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Charles M. Schulz: Conversations (Conversations with Comic Artists)
 
 
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Charles M. Schulz: Conversations (Conversations with Comic Artists) [Paperback]

M. Thomas Inge (Editor)
4.2 out of 5 stars  See all reviews (5 customer reviews)

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Book Description

Conversations with Comic Artists September 1, 2000

A biography in interviews of one of America's best-loved comic strip masters

Through his comic strip Peanuts, Charles M. Schulz (1922-2000) has left his signatures on American culture -- Lucy's fake hold for the kickoff, Linus's security blanket, Charlie Brown's baseball team that never wins a game, and his everyman's cry of "Good Grief!"

When Schulz died February 13, 2000, the eve of publication for the last Sunday strip he would draw, the world mourned the passing of a gentle humorist and minimalist innovator, a comic strip artist who had become one of America's major pop philosophers, theologians, and psychologists in the last half of the twentieth century.

Charles M. Schulz: Conversations reveals that man, open and warm once a conversation began. During his career, his little kid characters and Snoopy and Woodstock appeared for 355 million readers in 2,600 papers in 75 countries, in 30 television specials and four feature films, and in an off-Broadway musical. Selected from over 300 interviews published between 1957 and the present, this collection serves as a celebration of the popular strip's 50th anniversary on October 2, 2000, and as a lasting tribute to the man friends called "Sparky."

Schulz talks at length about life, theology, sports, the art of the comic strip, and the human condition in general. He ruminates as well on the origins and the importance of Charlie Brown, Lucy, Snoopy, and friends as icons of the American imagination. America's most universally admired and respected comic artist talks about how his own life and insecurities have inspired some of his finest moments in comic strip history.

Until Schulz's retirement, he never missed a deadline and was totally responsible for writing, drawing, and lettering the feature every day, a record matched by no other cartoonist in newspaper history.

Including dozens of classic Peanuts strips, this volume suggests that if we had only one artifact for deposit in a time capsule, something to tell future historians what life in the late twentieth century was all about, we could do no better than to enclose a complete run of Peanuts.

M. Thomas Inge, a friend of Schulz's for many years, is Robert Emory Blackwell Professor of Humanities at Randolph-Macon College. He has authored or edited over 40 volumes, including Conversations with William Faulkner (University Press of Mississippi, 1999).


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Editorial Reviews

From Booklist

The media tributes that followed cartoonist Schulz's death in February gave fans a glimpse at the quiet, unassuming creator of the beloved comic strip "Peanuts." Those seeking additional insight into Schulz and his work can turn to the 16 interviews collected in this volume, which range from a 1957 Saturday Evening Post feature portraying Schulz as an unsophisticated, Middle-American everyman to the collection's highpoint, a lengthy late-career dialogue with the Comics Journal, a publication known for applying critical rigor to the lowly comics medium. Christian Herald and Psychology Today interviews focus on aspects of Schulz's work that were of particular interest to their readers, and a Los Angeles Times sports pages piece examines Charlie Brown's losing record on the ball field. Schulz's comments touch upon everything from his drawing technique and work habits to theological ruminations. In all the interviews, his basic decency and commitment shine through, and the modest Schulz refuses to admit that his work could be considered art. The thoughtfulness and creativity he demonstrates in these pages belie his demurrals. Gordon Flagg
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.

From the Inside Flap

A biography in interviews of one of America's best-loved comic strip masters

Product Details

  • Paperback: 304 pages
  • Publisher: University Press of Mississippi (September 1, 2000)
  • Language: English
  • ISBN-10: 1578063051
  • ISBN-13: 978-1578063055
  • Product Dimensions: 9 x 5.8 x 0.8 inches
  • Shipping Weight: 15.2 ounces (View shipping rates and policies)
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #903,751 in Books (See Top 100 in Books)

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25 of 25 people found the following review helpful:
5.0 out of 5 stars Inside a pop culture icon, September 27, 2000
This review is from: Charles M. Schulz: Conversations (Conversations with Comic Artists) (Paperback)
Not the usual skimpy biography or comic compilation, this is a lengthy (300-plus pages) and thoughtful Q&A session between Schulz and well-prepared and insightful interviewers. Schulz' modesty, thoughts on life and humor, and love of his craft are easy to discern, and the details of the history of "Peanuts" and the creative process are, quite obviously, as "inside" as they come. Amply illustrated with comic strips. A fitting tribute.
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10 of 10 people found the following review helpful:
5.0 out of 5 stars The enigmatic man behind Snoopy..., September 3, 2005
This review is from: Charles M. Schulz: Conversations (Conversations with Comic Artists) (Paperback)
All of the comics, and some parts of popular culture in general, continue on in the shadow of "Peanuts". True, the strip's popularity declined in the late 1990s. And some found it "too commercial". Not only that, the comic strip itself has seen a depressing decline (the fate of the traditional comic strip gets tied to the fate of newspapers in general; the two seem inseparable; today's internet comics have a different sort of life). Still, Charlie Brown and Snoopy, in some ways, have become as ingrained in popular culture as Charlie Chaplin or John Wayne. And nothing has come close to filling the void that "Peanuts" left behind in the year 2000. After all, "Peanuts" was to the comic strip page what the Beatles were to popular music. Both heightened and expanded their genres irreversibly and with undisputed universal influence.

Though "Peanuts" remains somewhat ubiquitous, its creator, Charles Schulz, remains downright enigmatic. He never openly courted fame, and he poo-pooed notions that his comic strip represented any sort of an "art form". The interviews collected in this book help bring Schulz to life. They lift that strange veil that surrounds his character. But even after reading this entire book, Schulz retains a good deal of his strange elusiveness. And that might have just as much to do with the readers than with the creator of "Peanuts".

We've come to expect celebrities to act a certain way, to be a certain way, and to flaunt themselves in a certain way. Schulz contradicted most of our assumptions about what a celebrity represents and stands for. With all of his lavish success and international honors he continually downplayed his achievements by saying that he "only draws a comic strip". He seemed confused, but gracious, by the fuss that people made over "Peanuts". When asked about his creative process by multiple interviewers in this book, his collective responses pretty much sum up to "it's a job". He claimed he didn't know where his ideas came from. And his focus remained on drawing 365 strips a year, and that remained the main focus of his life. The Schulz that ultimately emerges from these interviews seems self-deprecating and a little bitter, but nonetheless cautiously proud of his stature in the comic strip realm (though always adding "it's only a comic").

On the flip side from Schulz's Midwestern "boy next door" demeanor stands his fairly lavish lifestyle. The soft spoken, modest Schulz lived in almost palatial estates packed with the luxuries of the day. Kenneth Wilson's interview from 1967 begins with his becoming almost hopelessly lost in the vastness of the "Coffee Grounds" in Northern San Fransisco (where Schulz lived with his first wife until around 1972). Schulz later admitted that the Redwood Empire Ice Arena had cost him $140,000 a month to maintain. He also had his own private golf course. So there's a tension between the soft-spoken comic strip man and the man possessing a fabulous, unimaginable fortune.

So something's happening here. And this something makes these interviews scintillating to pressure point. Schulz also claimed that he was not an intellectual; that he didn't understand deep appreciations of his work (such as Umberto Eco's rhapsody on the psychological wonders of "Peanuts"). Nonetheless, he enjoyed Fellini movies, great novels (Tolstoy), "Citizen Kane", Classical Music (particularly Brahms), and George Herriman's "Krazy Kat" (a wildly intellectual comic strip; the only one that usually beats out "Peanuts" on "best strip" polls). He was also deeply religious, had taught Sunday School to adults, didn't believe that Christianity should have denominations, and had a well thought out argument against prayer in public schools. So his innocent child-like persona either belied self-knowledge on his own part or was a facade put on for the public. Thomas Hart Benton, the famous American painter, was deeply intellectual and well-read but was terrified of letting his fans know this. He thought it would negatively affect the public portrayal of his paintings. For similar reasons Ben Franklin wore a fur cap to Versailles. Was Schulz up to the same thing? He comes across as a pretty smart and worldly guy throughout these interviews. But he also continually made statements such as "I don't get that" or "that's above me". Maybe he thought cartoonists shouldn't display intellectual capacities publicly? Or perhaps simple modesty motivated him? Of course it's all speculation to a degree, but this tension runs throughout the interviews. Particularly following his astonishing remark from 1956: "I guess I'm the worst sort of egotist-the kind who pretends to be humble." One thing remains clear at the end of this book: there's much more to Charles Schulz than meets the eye.

One of the most interesting (and maybe revealing) passages in the book comes in the book's final interview. Gary Groth, from "Comics Journal", outright asked why Schulz takes part in such commercial ventures as the Metropolitan Life ads. Schulz dodged the question somewhat, but Groth didn't swerve. He claimed that Schulz has enough money to keep going without the licensing of his characters. Schulz replied, "Yeah, but I couldn't do all of the things that we do... If you turn that off, I'll recount some of that." And Groth inserted: "[The tape recorder is turned off and Schulz recounts some of his philanthropic work.]" Again, more evidence that things just aren't as they seem.

Anyone interested in the creator of "Peanuts" should read this book. It runs the gamut of his career from 1956 to 1997. The book's final interview runs nearly 100 pages all by itself. It covers voluminous topics. Also, "Peanuts" strips from all eras dot the pages, including some of Schulz's lesser known Saturday Evening Post comics and his first ever published drawing (of his dog from a "Ripley's Believe it or Not" strip from the 1930s).

Schulz's "Peanuts" stands as the pinnacle and, sadly, probably as the swan song of a printed medium in fast decline. It's difficult to imagine that a comic strip will ever again capture the public's imagination the way "Peanuts" did in the 20th century. This great collection of interviews allows readers a small glimpse of the person who made it all happen.
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8 of 8 people found the following review helpful:
4.0 out of 5 stars Interesting insights, July 8, 2004
By 
lordhoot "lordhoot" (Anchorage, Alaska USA) - See all my reviews
This interesting book which consist of about 16 interviews done by Charles M. Schulz (out of nearly 300) which Schulz revealed his backgrounds, motives and understanding of his works. Reading the interviews from the 1950s to the 1990s, it revealed an interesting evolution of Schulz's character, insights and his development as a cartoonist as he grow older and his "Peanut" empire got bigger. While you can't considered this as a biography, reader will definitely get a clear understanding of Schulz's personality from these interviews.

I was surprised that there was no mentioned of how Schulz and NASA got involved since Apollo 10 used Charlie Brown and Snoopy as code names. Such absolute faith in NASA probably needed further review.

Overall though, an excellent book that probably should be read by all fans of Charlie Brown and Snoopy strip.

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Inside This Book (learn more)
First Sentence:
Charles Monroe Schulz started his rise to success at an early age by flunking every subject in the eighth grade. Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
gag cartooning, gag cartoons, drawing comic strips, pen technique, warm puppy, daily strip, ice arena, panel cartoons, correspondence school
Key Phrases - Capitalized Phrases (CAPs): (learn more)
Charles Schulz, World War, New York, Peppermint Patty, San Francisco, Bill Melendez, Charlie Schulz, Church of God, Krazy Kat, United Features, Great Pumpkin, Robert Short, The Gospel According, Walt Disney, Larry Rutman, Bill Mauldin, Lee Mendelson, Li'l Folks, Paul Pioneer Press, Roy Crane, Santa Rosa, Andrew Wyeth, Bill Watterson, Sherlock Holmes, Barney Google
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