Symphony in Black and White: Krazy Kat KontinuedPosted in Articles, Biography, Literary/Artistic Criticism, Media Archive, Passing, United States on 2012-03-06 02:17Z by Steven |
Symphony in Black and White: Krazy Kat Kontinued
The Albany Times-Union
Albany, New York
2008-11-20
Alexander Stern
Don’t Touch My Comics: The Times Union Comics Panel takes a critical look at the funny pages.
Some months ago, I wrote an appreciation of George Herriman’s classic strip, Krazy Kat; a strip frequently lauded as one of the greatest achievements in the comics medium. Omitted from that article—whether by design or by accident—was a biographical detail that has become increasingly controversial in recent years. It concerns George Herriman’s racial background. While some might argue that such considerations should be irrelevent in art, it seems particularly pertinent in this specific time and place: It seems only fitting to note—here, in the year 2008—when a man with African heritage has just been elected to the highest office in the land—that Krazy Kat (arguably the greatest American comic strip) was authored by a man with a similar background. It is significant to note, however, that while the world celebrates the election and the history of Barack Obama, the world was never told the history of George Herriman during the artist’s lifetime.
Throughout his life, Herriman’s racial and ethnic background remained shrouded in mystery. His collegues weren’t sure exactly what the olive-complexioned Herriman was. Some of his friends and fellow cartoonists began referring to Herriman as “the Greek.” ”I didn’t know what he was, so I named him the Greek,” recalls cartoonist Tad Dorgan in Jeet Heer’s essay “The Kolors of Krazy Kat,” the introduction to A Wild Warmth of Chromatic Gravy – The Complete Full-Page Krazy and Ignatz: 1935-36 (published by Fantagraphics Books in 2005). Much was also made during Herriman’s life of his devotion to hats. Dorgan again: ”Like Chaplin with his cane, [Herriman] is never without his skimmer. [Cartoonist Harry] Hirshfeld says that he sleeps in it.” Indeed, Herriman was seldom photographed bare-headed. Some of his contemporaries claimed that Herriman “had a growth on the back of his skull. He referred to it as a ‘wen’ and was embarassed to expose it in public.” On the other hand, those candid photos that exist of a hatless Herriman reveal a man with short wavy hair. Herriman himself referred to his hair as “kinky.” Was his refusal to be publicly seen without a hat part of a concious desire for Herriman to “pass” for white?…
Read the entire article here.