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The final collection of Krazy Kat Sunday pages!
Krazy Kat, with its eternally beguiling love triangle of kat/dog/mouse, its fantastically inventive language, and its haunting, minimalist desert décor, has consistently been rated the best comic strip ever created, and Fantagraphics’ award-winning series one of the best classic comic-strip reprint series ever published.
With our 13th volume, Krazy & Ignatz 1922-1924, the decades-in-the-making project of publishing every single Krazy Kat Sunday created by Herriman comes to a close. (Next: The dailies!)
While the Krazy Kat Sundays were created and published in black and white until 1935 (and therefore the majority of strips in this book are black and white), Herriman’s publisher did briefly experiment with running the strip in color in 1924, and all 10 of these rare full-color strips are presented here. The book also includes more rare photographs of Herriman, a “DeBaffling” section explaining period references and in-jokes, and the usual surprise “goodies” each of these volumes springs on their readers. And for the 13th and last time, the covers will be by Chris Ware. 168 pages of black-and-white comics
- Sales Rank: #704075 in Books
- Published on: 2012-04-17
- Released on: 2012-04-17
- Original language: English
- Number of items: 1
- Dimensions: 12.00" h x .80" w x 9.10" l, 2.33 pounds
- Binding: Paperback
- 168 pages
Review
“Endlessly perplexing, energetic, deep, and playful.” (Sarah Boxer - The New York Review of Books)
“This beautifully produced series is a must for any reader interested in great art.” (Pubishers Weekly)
“George Herriman was one of the very great artists, in any medium, of the 20th century.” (Michael Chabon)
About the Author
George Herriman (1880-1944), the creator of Krazy Kat, was born in New Orleans and lived most of his life in Los Angeles, California. He is considered by many to be the greatest strip cartoonist of all time.
Most helpful customer reviews
6 of 6 people found the following review helpful.
You'll need more room...
By xxgrendelxx
If you're like me, you will have left a space on your shelf for a minimum width of either of the previous two volumes of Fantagraphic's softcover "Krazy and Ignatz" volumes. And, like me, you will have misjudged... to your pleasure!
As you well know, this brand new volume now completes the series of Sunday pages that I, for one, have waited over twenty years for. But it does more than that: it is almost TWICE the size of the previous two black and white books and contains more extras than I have time to tell you about; there are color pages from other Herriman works and all sorts of goodies. For sheer graphic bliss, the price to volume to quality ratio has never been more impressive.
My deepest gratitude to Bill Blackbeard, Chris Ware and Fantagraphics for making this series come to life after so many mis-starts throughout two decades - and sincere thanks to all my fellow fans for sticking with the series and making it worth the publisher's while.
Fandom unite! The late 'Eighties and early 'Nineties were tough for connoisseurs of vintage strips - so much was promised in good faith, results were lovely and yet floundered: remember Kitchen Sink Press and all the good they did?
It is hard sometimes to share the not-quite-so-secret pleasures of these vintage comic strips - one had the feeling twenty years ago of belonging to a elite cabal of devotees; while everyone else was throwing money away on "Image" comics, these Herriman strips were like a secret knock at a speakeasy whose exquisite spirits were meant for a more refined palate, one that choked on comics loaded with guns and trash talk. Now, the few we were have to share - and that's a hard brick to be beaned with, though it has resulted in this completed series.
So thank you. And thank you, George Herriman, for transcending a maligned genre with your vision, wit and kindness... and allowing us fans to "walk in beauty".
3 of 3 people found the following review helpful.
All good things must come to an end
By mrliteral
Over the past decade or so, Fantagraphics has issued collections of the Sunday comic strips for Krazy Kat. The first of these thirteen volumes started in the middle of the 1916-1944 run, with a book that covered 1925 and 1926. The series proceeded with volumes covering a pair of years till it got to the end, then looped around to the beginning with larger editions that contained three years each. Krazy & Ignatz 1922-1924, "At Last My Drim of Love Has Come True" is the final volume.
First, the comic itself. If you've been a fan of previous volumes, you know exactly the top notch material you're going to get here. If you're new to Krazy Kat, you're in for a treat; I should say that you're in for a treat if you appreciate comics and don't think Marmaduke or the Family Circus is the apex of the genre.
The centerpiece of Krazy Kat is a rather odd love triangle between a mouse, a cat and a dog. Ignatz Mouse loves to bean Krazy Kat in the head with a brick; Krazy, who regards Ignatz as his "little anjil", takes such assaults as a sign of affection. Offisa Pupp, on the other hand, regards Ignatz's actions as a crime; his own affection for Krazy leads him to try and arrest Ignatz. Against this backdrop is the surreal desert landscape of Kokonino County.
If you're looking for standard comic strip punchline humor, you will rarely find it here, but this is a wonderfully funny strip, regarded by many as the best comic strip ever. If you're a fan of the other books in the series, this one offers more extras than any of the other books: not only do you get three years of Sunday pages, but you also get the complete runs of George Herriman's early strip "Mrs. Watiaminit - The Woman Who is Always Late" and the 1920s strip, "Us Husbands". The former is more interesting for historical value than actual humor, but Us Husbands has its moments, though generally, Herriman was much better with animals than humans.
Needless to say, this is a must-buy for any current or potential fan of Krazy Kat. The only sad part of the book is that it is the last in the series. I guess it's time to go back to the beginning!
2 of 3 people found the following review helpful.
The extras make this final volume of Sunday strip reprints REALLY special
By Christopher Barat
With this release, Fantagraphics wraps up its packaging -- in this case, as in the case of the last several volumes of the series, "repackaging" is the more appropriate word -- of Herriman's KRAZY KAT Sunday pages. The book would be thicker than normal in any case, because three years' worth of strips, rather than the standard two, are included here. But FG also goes the extra mile and plumps the thing out to near-"brick"-like (see what I did there?) proportions by including several other previously unreprinted Herriman strip series. Indeed, 1903's MRS. WAITAMINNIT, unearthed by Herriman's soon-to-be biographer Michael Tisserand, is a genuine find, as it appears to be Herriman's first continuing daily strip, running through roughly 20 installments in September and October 1903 in the New York EVENING WORLD. The conceit is simple (a dithering lady unknowingly causes chaos for her hapless husband), and Herriman's figure drawing was still rather crude and inconsistent at this time (Mrs. W. never quite seems to look the same from strip to strip), but traces of Herriman's tradework verbal facility are already apparent, and the vaudeville-style slapstick gags are punched over with verve. Tisserand provides a useful page of background text on the strip, in addition to contributing to the "Ignatz Mouse Debaffler Pages" at the back. If this find is representative of the average level of quality of research that Tisserand has put into his Herriman biography, then that forthcoming book should be something.
Following the Kat-Mouse-Pupp-brick main event, Jeet Heer presents a complete color reprinting of US HUSBANDS, a Sunday domestic-comedy strip from 1926-1927. This is perhaps the most "normal," not to say mundane, Herriman production that I've ever seen, spinning entire pages out of casual incidents and minor disagreements in married life. The production was casual to the extent that Herriman didn't even bother to keep names and faces of his supposed "main characters" straight. Just as well, as the wives, husbands, and "confirmed bachelors" here are pretty interchangeable. In his text introduction, Heer speculates that Herriman cooked up the US HUSBANDS in order to convince the powers that were at King Features that, just in case William Randolph Hearst ever withdrew his personal "patronage" from the esoteric (and not all that popular) KRAZY KAT, then Herriman could, too, contribute more commercially "salable" material to the syndicate's manifest. This theory seems reasonable to me, given Herriman's known level of insecurity. (It was probably for the same reason that Herriman also pitched in to help with the panel feature EMBARRASSING MOMENTS at around this time.) The standard "topper strip" for US HUSBANDS featured anachronistic husband-vs.-wife conflict in a vaguely medieval setting ("oh, thou rogue, thou hast snuck out to ye poker game agayne?!"). This isn't strange; what's strange is the strip's title: MISTAKES WILL HAPPEN (often with a following "." emphasized for some reason). George, I love ya and I know that your mind worked in mysterious ways at times, but I can't for the life of me figure out how you fell upon this title for that particular scenario. A meta-comment, perhaps, on how frustrating you found all this extra work to be as these two strips' brief lives slid by?
The end of this series is unfortunate enough, but an additional melancholy note is sounded with a tribute to the recently deceased Bill Blackbeard, Editor-in-Chief of this series from the start and so much more besides. Blackbeard's role in the gradual, and often grudging, recognition of the comic strip as a legitimate art form -- one worth preserving, studying, and displaying -- over the last 40-odd years was immense. He was quite literally one of the first people to bring the qualities of strips like E.C. Segar's THIMBLE THEATRE and Floyd Gottfredson's MICKEY MOUSE to the attention of the wider public. Since a good deal of the material used to produce the KRAZY KAT volumes came directly from Blackbeard's collection, it seems a real shame that he didn't see the entire project through to this triumphant finish.
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