- Taschenbuch: 224 Seiten
- Verlag: Harry N. Abrams; Auflage: New edition (1. September 2004)
- Sprache: Englisch
- ISBN-10: 0810991853
- ISBN-13: 978-0810991859
- Größe und/oder Gewicht: 29,3 x 22,3 x 1,8 cm
- Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen Alle Rezensionen anzeigen (4 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 142.560 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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From Library Journal
This 1986 volume collects a large portion of Herriman's Krazy Kat comic strips, which appeared in newspapers nationwide for 31 years (until he died) as well as a smattering of his other artwork (158 illustrations, 48 in color). Though the strips were initially created for humor, critics now see a heavier surrealistic quality to Herriman's style.
Copyright 1999 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright 1999 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Pressestimmen
..".after World War II, when I came home, Krazy Kat became my hero. I had never seen Krazy Kat up until then because neither one of the papers in the Twin cities published it, so I didn't know Krazy Kat. But then it became my ambition to draw a strip that would have as much life and meaning and subtlety to it as Krazy Kat had."
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Format:Taschenbuch
Eighty-five years after its inception, 'Krazy Kat' remains one of the finest examples of American comic art. 'Krazy Kat' is to 'Dilbert' as chicken cordon bleu is to chicken nuggets.
Anyone who has an appreciation for comic strips or an interest in possibly creating their own sequential art works needs to study 'Krazy Kat' carefully. Herriman was truly a master of the form.
The biography of Herriman and the essay on 'Krazy Kat' by one of his contemporaries are interesting... but it's the huge collection of 'Krazy Kat' strips that make this book worth every penny!
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Format:Taschenbuch
I was first introduced to Krazy Kat through the auspices of the Tucson Comic News. The world of George Herriman is populated partly by lunatic creatures, partly by all-too-human struggles, and completely by his marvelously "sillygistical" prose. Herriman's art is comic strip art at its absolute best. His prose is misnamed poetry, half "found" in a strange Brooklyn patois, half lifted direct from Yeats. This book also contains a fairly funny and quite accessible biography of Herriman, though by the time you're three pages into the vast Krazy Kat kollection in the second half of the book, you'll be wishing like crazy they'd just filled the whole thing up with strips.
Format:Taschenbuch
KRAZY KAT IS THE FUNNIEST, MOST LUNATIC PIECE OF COMICLITERATURE. The mechanics of Krazy Kat are time-honored anddeceptively simple: there is a cat, a mouse, a dog, and the hurling of a brick. HERE ARE A FEW COMMENTS MADE BY OTHER FAMOUSE PEOPLE IN TRIBUTE TO HERRIMAN: "an immediate progenitor of the Beat Generation and its roots could be traced back to the glee of America, the honesty of America, its wild, self-believing individuality", Jack Kerouac I discovered Krazy Kat when a large anthology of the strip was published in 1969. The book is an editorial disaster, but it did show a lot of Krazy Kat strips, and I admired the work immediately. Krazy Kat seems to be one of those strips people either love or don't get at all. Krazy Kat is nothing but variations on a simple theme, so the magic of the strip is not so much in what it says but in how it says it. Ignatz Mouse throws bricks at Krazy out of contempt, but Krazy interprets this as a gesture of affection instead. Meanwhile, the law - Offissa Pupp - futilely tries to interfere with a process that's completely satisfying to all parties for all the wrong reasons. This weird, recycling plot can be interpreted as a metaphor for love or politics - or it can just be enjoyed for its own lunatic charms. The strip constantly plays with its own form, and becomes a sort of essay on cartoon existentialism. The background scenery changes from panel to panel, and day can turn to night and back again during a brief conversation.
Similarly, Herriman played with language and dialect, inserting Spanish, phonetically spelled mispronounced words, slang, and odd, alliterative phrases, giving the strip a unique atmosphere. The drawings are scratchy and peculiar, but they provide a beautiful visual context to the equally idiosyncratic writing. Krazy Kat's sparse Arizona landscape, like Pogo's dense Georgia swamp, is more than a backdrop. The land is really a character in the story, and it gives a specific mood and flavor to all the proceedings. The constraint of Krazy Kat's narrow plot seems to have set free every other aspect of the cartoon to become poetry, and the strip is, to my mind, cartooning at its most pure. The wonderful dialects and wordplays of Krazy Kat are as impossible now as the beautiful draftsmanship that characterized that strip and others. Bill Watterson(Creator of "Calvin and Hobbes") " As `Cholly Kokonino' would put it ~ The Whoest of the Whos were There. The Dimless Dames of Coconino, the Merry Wives in Full Galaxy, The Representatives of the "Desierto Pintado's" Social Apex.
Drifting now to a Lower Social Level, We find `Krazy Kat' Propelled by a Great Sense, and urge of Kuriosity on his Way to the Enchanted Mesa, on Whose Topside, `Joe Stork' The Bird of Destiny, Makes his Home."
- George Herriman, April 21, 1918 ... be not harsh with "Krazy" -- He is but a shadow himself, caught in the web of this mortal skein. We call him "cat", We call him "crazy", Yet he is neither. At some time he will ride away to you, people of the twilight. His password will be the echoes of a vesper bell, his coach a zephyr from the West -- Forgive him, for you will understand him no better than we who linger on this side of the pale. George Herriman 1917 BUY THIS GREAT BOOK NOW.
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