtless one of the world's greatest pieces of humorous literature. These stories delve into history to pull out hysterically humorous aspects of incidents regarding such characters as Cleopatra, and apply them to the lowly day-to-day events in the lives of a cockroach who operates a typewriter, a cat that complains she cannot understand why she is blessed with so many of those damned kittens, and a dead rat that receives glorious last rites by being filed in an alley ash can. No words can do justice to Don Marquis' fantastic imagination and his equally fantastic sense of humor. Anyone who misses this work is to be pitied! A. D. Holcombe

This is classic humor - and even though it is nearly 100 years old, this is still funny and interesting. In fact, Mehitabel's refrain has become my mantra: "wotthehell wotthehell toujours gai I always say, there's life in the old girl yet."

Herriman finds his metier. Krazy waxes eloquent. Ignatz waxes his brick.
Offica Pup keeps the peace.

If you are a fan of comics as an art-form, you should probably be familiar with Krazy & Ignatz. Thanks, Fantagraphics, for committing to these great collections.

I came upon Krazy Kat recently while doing research on early comic strips.My intent was to follow the older strips to see how they have progressed into what they are today.I was surprised to find that no modern strip adds anything to this early work of art or comes close to being its' equal.There has been much praise over the years for George Herrimans' work and if I can add one thing I would say get all these titles you can.This was as good as it will ever get.

I'm absolutely blown away every time I pick up this book. I'd heard it referred to by everyone from Max Speigelman to Bill Watterson himself, artist of Calvin & Hobbes, but hadn't ever seen it, being born a number of decades after it had left the papers. I decided to pick it up, since as an aspiring comic artist, I figured it'd be a good idea to take a look at something credited by Bill Watterson.
The comics are absolutely amazing. The art is playful, sometimes delicate, sometimes bold, but masterfully executed and always artistic, a quality so often missing from modern comics. And the text is just as amazing - it always strikes me as poetry in word bubbles. Anyone and everyone who enjoys art, poetry, comics, or humor owes it to themselves to pick up at least one of these volumes.

Every man, woman, and child should own a complete set of George Herriman's Krazy Kat, but that's currently impossible cos so much of it is out of print (or has never been reprinted). Thanks for getting this thing started again, Fantagraphics, and hopefully you'll get the financial support to see this thing through.

If you know nothing of Krazy and Ignatz, I can only invite you to slide into their surreal world. Words won't do it justice. Krazy is yin, Ignatz is yang. You figure it out.

This book stands as the best introduction to one of the best comic strips ever produced. Not only is it packed with hard to find "Krazy Kat" strips, but it also includes a biography of the artist, George Herriman. Some consider Herriman the first African-American mainstream cartoonist. His colleagues didn't know his ethnicity (and Herriman didn't tell them) so some called him "the Greek". He felt he had to hide some of his features from the public. For example, he kept his very curly hair closely cut and hidden under a hat. Not only that, his birth certificate shows his parent's ethnicity as "colored". The prejudices of the time likely would not have allowed an African-American the mainstream status and freedom allowed to George Herriman. So through "Krazy Kat" we get a glimpse of what early 20th century American culture may have missed out on due to its racial myopia. For "Krazy Kat" stands as an absolute masterpiece of its genre.

Herriman found some modicum of fame in his lifetime. William Randolph Hearst (the newspaper magnate) loved Herriman's work and rewarded him with a lifetime contract (according to the biography in the book, Hearst once read a "Krazy Kat" Sunday page and immediately demanded a raise for the artist). Herriman's success didn't come quickly, however. His first big break came in 1897 with the sale of a sketch to the Los Angeles Herald. Around 1901 he landed his first job as a "Staff Cartoonist" (a person who literally reported to the office every day and rattled off strip after strip; very different from today's cartoonists). Between 1901 and 1916 Herriman penned numerous strips (the book includes samples of many of these strips - many in color), including: "Musical Mose" (this strip's overt racial humor would not fly today), "Professor Otto and His Auto", "Acrobatic Archie", "Two Jolly Jackies", "Major Ozone's Fresh Air Crusade", "Home Sweet Home", "Baron Mooch", "Mary's Home From College", "Gooseberry Sprig" (considered to be a direct forerunner to "Krazy Kat"), "Alexander the Cat", "Daniel and Pansy", and finally, in 1910, "The Dingbat Family" (which changed its name briefly to "The Family Upstairs"; it was Herriman's first hit). It was in a "Dingbat Family" strip in 1910 that a mouse first "beaned" a "Kat" with a projectile (in the "running boards" of the strip). Eventually the Kat and mouse sideshow surpassed the main strip's popularity, and "Krazy Kat" debuted as a daily in October 1913 (the famous Sunday pages began in 1916). Herriman kept experimenting with other strips through 1923 when he finally placed his focus squarely on "Krazy Kat".

From roughly 1913 to 1944 (when Herriman passed away leaving a week's worth of unfinished Krazy Kat's on his drawing table) "Krazy Kat" developed from a "Kat" and mouse game (filled with puns, misunderstandings, and musings on the imperfections of language) into a complex love triangle between Krazy (the "Kat"), Ignatz (the mouse) and Offisa Pupp (the dog). Ignatz's entire being revolves around "beaning" the "Kat" with a brick, and Krazy interprets this as an act of love (unbeknownst to Ignatz). Offisa Pupp loves Krazy (in a fatherly sort of way) and his obsession revolves around catching Ignatz in the act and jailing him. Three obsessions collide in an almost jazz-style derivation of themes. Herriman developed this theme brilliantly over 30 years of strips. But overall it defies analysis: the strip can only speak for itself.

Sadly, though "Krazy Kat" counted such dignatiries as e.e. cummings, George Gershwin, Gilbert Seldes, James Joyce, and other literati, as fans, its popularity waned dramatically throughout the 1930s (as it became more surreal, esoteric and unabashedly uncommercial). It was kept in print by Hearst himself. The book does not cover the frustration of Hearst editors at the inclusion of the strip in their papers. They rebelled against it in some cases. Many simply tried to remove it from circulation only to find Hearst himself yelling "keep it in!" So we have, of all people, the controversial William Randolph Hearst to thank for the continuation of "Krazy Kat". By the end of its run "Krazy Kat" only appeared in some 30 papers.

The main focus of this book lies in its numerous incredible strips. The book includes daily strips (most dating from 1938 to 1944) and Sunday pages (dating from 1916 to 1944 with some in color; it also includes both the first and last Sunday pages). If one reason exists to purchase this book, here it is. The strips retain their amazing character even after decades of aging. And the artwork remains astounding. Not only that, the book includes samples of hand colored drawings of Herriman's, and photos of Herriman and his family. All in all, this book opens the door on one of the comic strip medium's most celebrated strips. Those that get hooked should continue thier obsessions (in the true spirit of Krazy, Ignatz, and Offisa Pupp) with the Fantagraphics' series of Sunday pages, and the Pacific Comics club's reprints of daily strips. Someday every Krazy Kat strip Herriman drew will finally appear in printed form. We can hope, at least.

This is a wonderful book for Krazy Katz fans to own. It is large, colorful and very informative on one of Americas great cartoonists. The delivery through Amazon was fast and effortless. The book, a treasure to own. Worth the lower price through Amazon.

This is what all popular art forms should be. A social commentary as love poem. And poem this is. There is very little that someone can write about the Krazy experience without treading in the same terran as this wonderful book. This is were your Krazy love afair begins. And unlike Ignatz you don't show your love with a brick.

This is a wonderful introduction to George Herriman's great comic strip Krazy Kat that ran for several decades in the early twentieth century. This introduction provides biographical background to Herriman's art, a survey of some of his influences, and a very healthy dose of Krazy Kat panels, both color and black & white. It also discusses the way that Krazy Kat became a cultural phenomenon, easily one of the most highly regarded comics of the century, and permeating many other arts as well.

The Krazy Kat strip is utterly insane, surreal stuff. Here is the premise: Krazy Kat (who is usually female but is sometimes apparently male) is in love with Ignatz Mouse. Ignatz loathes Krazy, and to prove it konstantly kreases that kat's krown with a brick. Incredibly, Krazy sees this as proof of Ignatz's affection, and falls even more deeply in love (many panels show hearts rising from Krazy's heart when she is hit by one of Ignatz's bricks). Officer Pup, the town constable, is in love with Krazy and frequently throws Ignatz into jail for hitting Krazy, which causes Krazy to pine for her would-be lover. This is merely the barest sketch of this weird and wild world. The town of Concocino is populated by a host of equally outrageous characters, though the focus continually comes back to the three principals.

Though even the most recent of these strips are over sixty years old, Krazy Kat has stood up magnificently over the years. Part of the reason surely lies with Herriman's enormous gifts as an illustrator. The Sunday strips in particular are things of great beauty, with the frames arcing around the page in spectacular designs of considerable innovation and complexity. The content of the comics reflects a genuine wit and substantial intelligence, while the bizarre love triangle possesses endless possibilities for both humor and pathos. This truly is one of the most unique comics in the history of the medium, and even those who do not usually respond to the genre are apt to find this enormously entertaining.

When I noticed that many of my favourite cartoonists have said that Herriman's 'Krazy Kat' is the greatest comic strip ever, I decided I should check it out. It didn't take long before I agreed with them.

George Herriman is one of those rare individuals who genuinely deserves to be called a genius. That's a word that gets thrown around a little too casually perhaps, but in Herriman's case it is almost an understatement.

He was a brilliantly inventive artist, but his writing is what really sets him apart. A lot of the dialogue is written phonetically in bizarre dialects, a tricky thing to do, but he uses it to great effect.

Whereas space restrictions force cartoonists today to avoid using more words than is necessary, Herriman would often use a lot more, and much of the pleasure of reading 'Krazy Kat' comes from the sheer virtuosity with which Herriman uses language.

That a comic strip could be as funny, as intellectually stimulating, and as beautiful to look at as 'Krazy Kat' seems to me to be some kind of miracle. This book is a great introduction to Herriman and his work. There's a generous helping of 'Krazy Kat' strips, as well as some of Herriman's other work. Anyone who loves comics should have it. I cannot recommend it highly enough.

The best thing ever to hit the eyes is the Krazy Kat entourage a la George Herriman. With the most surrealistic spelling and the most endearing characters in a love triangle (Krazy, Ignatz, and Offisa Pupp), one can find relief from the drabness and the pressures of life. (Was that a brick that just went by?)

Regarding the review below: Sunday Krazy Kat strips were not printed in color until 1934, so the strips in this volume (which covers the period from 1927 to 1928) are presented as they were originally published. While there are many pre-1934 strips that were hand-colored by Herriman, they were intended to be personal gifts to fellow cartoonists and not for publication.

Herriman's color work was indeed wonderful, but as the previous correspondent notes, for two thirds of its run the Sunday KRAZY KAT was in fact black and white, so we've been publishing it in that format.

Beginning in mid-2005, after having wrapped up the black and white period with KRAZY + IGNATZ 1933-1934 (which will contain some of the most difficult-to-find and almost-never-reprinted years) we will be releasing the five volumes containing Herriman's color years, starting with KRAZY + IGNATZ 1935-1936 -- in full color.

Conceptually, Krazy Kat was so simple -- a cat, a mouse, and a dog apparently caught in a bizarre sort of eternal love/hate triangle. George Herriman's art and writing not only managed to elevate this seemingly limited idea for a comic strip far beyond most of its early 20th-century peers, but to place it in the category of art: a weirdly funny, endlessly imaginative, and timeless masterpiece.

Fantagraphics have done an excellent job of reproduction and annotation. The larger format allows you to fully enjoy Herriman's minimalist style, while laughing at the strip's fractured English and visual gags. Chris Ware's cover art for both volumes released so far in this series has also been a real treat, although I personally preferred the cover for the first volume.

Krazy Kat can be enjoyed on several levels, but the editors have made certain you can both appreciate the artistic aspects of the strip and have just plain fun reading it. I am also coming to understand Herriman's significant influence on such later masters as Johnny Hart and Charles Schulz.

Get in on the ground floor (or at most the second floor) of what will be one of the most important reprint series ever, and seek out the first volume.

Comics do not get much better than Krazy Kat. These new editions have brought me out of mourning for the Eclipse series (the single volumes of which sometimes go for $100+ on e-bay). Plus, these are great looking books and each one is filled with extra info and photographs in the introduction and some cool tidbit in the back (this one has a picture of a wooden Ignatz doll complete with box from the 1920s).

Krazy Kat can be classified as art, but hopefully it won't be classified TOO MUCH as art, because it can be appreciated on many levels as well as an artistic one. Krazy's worst fate would be to end up as solely a museum piece for aficionados. Krazy doesn't belong in a museum, he/she belongs in books; which is what makes this series so great. I just wish they could print all of them at once.

Krazy Kat works by means of the tension of 3 forces: innocence, evil, and justice. Krazy is the ultimate innocent who, when Offissa Pup pummels Ignatz with his club, merely says "Those two play so well togedda." Ignatz is evil and maybe obsession. His grand purpose in life is to "bean" Krazy with bricks. He sometimes goes to Rube Goldberg extremes to succeed. Offissa Pup is justice which is sometimes just, sometimes political, sometimes personal. In an old daily strip, Offissa Pup grabs Ignatz and says "To the jail, viper!" When Ignatz replies "Why?" Offissa Pup only says "Because it gives me pleasure." Things get more complex because Krazy loves Ignatz and Offissa Pup often insinuates that he loves Krazy. A futile love triangle and battle of good, evil, and justice gets mixed up in a strange salad.

It is simply one of the best comics ever produced.

Krazy and Ignatz are unique in the history of the comics and highlight the Golden Age when "Little Nemo," "Maggie and Jiggs," and "The Yellow Kid" were right up there with this strip, George Harriman's salute to wit, whimsy, and the English language. Did I mention Jewish and Italian dialects from New York City? Anyhow, language and imagination all worked together in a desert landscape with Turner skies above and some of the most marveous comic characters walking the sands below. Who else but Herriman could do a daily comic--for years--about a cat with a bow around its neck, a cat that was either male or female depending on what happened in the life of the reader that day, a cat in love with a mouse whose only aim in life was to bean the cat's head with a brick, then to be arrested by Officer Pup! It's the stuff that dreams are made of but, unfortunately, those dreams have faded away.

What can one say about Geo. Herriman's "Krazy Kat"? The wonderful, colorful world of Coconino County is captured beautifully in this all-color Fantagraphics collection of Sunday pages. Geo. was a true poet and his words and art join together (like Chinese calligraphy/poetry/painting) to create an self-contained universe of wonder, humor and all-too human foibles and desires. Let's see - Krazy (cat) loves Ignatz (mouse); Ignatz despises Krazy; Offissa Pupp (dog) loves Krazy but Krazy is unaware and Offissa Pupp's love is unrequited. It's all so krazily wonderful I really kan't deskribe it!!!

It's probable that anyone considering the purchase of this book is already familiar with Krazy Kat, but just in case...

The entire strip is based on a love triangle, with a gender-ambiguous cat (Krazy) that is in love with a mouse (Ignatz) who is irritated by the cat and throws bricks at his/her/its noggin. The cat takes the bricks as a sign of love, however. A dog (Offisa Pupp) is in love with Krazy and tries to protect him-her-it from the mouse and the bricks, frequently jailing the mouse.

The strip has a fairly small cast of characters, mostly animal, and the goings on take place in front of ever-shifting landscapes. The effect is surreal: from one panel to the next, two characters could be talking without much change in their positions and posture, yet the background changes completely. The art is probably a love it or hate it proposition. It is scratchy and might resist some readers' esthetic sense. On the other hand, I know many people who automatically exclaim "I love Krazy Kat!" and the art is part and parcel of their appreciation. At any rate, the price of this full-color book is low enough to take a risk. Personally, I love the art: Herriman conveys surprise, movement, force and speed better than most or all of the comics masters, including Caniff, the superhero artists, Uderzo and possibly Hergé, with an apparent ease and simplicity of line.

Complementing the art is a patois (especially Krazy's) that is, at times, sheer poetry. The title of the book is drawn from an utterance within. There are deeper messages, such as the law of the excluded middle, or some gentle jabs at our lack of color blindness or cultural references that can slip by us because they are from an era now 70 years old.

There are two introductions. One of them, "The Kolors of Krazy Kat" on Herriman's complex ethnicity, is particularly apt in this, the book of the strip's first color Sundays. The other is by a fellow named Bill Blackbeard, whose efforts have saved portions of this and other strips from oblivion and in some cases from outright destruction. His work has rescued an important part of our cultural heritage.

In addition to the introductions, there are photographs as well as reproductions of beautiful Herriman water colors featuring his characters and backgrounds. The book was put together very conscientiously - even lovingly.

Krazy Ignatz is the sixth volume of the Krazy Kat reprint series - but it's the first volume to appear in full color, representing the comic strip's color appearance in June 1935 after being a black-and-white Sunday strip. The new color format has been digitally cleaned for sharp appearance - better than the original strips - and harvests a wealth of Krazy Kat and non-Kat materials from Herriman archives from 1935-36. Krazy Ignatz is a 'must' for any KK fan.

Many comic strips rely a lot on variations on a theme. The classic example would be Peanuts. There were dozens of Peanuts strips that involved Charlie Brown trying (and failing) to kick a ball that Lucy was holding. Even though the idea was the same in each, the execution differed from strip to strip. Years earlier, the same could have been said about Krazy Kat; how many different ways can a mouse attempt to hit a cat with a brick? As it turns out, many ways, each interesting in its own way.

For those unfamiliar with Krazy Kat, the three main characters in the strip are Krazy Kat, Ignatz Mouse and Officer Pupp. Krazy loves Ignatz, who in turn, dislikes Krazy. In fact, Ignatz is constantly beaning Krazy in the head with a brick, an act that Krazy interprets as one of affection. Meanwhile, Officer Pupp loves Krazy and hates Ignatz, constantly arresting the mouse for assault. (While Ignatz and Pupp are definitely male - Ignatz is even married with children - Krazy's gender is much more indeterminate, occasionally referred to as male, sometimes female, but usually left completely uncertain. Personally, I think of Krazy as male, but mainly so I am consistent in what pronoun to use.) Of course, just as not every Peanuts strip involved kicking a football, not every Krazy Kat strip involves Ignatz's efforts to obtain a brick and throwing it at Krazy, but usually the idea is at least lurking in the background.

What makes Krazy Kat special? It's hard to describe exactly. It is certainly different from any comic strip around nowadays: it has much less of an emphasis on punchline humor and instead relies on pure absurdity (or should I say "kraziness"). Even in its time, Krazy Kat was mainly successful due to the patronage of William Hearst, as well as the praise of such well-known figures as e.e. cummings and Walt Disney.

This particular volume covers the Sunday strips of the latter part of 1935 and all of 1936, the first period in which Krazy Kat was in color. Despite some obvious errors by the original publishers seventy years ago - such as times when Ignatz is blue or green - Krazy Kat works as well in color as in black-and-white. There are supplemental materials as well, most notably an essay on Krazy Kat's creator, George Herriman, the controversies regarding his racial background and how it was reflected in his work. Although interesting, you can skip this stuff if you want and go straight to the comics: Krazy Kat is kompletely kaptivating!

Once again Bill Blackbeard earns the gratitude of comic strip fans for rescuing old strips from extinction. So we forgive him his erudite stretch introduction (just the facts next time)but at least he doesn't go into the nonsense of Herriman's racial background as others have done.
The strip's size is a bit of a problem as I recall the actual newspaper size was a bit larger. Here is early Krazy Kat not yet in full flight but giving inklings of what was to come in the 20's and 30's. The gags are vaudevillian and the brick brings to mind the vaudeville hook.All in all, a vital addition for K.K. addicts and less so as an intro. to K.K.

The sunday Krazy Kat comics are wonderful (thank you Fantagraphics) but you can't get a real appreciation for the strip unless you read the dallies. This is a great book but frustrating that the promised follow-ups never came forth.

In the meantime, I recommend finding the few books that have a collection of Krazy Kat dallies especially the "Tiger Tea" episode.

James Kochalka has Ignatz Award bricks just lying around the house (he uses them to soak cat puke out of the carpet). For the rest of us, a few new bricks are a welcome addition. The more of Krazy Kat that gets reprinted the better. The world needs more Kat and Mouse stories, and they are here. This collection goes back to daily strips with a traditional gag line format; the drawings are more expressive than the words. But it's all good, it's Krazy Kat. And Ignatz. In a pinch you could even use it to clean the carpet.

Krazy Kat often gets hailed as the best comic strip of all time. The strip never gained huge popularity in its run, and by the 1940s it only ran in a few newspapers. So what accounts for its massive reputation? The best advice one can give is to simply read the strip to find out. It doesn't take too long.

Numerous publishing companies have attempted to reprint the strip. Unfortunately, the undertaking seems somewhat cursed (much akin to the "Don Quixote" legend in the world of film). Eclipse attempted to reprint all of the Krazy Kat Sunday pages. They made it to 1924 and then aborted the series. Some time after Fantagraphics picked up where Eclipse dropped off. Recently, news of financial difficulties within that company have spread. But they haven't closed shop yet (the series currently extends to 1932). Now, a company called "Stinging Monkey" announces their intent to reprint Krazy Kat dailies. So far they have published this single volume (in large and small formats). As of this writing, the website "www.stingingmonkey.com", printed on the book itself, cannot be found. Has the Krazy Kat reprint curse returned? Let's hope not.

Stinging Monkey's attempt represents the best attempt so far to reprint the rarely seen Krazy Kat dailies. Pacific Comics Club tried (starting with 1921, and they're up to 1923), but the miniscule size of their books (especially the 1921 issue) makes reading a headache. Though the effort remains appreciated. The initial Stinging Monkey release came out in an incredible large format which made for easy reading and great detailed drawings. Later the small format was released which remained very readable but lost some of the detail of the large format. Get the large format if possible.

As for the strips themselves, this book covers the very early years, 1918 - 1919, of Krazy Kat as its own strip. The jokes spew puns, misunderstandings, and bizarreness that speak both of their time and of Herriman's skills as a cartoonist. Think of the Sunday pages presented in brief snippets. Most are gag cartoons. Some contain verbal jokes, while others remain purely visual. The strips really begin to hit their stride towards the end of the book. Here Herriman's surrealism and charming absurdism starts to seep in. All Krazy Kat fans will not want to miss these.

Hopefully Stinging Monkey has not gone the way of the Eclipse series. A complete run of Krazy Kat dailies would present a boon to fans and the comic community in general. Seeing that this volume dates to 2003, though, it doesn't look incredibly promising.

For those who are only familiar with the comic strips of today, something like Krazy Kat is, to say the least, bizarre. There's nothing like it today, but in this era of generally watered down comics, true originality is hard to find. This makes Krazy Kat all the more special.

The hero of this strip is the title character, a cat (or kat) who lives in the desert of Coconino (or Kokonino) county in the southwestern United States. Krazy loves Ignatz Mouse, who in turn wants little to do with the feline; for Ignatz, there is no greater pleasure than beaning Krazy in the head with a brick. Rather than objecting to such behavior, Krazy enjoys it, thinking it is a sign of affection (well, he is crazy!). Rounding out this romantic triangle is Offisa Pup, who is enamored of Krazy and constantly running Ignatz into jail for his assaults.

Around this rather simple idea - mouse tries to hit cat with brick while evading dog - a vast canvas is painted. This is best observed in the Sunday strips, but even in this collection of daily strips, the magic can be seen. This book features relatively early strips from 1918 and 1919. For the most part it's just Krazy and Ignatz; Krazy makes some strange observation (usually involving some wordplay) and Ignatz reacts by pelting his companion with a brick.

The humor is only part of what makes Krazy Kat fun. There is also the absurd desert landscape, constantly changing even in the midst of the daily strip. Although this is also more notable in the more elaborate Sunday strips, we do get a lot of the strange scenery in this book as well. In particular, the backgrounds in the later strips in this book feature the Krazy Klothesline which takes on a life of its own and sometimes steals the show from Krazy and Ignatz's interaction in the foreground.

You have to experience this comic yourself to understand it; I cannot effectively describe what goes on without really diminishing it. The Sunday strips are the best, but even the dailies are great. If your idea of great comic strip humor is Marmaduke or Heathcliff, this is probably not for you; on the other hand, if you like material that is unique and unlike anything out there today, pick this up.

Over the recent years, I have become a fan of "old-time" comic strips, those that were published in the first half of the 1900s. In that era, the newspaper comics were a far different medium than nowadays. While I am sure there are plenty of forgotten, forgettable strips from that era, on the whole, the comics were treated as a respectable part of the newspaper and in an age when cities often had several competing periodicals, a good comic strip could be a major selling point. Nowadays, the comics are almost an afterthought, scrunched up on some back page.

Among the material I have been reading has been Popeye, Flash Gordon, Dick Tracy, Gasoline Alley and Peanuts (this last, admittedly, a product of the 1950s and not the first half of the century). The one that kicked off my renewed interest in these oldie, however, was Krazy Kat. Krazy & Ignatz: Shifting Sands Dusts Its Cheeks in Powdered Beauty is the poetic title for the seventh volume of republished Sunday strips (all in kaptivating kolor!), this one covering 1937-1938.

If you have not read Krazy Kat, this book is as a good a place to start as any, as continuity is no issue. The three principals are the classic dog-cat-mouse triad, but don't expect Tom-and-Jerry-like antics. Ignatz Mouse loves to bean Krazy Kat in the head with a thrown brick. For Krazy, this brick-beaning is actually a sign of affection. Yes, Krazy loves Ignatz (his "l'il anjil"), and Officer Bull Pupp loves Krazy and hates Ignatz. The typical strip has Ignatz beaning Krazy and then getting run off to jail by Pupp.

Is Krazy male or female? Creator George Herriman tends to keep things ambiguous, but I've always viewed Krazy as the former, a feeling that is justified in the February 14, 1937 strip which Officer Pupp clearly refers to Krazy as male.

For those used to today's gag strips with a punch line in the final panel, Krazy Kat is a change-of-pace that may not appeal to everyone. While humorous, this comic strip relies more on the absurd, the surreal and the poetic. Even the constantly changing landscape of the Southwestern county of Coconino is almost as much of a character as Krazy, Ignatz and Pupp are.

If you think that comic strips like Marmaduke, Heathcliff and Family Circus are the pinnacle of the comics medium, then Krazy Kat is probably not going to be your cup of tea. On the other hand, if you look at today's comics page with a certain lamentation of its fading overall quality, you may enjoy Krazy Kat which shows how wonderful the comics could truly be.

This project of gathering, binding and offering the Sunday Krazy Kat comic strips is such a boon. It is a treat to be able to enjoy a strip that was gone before I was born. The art work, the humor, the perspective on life all go together so perfectly in Herriman's work that it would be a great loss to this generation not to have these books available. I look forward to the next volume when it arrives!

Has the Krazy Kat curse finally lifted? More than a few brave companies have tried to reprint entire runs of this highly acclaimed but very underprinted comic only to end up self destructing. Way back in the hoary old days of the 1990s a company called Eclipse printed all of the Sunday pages from 1916 to 1924. Then something happened. No 1925 volume ever appeared. The curse begins. Not long after, another company, Stinging Monkey, printed volume one of "the complete Krazy Kat Dailies". That bold venture only lasted one mere volume. The curse returns. The small Pacific Comics Company has actually released three entire volumes of Krazy Kat dailies with no sign of stopping, but their market reach remains quite diminutive. Enter Fantagraphics, a company that may finally lift this ignoble curse from one of the best comics ever produced. They exhumed the smoldering Eclipse series and began anew with the year 1925. So far seven volumes have appeared covering the years 1925 - 1938. The last two issues appearing in full color (just as the strip did in 1935). Only three potential volumes remain for the years 1939 - 1944. Fantagraphics now stands well poised to obliterate this vile printing curse forever.

This volume, like its predecessor, displays the Sunday pages in full color throughout. During these two years the strip began to take on an even more surrealistic and esoteric edge. The addition of color heightened the abstraction of Herriman's brilliant backgrounds. Folded moons, impossibly high cacti, and chunky mountains fill in nearly every gap (see the particularly stunning strip from September 12th, 1937). The adobe colored jail becomes a permanent home for Ignatz as it now appears on almost every page. And the incessant love triangle between a Kop, a Kat, and a Mouse kontinues unabated. Signs of the strip's maturity peek out from behind every frame. The humor becomes more subtle, relying less on wordplay and slapstick than earlier strips. The jokes don't reach out and grab like a cattle prod (unlike many of today's strips that thoroughly rub the joke in your face); some require re-reading or reflection. Or a large vocabulary. Regardless, many remain laugh out loud funny despite their age. The March 27, 1938 strip depicts Offica Pupp trying to arrest Ignatz because he misunderstood his verbal fulmination "DUCK!" Pupp examines a book entitled "Law" while murmuring "Maybe - MA-A-AYBE I can arrest him fot it - Let's-s-s-see." Also, Herriman's little cartoon asides begin to appear at the very end of this volume (starting with December 11th, 1938). These small frames appear incongruous but they actually complement the strip as a whole and alter the mood. They harken back to his early "Family Upstairs" strips. Unfortunatley, the strip paid dearly for its waxing maturity and subtlety with plummetting popularity. The 1930s and 1940s saw the inexorable commercial decline of Krazy Kat. It appeared in increasingly fewer papers as irritated editors tried to slash "old man Hearst's" favorite strip. This volume helps preserve Herriman's legacy to the comic form, and it proves once again that commerciality does not always equate with high quality.

Unlike all other Fantagraphics volumes so far, this one does not contain an introductory essay. Nonetheless, some amazing watercolors and photos bookend the strips, including a rare one of Herriman without a hat. And the tradition of the "Ignatz Mouse Debaffler Page" gets upheld.

With each successive volume it appears that Fantagraphics may be well on its way to completing this series. The quality has not waned an iota from the first issue. Impressive. Carry on, please.

We are now, depending on method, between 1/3 & 1/2 way through the republication of Herriman's full-page comic spreads. There is plenty of good discussion of the artistic & literary value of this eccentric comic elsewhere, though perhaps not enough on the underlying philosophical issues it seems to raise, both in the push-&-pull of Kokonino Kounty's animal society, & in the recurrent surreal transformation of landscapes, an endless perceptual pun. But there is also immense & gentle, grace-filled hilarity of a sort we need no less now, than when Herriman was alive. Blessings on Fantagraphics for committing itself to this republication. Advice? Read it. Read them all - good food for the mind & the funnybone, not too common a combination...

This is a wonderfully designed news strip reprint book - hefty, formidable, aesthetically pleasing in every regard. I've been a Krazy Kat fan for many, many years, and I couldn't be happier with this purchase. (Joe Sixpack, ReadThatAgain)

Often the unexpected makes life worth living. Day by day, we roll along acquiescing in the eternal routine that inexorably mashes down time like a rolling pin over muffin dough. Then suddenly a protrusion. Wham! Something interrupts the seemingly unimpediable passage of the inevitable. Pull back the dough. A diamond. A multi-karatted glittering sparkler. Endorphins rush to pleasure centers. Eyes bulge. Tongue wags. Hopefully a full stomach maintains consciousness. If not, then plop and give in to the ecstasy. Such an event doesn't occur often. Something from nowhere has disrupted harsh workaday realities. Hope! Meaning! Such startling events probably filled the lives of Krazy Kat Konnoiseurs the nanosecond their retinas processed this sumptuous delectable volume of Golden Fleece daily strips. And who can blame them? This enormous hardcover coffee table sized miracle delights with every page. And who knew? Fantagraphics spread no rumors about printing dailies, perhaps to keep fans from vaporizing into submissive joy. The cover itself is an aesthetic wonder well worth a few million eye scans. But the strips inside, laid out like billboards two to a page, emblazoned almost in original size, might make some feel like they didn't pay enough for this shock to the system.

Krazy Kat dailies of any kind remain elusive. A few sparse collections exist compliments of Stinging Monkey (who apparently have more installments planned) and Pacific Comics club. Fans of George Herriman's Kat can hope with collective ferocious zeal that this volume presages infinite follow-ups.

Though the subtitle of this collection, stamped across the cover marquee-style, reads "The Panoramic Dailies of 1920," the strips actually date from 1911 to 1921. Three sections trisect the book: "The Emancipated Kat" includes early strips from subterranean Dingbat-era excursions. These reveal a very different Kat and mouse than later evolutions. "The Liberated Kat" jumps to 1914 when Krazy received the blessing of a solo strip extricated from "The Family Upstairs. Basement no more. I am Kat, hear me roar. These pun-filled often self-referential strips display the development of Herriman's new favorite characters. The final section of strips, "Flights of Fanciful Freedom," dives right into the panoramic strips advertised up front. They represent comic eye candy of the highest order. As luscious as the Sundays, only smaller, they reveal the strip in almost full stride. Surrealism and off-frame references abound. Among the works is the much discussed "Poor poor Injin" strip from May 24, 1920. Once again puns and linguistic peregrinations emanate from the text. Ignatz's ubiquitous brick appears with stunning and symbolic frequency. Offisa Pupp and his jail have not yet become mainstays, as they did in the 1930s and 1940s, but themes point in that direction. The quality never staggers. Krazy Kat's reputation heightens with each flop of the sometimes unwieldy pages (prepare ample space for gazing). And if that wasn't enough, a final section reprints the masterful 1922 program of the Krazy Kat jazz pantomime. Given vast space, Herriman's artwork reveals all its subtle beauty and charm. Prepare to be overwhelmed.

So did "The Kat Who Walked in Beauty" interrupt Fantagraphics's ongoing printing of the Krazy Kat Sunday pages? If so, it was worth it. To have numerous dailies spread out like gorgeous landscapes begging for repeated visits will cull any drooling anticipations for Sundays. Let's hope Fantagraphics plans more volumes of amazing Krazy Kat daily strips.

This large format book provides Krazy Kat dailies in nearly newspaper size print. After buying the Fantagraphics sunday series that are available it is interesting to view and read these larger format cartoons. The larger size adds an additional "dimension" that you don't get from the smaller format books. The majority of the book is derived from the series published over 9 months in 1920 with smaller sections from very early days. This is a different Kat than the Krazy Kat of 1920 and later but it helps to show how the cartoon character evolved. Reading this makes me hope Fantagraphics continues to put out more.

Krazy and Ignatz are always fun to read. Herriman's artistic and literary genius shine through. If a person has never read a Krazy Kat compilation, this one is a great one to begin the journey to Cococino County.

This title was my first book of Krazy and Ignatz.I discovered them while researching early newspaper comic strips.I can't add anything new to the praise George Herriman has recieved, but I can tell you I have ordered the other books.I'm hooked!

I've said this before and I'll say it again - Krazy Kat is simply one of the best comics ever produced. It completely smashes the western stereotype that comics are merely "for kids" and are supposed to be predictable, cute, and shallow.

Krazy Kat is not necessarily for kids. Your kids probably won't get it (and if they do, put them in an honors class immediately), though they may find pleasure in the slapstick elements. The strip is based on a bizarre love triangle between a "Kat" (Krazy, whose gender is indeterminate), a mouse (Ignatz)and a dog(Offisa Pupp). The Kat loves the mouse who hates the Kat who is hated by the dog who loves the Kat. I'm sure that was crystal clear. There are many ways to interpret this triumvirate, but I like to think it's about longing or futile and innocent longing and the inevitable obstacles that keep life from being perfect. The only way Ignatz acknowledges Krazy's existence is by throwing bricks at his/her head. Krazy has rationalized this into an act of love, and so pines away for Ignatz to toss a brick at him/herself. Offisa Pupp wants nothing more than to catch Ignatz in the act, and so the battle of good and evil begins with innocence trapped in the middle somewhere. An act of love then negates another perceived act of love. The strip is easier to experience than it is to explain (as you've probably just noticed).

This is yet another GREAT release from Fantagraphics. The graphic design on the cover and throughout is wonderful, and there are interesting and amusing "bonus materials" inside.

One of the "bonus" articles talks about the change in American humor away from slapstick and surreal humor towards more of a post-vaudeville early Bob Hope style of comedy. It was during these years of transition that Krazy Kat fell out of favor with the public at large, but William Randolph Hearst (yes, "Citizen Kane") loved the strip and demanded that it stay in the papers. His editors pleaded with him to cut it, but Hearst stood by the strip (Herriman also had a lifetime contract with Hearst, according to the article). The article goes into detail on these issues. It is a very good read.

Also, in the back of this installment is a reprint of the actual sheet music for the "Krazy Kat Rag" published in 1911, before Krazy had his/her own strip.

And of course there's plenty of classic full page strips. But be warned! There are no pages missing - many Krazy Kat strips were reprinted on particular dates, and in 1929 the first non-repeated Sunday strip appeared on Februray 10th. This is explained in the back of the volume on the "Ignatz Mouse Debaffler pages" along with some late 1920s anachronisms. So when you turn to the 1st strip in the book, the date will say "February 10th" which is fine. I admit I panicked at first until I consulted the all-knowing debaffler page.

Overall another great addition to the ever growing available collection of Krazy Kat in print. May Fantagraphics continue in pleasing the Krazy Kat freaks (like myself) until every Krazy Kat strip possible has been reprinted. A ba-jillion thanks!

Ever since that historic event on July 26th, 1910 wherein an unnamed mouse "beaned" an unnamed Kat in George Herriman's "The Dingbat Family," an unlikely unreconcilable love has gone unrequited. Somewhere between then and 1940 the Kat fell in love with the mouse. The mouse, with a slight touch of sadism perhaps, grew more and more to savor the tossing of bricks at the Kat's head. Little by little the Kat's non-verbal cartoon responses to these beanings turned from stars of pain into thick, pulsing hearts of love. An impossible love bloomed, a Krazy love. A love between natural enemies, a Kat and a mouse. This irrational and fundamentally flawed comic love came to resemble that often painful and soul-gorging love that vulnerable human beings can experience. The entire comic soon crytallized that nagging and irrational side of the human experience, that mosquito we can't slap, namely, the horrific fact that we sometimes fall hopelessly in love with that which hates us. With that which can never, and never will, return our pining love. But for some reason we cannot stop loving. We then begin to interpret and hope, foolishly, that specific acts the loved object perpetrates are in fact potential signs that reveal a hidden, perhaps unacknowledged, reciprocal love. In such fuzzy states, our wild human brains sometimes interpret insults and negligence as signs of hope. After all, when logic dissipates, abuse trumps indifference, doesn't it? The human condition can sometimes resemble a hammer to the knees. What's wrong with us?

"Krazy Kat," as a work of art, embraces and encapsulates this irrational love. We're not even sure, as longtime readers, whether Krazy is a boy or a girl. Regardless, Krazy continues to love Ignatz unconditionally. Ignatz's singular act of whacking Krazy with bricks metamorphizes into a singular act of love, or so it appears to Krazy's lovesick soul. Ignatz, with a parallel compulsion, loves hurling bricks at Krazy to the point of crazed addiction. Enter the third actor, Offissa Pupp, who patrols Coconino County in the eternal pursuit of sin. Some signs hint that Pupp has eyes for Krazy, so Ignatz's brick tossing arouses the highest contempt within his law-abiding by-the-book being. When caught, Ignatz lands in the ubiquitous jail. But Krazy sighs and romances about the love-brick that bounced off of his/her skull. The law comes inbetween an irrational love. Offissa Pupp thinks he's protecting Krazy from the beast Ignatz, when really he's preventing the one act that Krazy thirsts for day in and day out. Myopic, unknowing law, or, in more general terms, morality, stifles irrational pleasure. This tension never ceases, and it tugs and pulls at our humanity.

By 1940, George Herriman had developed this theme to a level that can only be described as poetry. Such depth of personal expression can unfortunately lead to public neglect, and the final years of Krazy Kat saw the comic's swift decline into obscurity. People don't often look to the comics page for insights into human nature. But in the case of "Krazy Kat" they should have. Unfortunately, the comic was so revolutionary that few probably sensed what was happening on those blanket-sized pages bursting with surreal color and shapes. Readers just wanted a few yuks. Not only that, fewer and fewer people had access to the comic as the 1940s emerged. Thus, at its peak, the comic vaporized from public view. Only Herriman's lifetime contract with Hearst kept it alive in less than a handful of newspapers.

Fantagraphics has also kept "Krazy Kat" alive by publishing this amazing series. Reproduced in full Krazy Kolor, the full impact of these strips explodes on the senses. The September 8th, 1940 strip provides one major highlight. It includes both the classic "zip... pow" centerpiece and the "Mus' be my 'eggo'" panel across the bottom of the main comic. Throughout the quality remains at the utmost. Ancillary characters also appear, most notably Mimi, the French poodle school teacher, who alters the love theme for a short spell.

"Krazy Kat" ended with Herriman's death in 1944. Fantagraphics thus has a mere two volumes to publish to complete a series that has never seen a full reprint. Early on, they also promised to return to the beginning and republish the Sunday panels from 1916 to 1924. These were previously published by Eclipse, but the series ended at 1924. If Fantagraphics succeeds in this endeavor, they will have provided a great service to those who can't get enough of one of the best comic strips ever to grace a newspaper. Roll on.

With merely two mute characters and a simple hunter-prey plot, Chuck Jones was able to create a whole bunch of wonderful Road Runner-Coyote cartoons. Decades earlier, with little more in the way of characters or plot, George Herriman was able to write a wonderful comic strip, Krazy Kat. Krazy & Ignatz: A Brick Stuffed With Moon-Bims is the eight collection of Sunday strips from Fantagraphics and covers the years 1939 and 1940.

Although occasionally other characters appear, the core of the Krazy Kat strips is a romantic triangle. The title character (supposedly of indeterminate gender, but occasionally referred to as male, as in the 4/23/39 strip) is in love with Ignatz Mouse; Ignatz's view of Krazy is less endearing as he constantly beans the Kat on the head with a brick. To Krazy, such concussive blows are like love letters. Offisa Pupp loves Krazy and is constantly running Ignatz to jail for his crimes. So that is the basic storyline, repeated in many (though not all) of the strips: Ignatz attempts to bean Krazy, and when successful, attempts to elude the police.

Admittedly, Krazy Kat is rarely laugh-out-loud funny, but there is plenty of humor. Its power often comes from its wholeheartedly surreal atmosphere in which the landscape is constantly changing and reality itself seems fluid. If you think Marmaduke, B.C., or the Family Circus are the pinnacle of the comic strip art, chances are you will not find Krazy Kat all that entertaining. For those who demand a little more out of their comics than poorly written, crudely drawn recycled dreck, however (and Krazy Kat has a reputation for being one of the best comic strips ever), this volume again offers something really delightful.

My comic-book store was a little tardy in getting this to me, not that it really matters when you're talking about a strip as well-aged as "Krazy Kat" was in the first place... Reading these colorful Sunday strips, you'd never guess that the world had been plunged into its worst war during this period. Herriman ultimately did slip a few off-hand references to WWII ("tank" bricks, etc.) into later 40s strips, but the brick-related schemes, alliteration, songs, and strange backgrounds during these dreadful 24 months are pretty much indistinguishable from those seen earlier in the 30s. Editor Bill Blackbeard provides his usual quota of half-insightful, half-doubtful "debafflers" - does he REALLY believe that Herriman's offhand use of the phone number "Coconino 69696" in one strip was a veiled reference to oral sex?? - and Jeet Heer contributes an interesting, albeit poorly proof-read, piece on Herriman's use of color. Essential reading for serious comics scholars.