Krazy and Ignatz

Krazy and Ignatz, 1927 Through 1928: Love Letters in Ancient Brick

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The greatest comic strip of all-time. In a 1999 special issue, The Comics Journal named George Herriman's Krazy Kat as "the greatest comic strip of the 20th Century." In 2002, Fantagraphics embarked on a publishing plan to reintroduce the strip to a public that has largely never seen this volume is the second of a long-term plan to chronologically reprint strips from the prime of Herriman's career, most of which have not seen print since originally running in newspapers 75 years ago. Each volume is edited by the San Francisco Cartoon Art Museum's Bill Blackbeard, the world's foremost authority on early 20th Century American comic strips, and designed by Jimmy Corrigan author Chris Ware. In addition to the 104 full-page black-and-white Sunday strips from 1927 and 1928 (Herriman did not use color until 1935), the book includes an introduction by Blackbeard and reproductions of rare Herriman ephemera from Ware's own extensive collection, as well as annotations and other notes by Ware and Blackbeard.
Krazy Kat is a love story, focusing on the relationships of its three main characters. Krazy Kat adored Ignatz Mouse. Ignatz Mouse just tolerated Krazy Kat, except for recurrent onsets of targeting tumescence, which found expression in the fast delivery of bricks to Krazy's cranium. Offisa Pup loved Krazy and sought to protect "her" (Herriman always maintained that Krazy was genderless) by throwing Ignatz in jail. Each of the characters was ignorant of the others' true motivations, and this simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth and sweeping his readers up by the looping verbal rhythms of Krazy Kat's unique dialogue. As Lingua Franca once wrote, "Herriman was a rare artist who bridges the gap between high and low culture. His surrealistic strip was admired by popular entertainers like Walt Disney and Frank Capra yet also had a highbrow fan club that included E. E. Cummings, Willem de Kooning, and Umberto Eco."

120 pages, Paperback

First published December 26,2002

About the author

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George Herriman was born August 2nd, 1880. He was an African-American cartoonist whose comic strip Krazy Kat has been said by many to be America's greatest cartoon.

Herriman was born in New Orleans, but his Creole family soon moved to California. As a teenager, he contributed drawings to local newspapers. In his early 20s, he moved to New York City and freelanced until newspaper mogul William Randolph Hearst hired him for the New York Evening Journal. During the first decade of the 20th century, Herriman's first success was called The Family Upstairs. Krazy Kat gained independence on October 28, 1913 as a cartoon character of his own, and ran until George Herriman died in 1944.

Krazy Kat never achieved wide popularity among newspaper readers, though it attracted a highbrow following. Fans included Pablo Picasso, Charlie Chaplin, Walt Disney, F. Scott Fitzgerald, Frank Capra, H. L. Mencken, and Ernest Hemingway. Krazy Kat's lengthy tenure owed much to Hearst's personal love of the strip. Acceptance by the cultural mainstream grew after Herriman's death, as Krazy Kat appeared in an animated series by Paramount Studios and even in a novel.

Throughout the 20th century, cartoonists have considered Krazy Kat the founding father (or mother) of sophisticated comic strips.

Community Reviews

Rating(4.4 / 5.0, 11 votes)
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11 reviews All reviews
April 26,2025
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we found these comics initially inscrutable, especially in parsing what characters say, and how they say it. a lot of them have their own quirks in how they use language, both in spelling and meaning. despite this lack of comprehension, I felt an irresistible pull to keep on reading, and re-reading, until eventually after a few dozen pages it started making sense.

if we had seen these comics outside of this collection, outside of any context to when they were made, we could readily believe that they were from today, or recent years. there's something to Krazy Kat that feels shockingly modern- apparently it was not well received at the time, unfortunately, but this solidifies it as being well ahead of its time. one of the most fascinating details to me is how background details are redrawn in wildly inconsistent ways from panel to panel, which rather than being jarringly obvious, took me a while to notice!

there is a strong and consistent logic to Krazy Kat, beyond the obvious relations of the cop who arrests Ignatz, Ignatz who throws bricks at Kat, and Kat who loves Ignatz for it. the violence, though cartoon slapstick, was disconcerting, but it's clear that Kat truly does not suffer for it, despite the cop's protests of it. Ignatz puts on an act of throwing the bricks with the intent of causing harm, but sometimes you can see that he does it out of love for Kat. the cop is the most subtle, as rarely are there hints that he, too, is fond of Kat, although he gets the least reward for his endeavors. but who cares about him, because he's a cop and deserves to rot for that.

there is so much to explore about the characters and the world they inhabit, and it's constantly fascinating. we highly recommend this book to anybody, but especially so for fans of comics, bizarre humour, and fuzzy love.

- N, J & R
(note: we first read this collection in 2020)
April 26,2025
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Sublime entertainment with K. Kat and I. Mouse. It must seem odd to state that Herriman was at the height of his powers whilst creating these fill-length pages since he was at the height for decades, but indeed he was. There are Shakespeare references, too. If you do not know the delights of KRAZY KAT, enrich your life with this book.
April 26,2025
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I love comics, and I appreciate slapstick, but this didn't do it for me. I picked it up because of its reputation with fans, where I would normally pass on reprints of early 20th century comic strips. The thing that really throws me out of almost every single panel is the intentional misspellings. I just cannot wrap my head around how these characters are supposed to sound in my head. At least with something like the Katzenjammer Kids, I get that their mispronounced words are Eastern European immigrant and I can hear that in my mind.
April 26,2025
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Perfect panels emerge from the idiosyncrasy. It looks like Herriman drew whatever kooky landscape came to mind, as often there is no background continuity. The ever-shifting background deemphasizes what does change, the characters' words.

Krazy's dialect charms, and the Spanish, whenever it is thrown in, firmly grounds the characters to the otherwise absent culture of Kokonino. The intermission panel plays with pace so that even your reading is disturbed.

Herriman's tampering with every element of the comic (even its reading experience) gives Krazy Kat its quirky tang. In concentrating all that is constant into the trope of the brick, Herriman creates a Sunday strip unpredictable, the highest feat for a comic strip artist. As for the dailies, I am unsure.
April 26,2025
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"grainy" covers-> if sticker remover skip ex-library

Still no continuity- which would probably get ***** out of me.

I've now read ten years of the series!
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