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We Go Pogo: Walt Kelly, Politics, and American Satire (Great Comics Artists Series), by Kerry D. Soper
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Walt Kelly (1913-1973) is one of the most respected and innovative American cartoonists of the twentieth century. His long-running Pogo newspaper strip has been cited by modern comics artists and scholars as one of the best ever. Cartoonists Bill Watterson (Calvin and Hobbes), Jeff Smith (Bone), and Frank Cho (Liberty Meadows) have all cited Kelly as a major influence on their work. Alongside Uncle Scrooge's Carl Barks and Krazy Kat's George Herriman, Kelly is recognized as a genius of "funny animal" comics.
We Go Pogo is the first comprehensive study of Kelly's cartoon art and his larger career in the comics business. Author Kerry D. Soper examines all aspects of Kelly's career---from his high school drawings; his work on such animated Disney movies as Dumbo, Pinocchio, and Fantasia; and his 1930s editorial cartoons for Life, and the New York Herald Tribune. Soper taps Kelly's extensive personal and professional correspondence and interivews with family members, friends, and cartoonists to create a complex portrait of one of the art form's true geniuses.
From Pogo's inception in 1948 until Kelly's death, the artist combined remarkable draftsmanship, slapstick humor, fierce social satire, and inventive dialogue and dialects. He used the adventures of his animals--all denizens of the Okefenokee Swamp--as a means to comment on American and international politics and cultural mores. The strip lampooned Senator Joseph McCarthy during the height of McCarthyism, the John Birch Society during the 1960s, Fidel Castro during the Bay of Pigs fiasco, and many others.
- Sales Rank: #1316988 in eBooks
- Published on: 2012-06-22
- Released on: 2012-06-22
- Format: Kindle eBook
Review
"This is the real deal! Comprehensive, serious, and full of juicy tidbits on Kelly's life and career--some that I didn't know, and I'm the #1 Walt Kelly fan in the universe!"
Jeff Smith, creator of the comic books Bone and RASL
(from the back cover of the book)
“This is the real deal! Comprehensive, serious, and full of juicy tidbits on Kelly’s life and career―some that I didn’t know, and I’m the #1 Walt Kelly fan in the universe!”
―Jeff Smith, creator of the comic books BONE and RASL
From the Inside Flap
A critical appreciation of the life's work of a great comic strip artist
From the Back Cover
"This is the real deal! Comprehensive, serious, and full of juicy tidbits on Kelly's life and career--some that I didn't know, and I'm the #1 Walt Kelly fan in the universe!"
Jeff Smith, creator of the comic books Bone and RASL
Most helpful customer reviews
36 of 43 people found the following review helpful.
Dry as a Bone...
By Mike Fontanelli
"Humor can be dissected as a frog can," E.B. White once wrote, "but the thing dies in the process, and the innards are discouraging to all but the purely scientific mind." Walt Kelly gets the full-blown analytical treatment in WE GO POGO by Kerry D. Soper, and the results can be essentially summed up as 239 pages of "dead frog." The author, unfortunately, comes across as one of those eagerly-offended academics who sees "racism" and "sexism" lurking behind every nook and cranny of Golden Age pop culture. Artlessly bland modern comic strips, by the author's comparison, are NOT racist or sexist. (Nor are they funny, memorable or professionally drawn, but that seems to be beside the point.) The author doesn't appear to appreciate "low" burlesque comedy (despite it being Kelly's forte,) or the traditionally broad, iconic archetypes associated with it. It never occurred to him that cartoons, broadly speaking, ARE stereotypes (or more accurately, caricatures: exaggerated simplifications) by definition, never intended to be taken literally. Indeed, he often doesn't seem to "get" the joke at all. In paraphrasing gags from POGO and other classic strips, he mangles them beyond recognition. (Pogo is a "wily trickster"? Indeed?) He can't even transcribe an acronym accurately, as when he bungles the meaning (and spelling) of "S.W.I.N.E." on page 214, killing both the pun and the point.
Pronouncing vintage comedy racist or misogynistic because it doesn't retroactively conform to today's absurdly hypersensitive standards is both unfair and pointless. The wholesale sacrifice of visual humor for "correct" political posturing didn't occur on the comics page in Kelly's day, (for which we can be thankful. That dubious achievement belongs to a later era, and graphically-barren strips like DOONESBURY, DILBERT, CATHY and BOONDOCKS.) I'm tired of the righteous implication that ALL humor needs to be gentle - nor was all of Kelly's humor gentle. The new, rewritten "rules" of "correct" satire to which the author ascribes, incidentally, would necessarily exclude Swift, W.S. Gilbert and Sacha Baron Cohen from its ranks. Another vintage strip which the author cites often, LI'L ABNER, is deemed "sexist" for its ubiquitous sultry females. (Why aren't fine artists like Renoir ever condemned for portraying sexy women, I wonder?) Somehow Mr. Soper missed the pre-Feminist subtext of Dogpatch, in which women are very much in charge, and never even mentions Mammy Yokum's central role as a positive, dynamic, superhuman matriarch. He also tells the true story of Hilda Terry's integration into the formerly all-male National Cartoonists Society in 1950 - but carefully leaves out Al Capp's role in it, because that wouldn't fit his preconceived storyline. (Here and elsewhere, the author crosses the line from forgivably sloppy scholarship to selective revisionism and subtle dishonesty.)
I don't blame anyone for misinterpreting dated satire - but there's no excuse for selective research, or for anally nitpicking comic material you've no real affinity for. The author is also guilty of the "long stretch" (Kelly's wide cast of animals represent diverse ethnicities?), subjective politicizing, quote-mining for dark intent when the speaker was obviously kidding, and a kind of humorless pomposity that seems to pervade much of the book. There may be a good analytical treatment waiting to be written on POGO, but this isn't it. (Update 8/14/2016: I've just finished James Eric Black's recent WALT KELLY AND POGO: THE ART OF THE POLITICAL SWAMP [McFarland, 2015]. It corrects nearly all Mr. Soper's missteps, and is a more sober and comprehensive study in every way.) As it is, the book is heavy on opinion and subjective analysis, with some factual information thrown in. (It delves into Kelly's personal private life, for instance, which is neither flattering nor particularly necessary.) Frankly, Kelly deserves better. With the recent publication of an official Walt Kelly biography available, as well as the ongoing reissue of POGO in its entirety, true fans might be better served saving up their time and money for those volumes instead.
POSTSCRIPT: The author has replied to this review, making some interesting points. Readers are encouraged not to skip Kerry Soper's response, by clicking on the "Comments" link below.
15 of 20 people found the following review helpful.
A Great Cartoonist Gets His Due
By Jeet Heer
Walt Kelly was one of the greatest cartoonists that America ever produced and we've long needed a smart study to gauge his achievements and place his work in context. Kerry Soper's We Go Pogo more than lives up to those demands. It explains why Kelly's Pogo made such a huge impact in the postwar years and the way the strip transformed newspaper comics, creating a new space for politically-incisive satire.
One of the earlier reviewers seems to have gotten his underwear in a snit because Soper discusses the racism and sexism of the early 20th century America that formed Kelly. But to deny the existence of evils like racism and sexism is to be untrue to Kelly's own legacy of political bravery. He stood apart from most cartoonists because of the political courage that led him to attack McCarthyism, the Klan, Richard Nixon, Spiro Agnew and other noxious ideologies and political figures.
The race issue is particularly interesting because Kelly, as Soper shows in fascinating detail, went through an important evolution. Kelly came of age during a time when minstrel shows and blackface were commonplace, and he used some of these stereotypes in his comics. But during World War Two he became more sensitive to racial politics and transformed the character Buckwheat in Our Gang from being a minstrel stereotype into a rounded character fully the equal to his white friends. And of course, Kelly championed civil rights in Pogo. I, for one, find the story of Kelly's evolution fascinating and even inspiring, but there seem to be those who want to paint an anodyne, idealized picture of Kelly that divorces him from his historical context. To folks like that, I would just say that you're not the type to appreciated Kelly's political charged satire in the first place.
2 of 2 people found the following review helpful.
I Goper Soper
By Frank Stoaks
Simply put Kerry D. Soper has done a great job with this book.
Pogo is undoubtedly one of the great newspaper strips of the 20th century. In this book, Soper explores the work of Walt Kelly and makes a convincing case for why Pogo should be highly regarded without going into fanboy hagiography (a problem that a lot of books on comics/newspaper comics have).
Since this is a book published by a University Press, I was somewhat concerned that I would find this book too esoteric for me to understand as I haven't studied English or anything related to literature/cartooning since I was in high-school. I needn't have worried. The book explores Pogo using academic concepts but is written in a manner which is accessible enough so even a layman like me can understand it. I especially enjoyed Soper's discussions of race and gender in Pogo, how in the sixties Kelly's artistic style was going out of fashion and the comparison between Pogo and Lil Abner (a newspaper strip by Kelly's friend and contemporary Al Capp). Moreover, even though this book is in no way a biography, there are some really fascinating facts about Walt Kelly's life sprinkled throughout it.
Soper has done the comics community a great service by writing this book. It taught me so much about Pogo, comic strips and american popular culture. If you enjoy this I heartily recommend the other books in the University of Mississippi's Great Comics Artists Series which includes books on Jack Kirby, Chris Ware, Osamu Tezuka, Winsor McCay and many, many more.
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