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Pogo: the Complete Syndicated Comic Strips 1: Through the Wild Blue Wonder (1949-1950) (Anglais) Relié – 24 novembre 2011


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Détails sur le produit

  • Relié: 292 pages
  • Editeur : Fantagraphics; Édition : Reprint (24 novembre 2011)
  • Langue : Anglais
  • ISBN-10: 1560978694
  • ISBN-13: 978-1560978695
  • Dimensions du produit: 2,9 x 0,3 x 2,4 cm
  • Moyenne des commentaires client : 4.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: 20.971 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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1 internautes sur 1 ont trouvé ce commentaire utile  Par Stan FREDO TOP 500 COMMENTATEURS le 21 juin 2014
Format: Relié Achat vérifié
Fantagraphics a publié fin 2011 ce premier de 12 volumes programmés afin de donner à ses fans une intégrale des comic strips et sunday pages du personnage de Pogo dessiné par Walt Kelly (1913-1973).

Terminant ses études en 1930, donc en pleine crise économique, Kelly occupe différents emplois avant de devenir journaliste et cartoonist, puis de travailler pendant plus de 5 ans chez un autre Walt : Disney.

C'est pour un quotidien new-yorkais plutôt orienté à gauche que, dans sa position de directeur artistique, Walt Kelly créé l'opossum "Pogo" en 1948. Ce journal coule au début de l'année 1949 mais quelques mois plus tard, Pogo fait sa réapparition en tant que "syndicated strip", jusqu'à devenir très populaire et célèbre partout aux USA.

Fantagraphics a mis tout en oeuvre pour donner vie à ce projet d'intégrale, prenant plusieurs années afin de rechercher les meilleures sources. Car les planches originales sont soit détruites soit introuvables. Ce sont donc des "scans" tirés des quotidiens d'époque (1948-1950), les moins démolis possibles, qui ont été réalisés et ensuite digitalement restaurés.

Ce premier tome comprend un très intéressant article biographique, deux articles de présentation / commentaire sur le contenu de l'ouvrage, les premiers strips du New York Star, les premiers strips "syndiqués" et les premières pages du dimanche (ces dernières, à part, car suivant peu ou prou leur propre "continuité"), du 4 octobre 1948 au 31 décembre 1950.
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Format: Relié Achat vérifié
Il y a longtemps qu'on attendait une bonne intégrale de "Pogo Possum".
Ce premier tome répond aux expectatives. A recommander.
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53 internautes sur 53 ont trouvé ce commentaire utile 
It's about time ... 20 novembre 2011
Par Jay1027 - Publié sur Amazon.com
Format: Relié Achat vérifié
The first words in the Editor's Notes of Fantagraphic new Pogo compilation Through the Wild Blue Wonder are the same words uttered under the breath of Pogo fans for almost ten years: "It's about time." The first of what is intended to be a twelve part series has finally arrived. Kim Thompson and Walt Kelly's daughter Carolyn Kelly have taken the time to give Pogofiles the quality product that that the work deserves. For the first time both the daily and Sunday strips have found a home together.

The first thing a reader will notice after the beautiful dust cover (drawn and colored by Carolyn Kelly) is that the binding of this book is superior to similar collections, most notably the catastrophe that was done to Calvin and Hobbs. This is a book that should weather more than an occasional journey back into the Okefenokee Swamp. Opening the book to the first few pages and the reader finds original drawings that are sketched first with blue pencil and then inked. Walt Kelly used the blue pencil for the early sketching of his strips because the color did not show when the strip was reproduced.

The table of contents lovingly breaks the content down into weeks and explains the action in a way that specific strips can be quickly found. I had to smile when I saw the first week's description began with: "Pogo and Churchy go fishing." There was never a predicament throughout the run of the strip that could not be solved with a return to the Suwanee River, the only river that runs through the actual Okefenokee, for either a casual float or a communal fish fry. What is surprising here is the lack of political satire. The first year of Pogo in syndication was for the most part politically noncommittal. Kelly first dabbles into political satire in March 1950, almost a year into the syndicated run. Even this, as R. C. Harvey points out in a section named "Swamp Talk," was more puns and vaudeville than hard-hitting political satire. Kelly, like other cartoon artists at the time, avoided any topic that might be deemed controversial. Editors who disagreed could pull a strip they did not agree with resulting in the artist loosing money. The strip would not become overtly political until Kelly retained the copyright on his strips that he had primarily loaned to Post Hall syndicate. This will occur in the second volume in 1952.

The strips are separated into three categories. The daily and Sunday syndicated strips come first and are appropriately divided into different chapters. Kelly wrote the two for different audiences. Kelly believed that adults were the primary audience for the daily strips. This is where you will later find most of the political references. The Sunday strips were strictly for the kids.The only complaint that I might have concerning this volume is that the colors in this section may be too sharp.

The strips speak for themselves. Doonesbury artist and writer Garry Trudeau, certainly no stranger to cultural and political comic strips, said Walt Kelly was a triple threat: Pogo was beautifully drawn, exquisitely written and enormously popular-- a true cartoonists' cartoonist. Pogo began as a comic book character. Kelly donated Pogo in strip form to the newspaper where he was working as an art director. The third strip section is comprised of the entire run of that occurred in the New York Star. The only remotely political strips that occurred during the original Star run was an announcement of a Truman victory in 1948, and then a couple weeks later a reference of people having to eat crow. Since the Star was the only major newspaper in New York to support the Truman candidacy, this strip may have been less political satire than a poke at the other newspapers. Nevertheless, these three strips were the only strips in the entire Star run that specifically dealt with national politics. The campaign for sheriff may have been a parallel campaign to the 1948 presidential campaign, but it mostly wordplay and slapstick humor.

No epic Pogo journey could ever be complete without the help of Walt Kelly's friends and fans. In this first volume, American journalist and author Jimmy Breslin write the Forward. Mr. Breslin was a long time friend of Kelly's since the time their favorite bar, affectionately referred to as Bleek's after the longtime proprietor, was located in the back of the New York Herald Tribune building. Many a night was spent drinking until the building shook when the morning edition hit the presses.

Long time biographer and fan Steve Thompson, the hero of anyone who ever studied Pogo for academic reasons, wrote the introduction. He wrote, with the help of Kelly's third wife Selby Daley, what at this point may be the longest biographical study of Kelly, Pogo Files for Pogophiles. Mr. Thompson was the editor of the now elusive Fort Mudge Most, the Kelly fan magazine devoted to digging up ancient Kelly treasures. I recently tried to get copies through interlibrary loan, but I was told that the few libraries that had the issues would not loan them out. This is a shame because if this Fantagraphic Pogo collection is as successful as I believe it will be, more students may find their way to Kelly's work.

R.C. Harvey's "Swamp Talk" gives annotated historical references of the strips from the beginning, an epic job in of itself. Pogo was more than a political satire. Kelly was in a league of one when it came to social commentary in the comic strips. By the time Kelly decided to add hard-core political satire to Pogo in 1952, Al Capp was marrying off his title character Li'l Abner to Daisy May. He told Life that social commentary was suicide in a comic strip and he would not do it until the time was right to bring it back. He changed his strip to more of a traditional marriage strip. This left the hole that would be filled by Pogo. Harvey has his job cut out for him starting in the next volume if he is to continue to trace the social commentary and inside jokes of Walt Kelly. Harvey and Thompson are like sponges in the way they have compiled information concerning Kelly's work. Anything they write is worth reading for the ardent Pogo fan.

It should also be noted that R.C. Harvey also wrote the introductions to Fantagraphic's previous run of Pogo compilations. This set stopped abruptly at volume 11 with the February 12, 1954 return of "Molester" Mole MacAroney. For ten years, we have waited for this saga to continue. Indeed, this new set is a far superior product. May all the volumes be as beautifully crafted as the one I have in my hand.
27 internautes sur 27 ont trouvé ce commentaire utile 
Incredibobble! 16 novembre 2011
Par W. Johnson - Publié sur Amazon.com
Format: Relié
How wonderful to finally have a finished copy of this in my hands! A few years ago I leafed through a display copy which Fantagraphics had on display at a show, but after a number of starts and stops on the path to publication, it is fantastic to finally have this gorgeous piece in-hand. This is a terrific document to Pogo and the work of groundbreaking cartoonist, humorist, and satirist Walt Kelly. It comes highly recommended and will be a wonderful addition to your collection.

I also recommend grabbing a copy of the incredible Songs of the Pogo CD by Walt Kelly with Norman Monath which was gloriously remastered and reissued a couple of years ago. It will give you something to tap your toes to while you read the book.

I GO POGO!
21 internautes sur 21 ont trouvé ce commentaire utile 
Magnificent! 20 novembre 2011
Par H. Beckman - Publié sur Amazon.com
Format: Relié Achat vérifié
Aaaaaaah. A great sigh of relief after the long wait for this edition. And now we understand the delay. The production quality is exceptional (paper, binding, print quality, etc.), the dust jacket frameable, and the format (size) allows for reproduction of the strips in their originally published size. The Sunday full-color strips are reproduced from Kelly's original art! The binding in particular is superbly flexible in anticipation of much *much* use.

The editors have provided nice (brief) annotation of each strip, so that the immediate cultural context of Kelly's strips is accessible to those -- today and in the future -- who did not have the exquisite experience of opening each day's newspaper to a fresh Pogo strip that *slammed* the pretense of American life as we were living it.

As a fussy editor I am *so* impressed with this volume. And for a very reasonable price. Thank you Fantagraphics. Remember -- while "ars longa est," vita is too short. Please don't make us wait forever for volume II.

I still go Pogo.
6 internautes sur 6 ont trouvé ce commentaire utile 
A Wonderful Book! 20 novembre 2011
Par W. DeWald - Publié sur Amazon.com
Format: Relié Achat vérifié
We have been blessed with many great books of classic comic strip reprints in the last several years thanks to the folks at IDW and Fantagraphics and this one certainly ranks near the top of the list. I particularly appreciate the fact that these books have reprinted the strips in a size that actually allows my aging eyes to read them with ease--particularly important with Pogo since Walt Kelley was an absolute master with words. This strip has it all--captivating characters, laugh out loud humor, warmth, distinctive art--even lettering that enhances the strip. There is absolutely no question I will purchase all 12 volumes of this series. If you have never had the pleasure of exploring the swamp with Pogo and friends you are in for an incredible treat--and if you are a long-time fan as I am you will be quickly be charmed and delighted once again. A simply outstanding book!
5 internautes sur 5 ont trouvé ce commentaire utile 
Five stars for Kelly alone; however, ancillaries do need some work 23 décembre 2011
Par Christopher Barat - Publié sur Amazon.com
Format: Relié
After more "false starts" than a typical (fill in your least favorite NFL team here) game, Fantagraphics' long, long, long promised hardback POGO reprint collection is well and truly underway. The opening Editor's Note by Kim Thompson and Carolyn Kelly promises us a dozen volumes, each of which will hold two years' worth of daily and Sunday strips. The X factor, of course, is the frequency of the releases. If FG can manage two volumes per year and close the deal before I turn 60, I'll be more than content... but I'll continue to keep at least a couple of fingers crossed until we move beyond the period 1953-54, which was the unfortunate stopping point for both the 1990's FG paperback reprint series and the chronological daily reprints in the Simon and Schuster paperback series which began with THE BEST OF POGO (1982).

The quality of Walt Kelly's work, even at this early and comparatively rough stage, goes without saying. The ancillaries, however, will definitely have to improve in order for this series to match what FG is presently providing in its first-class "Disney Masters" collections. Steve Thompson provides a decent general overview of Kelly's life and career, while R.C. Harvey's "Swamp Talk" gives a potted summary of some of the notes Harvey wrote for the 1990's reprint series, but there could have been so much MORE immediately relevant table-setting matter included here. Where is the discussion of Kelly's development of the POGO concept in ANIMAL COMICS, for example? If the FG folks were unable to whip up a new one from scratch, then perhaps they could have prevailed upon Craig Shutt to reproduce or expand upon his article on the early POGO in HOGAN'S ALLEY, or R.C. Harvey could simply have modified his comments on ANIMAL COMICS from the 90's FG series. Perhaps an ANIMAL COMICS discussion is planned for a future volume, but the point is that it belonged here. For a project four-odd years in the making, its absence troubles me a bit.

I must admit to getting a chuckle or two out of the poker-faced "table of contents" that followed the Editor's Note. POGO is a "continuity strip" only in the loosest sense of the word, so trying to pin down what passed for plots in these early strips is not unlike nailing jello to the wall. The heavy-duty slapstick, chase scenes, mistaken identities, etc. that clutter these early dailies would, for the most part, get shunted over to the Sundays as the dailies devoted more and more space to political riffs.

If they ever gave away a prize for "not throwing things away," then the Kelly of 1949-50 would be one of the finalists. Virtually all of the material that Kelly produced for the NEW YORK STAR gets recycled in the syndicated POGO during the first year-and-a-half, sometimes at a considerable remove from the time at which it originally appeared. For example, the gags with Pogo having a butterfly as a "bow" on his head, originally used in October 1948, didn't show up in the syndicated strip until August 1950. (I would have thought that such a simple gag would have been fodder for one of the very first syndicated strips.) Kelly didn't simply repeat old business here, but apparently gave quite a bit of thought to reformatting the gags in light of decisions that he had made about his characters. Though Pogo is still a butt of a good deal of physical humor in the early syndicated strips, his transition into the calm center of the strip is clearly underway, much as Walt Disney gradually honed the sharper edges off of Mickey Mouse in the short cartoons of the 30s.

The inclusion of the Sunday strips affords us a clearer picture of how Kelly's art style developed during this period. It's still a little on the inconsistent side; Rackety Coon Chile looks pretty much like his cute li'l future self at some points, like a wind-up toy at others. But compared to how, say, the PEANUTS characters changed in appearance, Kelly preserved his early character templates with remarkable faithfulness, adding only refinement in the future. The main exception would be Miss Ma'am'selle Hepzibah, who is actually shaped like a petite skunk (and acts like a flirtatious Minnie Mouse) in her earliest appearance but got better and better looking over time.

The heavy-duty political material, of course, is still to come. The "trial of Albert for 'eating' the Pup Dog" sequence of mid-1950 is just vague enough, and zeroes in on targets sufficiently absurd (the well-past-it Colonel Robert McCormick and William Randolph Hearst), that it's not surprising that Kelly apparently received little negative blowback from it. The idea of a comic-strip artist caricaturing real human personages in animal form was so new that it may simply have zoomed over many readers' heads. Just one year later, a similar storyline involving Churchy La Femme would have a much darker tone, and, from there, it was but a short bound to Simple J. Malarkey and all that such a move implied.

All in all, a decent start, but one that could be improved upon.
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