Customer Reviews

Looking for Calvin and Hobbes: The Unconventional Story of Bill Watterson and his Revolutionary Comic Strip

5 star:		(17)
4 star:		(5)
3 star:		(7)
2 star:		(6)
1 star:		(3)

 

 

There are problems with Nevin Martell's book, Looking for Calvin and Hobbes: The Unconventional Story of Bill Watterson and His Revolutionary Comic Strip. While the title encourages the reader to think he or she will be reading the story of how Calvin and Hobbes came to be, what we get instead is one man's personal odyssey to score an interview with the elusive creator of the strip, Bill Watterson. It's true that we DO get to read the results of Martell's research (which include lots of tidbits regarding the aforementioned story), and it's often interesting. However, the book suffers from the plethora of personal asides about his wife, prior writing projects, and rock star interviews Martell had done.

Another problem rises due to the fact that Bill Watterson owns "Calvin and Hobbes" lock, stock and barrel. As a result, there are no comics printed in the book. Instead, Martell resorts to taking page upon page to describe individual strips, from first panel to last. While I acknowledge that this wasn't the author's fault, it adds a level of tedium to some sections of the book.

And yet another issue with the book comes in the writing itself. Martell primarily writes for magazines, and that's how this book reads: as a series of magazine articles on the same subject, rather than as a coherent whole. He repeats quotes from earlier parts of the book, summarizes earlier chapters in later ones, and so on. This would be fine if we were reading the book one chapter at a time over several weeks or months, but it doesn't work in book form. Also, his description is sometimes clumsy: "Everything was drenched in pure white, as if God had forgotten to shake the Earth as he would a snow globe." That's a long way to go for a simple image. In addition, Martell sometimes makes errors when discussing the comics themselves. When talking about Calvin's use of the cardboard box (one of the great conventions of the strip), he states that the Atomic Cerebral Enhance-O-Tron is one of the box's many uses. Well, the ACE was a colander that Calvin put on his head. A small error to be sure, but one that a fan will easily catch. Several more are scattered through the book.

However, the book is worth reading. His interviews with Watterson associates are illuminating, and his chapter on how Calvin and Hobbes influenced other comic artists is a must. He rounds up a who's who of current and former comic artists and syndicate bigwigs for these chapters. No one can fault the man's legwork.

Overall, I'm not sorry I read it. It was obviously a labor of love for Martell, and that comes through on every page. The problem is, that often comes through too strongly. It's interesting, but not essential to ones' appreciation for, or understanding of, the wonder that was Calvin and Hobbes. 3.5 stars.

Apparently, we have moved through denial, anger, and bargaining; we have survived the deep depression and now have reached acceptance--there will be no more Calvin and Hobbes. It is no wonder that Bill Watterson wants us all to go away, he gave birth to a wonderful creation but it lived its natural life and passed on. It is not coming back and let's be honest, we aren't so much interested in Mr. Watterson as we are in somehow squeezing out more of the joy he brought to us with Calvin and Hobbes. To this end, Mr. Martell tells the story of his attempt to recapture the joy of Calvin and Hobbes by coming to understand something more about its creator. Intriguingly, the book ends up teaching us more about life than about either Mr. Watterson or his creation.

Calvin and Hobbes, alas, is dead. I count myself as fortunate enough to have lived in a world where every morning brought a new Calvin strip. My children need not wait; they can merely rip through the complete work by taking down my well-thumbed books off of the shelf. I think it is unanimous that Calvin and Hobbes ranks as one of the great creations and it seems to annoy folks that the creator survives. Sure, we can always revisit Calvin, but the experience is fraught with a kind of ineffable sadness; rather like remembering happy times with a parent or friend who has passed away. As all great art does, Mr. Watterson's efforts have profoundly changed and affected all who encounter them and it is quite understandable that he has no desire to assist us in dealing with the emotions engendered by his unique exploration of life as Calvin and Hobbes spoke on so many different levels to so many people.

The value of Mr. Martell's fine effort is found in the examination of how to deal with loss and change. It is literally the story of bereavement and the finding of joy in what remains. Mr. Watterson tapped into something great and was pleased to share his talents; now, the man wishes to be left alone to enjoy life's journey in his own private manner. There is a lesson to be had in Mr. Watterson's devoted efforts to keep Calvin and Hobbes the purest expression of its medium, free from exploitation and complications. It is the highest evidence of Mr. Watterson's wisdom that he recognizes and appreciates that fame and fortune are more punishment than reward and this volume succeeds by highlighting this fact.

In nothing do we honor Mr. Watterson's creation more than by recognizing that--it's a magical world, let's go exploring.

Nevin Martell wanted to write about Bill Watterson and the comic strip Martell loved growing up. He ended up writing about himself, and, with a hipster CV boasting appearances in High Times, Paste and the online edition of Rolling Stone, it comes as no surprise.

Works like this can be done well--Nick Tosches' "Where Dead Voices Gather" immediately comes to mind--and they can be fruitful. The effort is clearly there, the writer has painstakingly taken any number of conceivable angles to get at the locus of his project; but, as others here have mentioned, he vacillates amongst being a fanboy, hipster, man-child and journalist, often several times on the same page. It is neither self-deprecating, like the Sklar Brothers' humorous and sentimental "Utility Man" documentary on St. Louis Cardinal cult figure Jose Oquendo; nor truly insightful on micro and macro levels, like the aforementioned Tosches work on minstrel performer Emmett Miller. Instead, it comes off as a self-indulgent odyssey, guided by passions and fetish interest but ultimately going nowhere but into the depths of Martell's ego.

The copy itself is trite and uninspired, no small feat considering the gushing adoration the writer holds for his subject matter, and reads more like an interminable blog entry or a hack effort of a magazine feature. Ultimately, a long-time fan of "Calvin and Hobbes" will find little of new interest or insight here. Some subjects, as much as the curious mind may persist in its hunger to know, should just be left alone.

I don't blame Martell for conceiving the idea and writing the book. I blame his editors for allowing this to go forward and not putting the brakes on this lame project. All you need to know, which any C+H fan would know already, is found on page 4. Ergo, Watterson came up with a brilliant strip, he's a grump, he's stubborn about publicity, and Martell never made contact with him. One can debate the merits of whether Watterson was/is being realistic about avoiding merchandising, quitting the strip and his privacy, but that wasn't supposed to be the point here.

Completists will read this book and not learn a thing. Casual or non-fans will wonder if they can get their money back. I'm sorry to say this book is a waste of time.

I expected this to be a book about Bill Watterson, and not a lengthy blog about the author. After the introduction, when Martell says he would have to write the book as though the author were dead, he should have subsided mentioning trying getting in contact with Watterson, and he should have adopted a more formal, respectful tone, rather than the whiny, redundant, "why won't you talk to me?!"

The book is some two-hundred pages of fillers. Many vague quotes and anecdotes could have been cut. Most of Martell's material comes from very polite reaction stories, lacking depth and uniqueness.

That said, the quotes from Watterson--which can be found in full in /his/ books--provided perspective as to why he has made the choices he did. It is almost funny, that Martell, with his wealth of resources, was unable to provide any insight into his subject. It seems that Watterson has already explained everything. Why grant further interviews just to repeat yourself? Because this magazine wants their own? So this guy can put his name on it? Answers to why he refused commercialization, further work, and interviews have already been provided. From my understanding, Watterson is not a grouchy, old man--he is a serious writer, and when he finds subjects he is passionate about--say old comics that have lost relevancy but remain in publication for profits--he speaks on it. I see him as more selective than reclusive.

When Martell writes about Watterson's process, he mentions a quality filter on anything that left the drawing room; this is one of many lessons which Martell should have taken away from his own project. Had the book been rewritten with the tools obtained--instead of being about the search for tools--I think this could have been an excellent read.

I believe Bill Watterson has chosen intelligently in his non-participation with /Looking for Calvin and Hobbes/.

In the film industry there's a well known curse on the filming of Cervantes' novel Don Quixote. Cinematic giants such as Orson Welles and Terry Gilliam have attempted to capture this legend on cellulose. Though various musical, theatrical and made-for-television productions have appeared, none have yet succeeded in the realm of major motion pictures. Gilliam even released a documentary about his misery called "Lost in La Mancha" (he's apparently exhumed the "Man Who Killed Don Quixote" project, set for 2011 release). Nevin Martell's short book "Looking for Calvin and Hobbes" provides a biographical equivalent to the motion picture Man From La Mancha (though in this case the "curse" orginates from the subject). The book could probably carry the title "Lost in Chagrin Falls." Unfortunately, despite the book's actual title, Calvin, Hobbes and their elusive creator, Ohioan Bill Watterson, still remain at large. In fact, this three-parts authorial memoir, one-part biography may even add to the Watterson mystique. The obstinately elusive cartoonist dodges the author at every step. But this just validates the law of induction, for he has turned down just about every interview ever sent his way. Given the glut of evidence concerning Watterson's attitude towards publicity, this project was Quixotic from its very conception.

Drooling, blathering fans of "Calvin and Hobbes" probably know everything relevant contained in this book. Nonetheless, those who love the strip but know next to nothing about its creation or its creator will learn quite a bit. Unfortunately, even readers in that demographic will have to wade through pages of memoir that may or may not prove interesting. And this book is more of a memoir than a biography, which the main title states pretty clearly, though the subtitle belies with the words "the unconventional story of Bill Watterson." In the sometimes meandering,largely first person narrative, only fragments of Watterson's story appear. A few of Watterson's interviews and essays get quoted nearly in entirety. These quoted passages stick out neon-like as highlights. The surrounding intrusive narrative doesn't really add much to them. Along the way, readers learn far more personal information about the author than about Watterson. Though some anecdotes, such as Watterson's famous quote "why would I want to talk to Steven Spielberg?" and his berating speech at the 1989 Festival of Cartoon Art prove rewarding even if some experience them as reruns. The author does seek out numerous people who knew or worked with Watterson. He demonstrates admirable persistence here. Unfortunately, these episodes typically relate no more than good memories or reminiscences from many people who no longer know the cartoonist. Raving fans may soak up every word, though they may not learn much new. Others may find them uninspiring along with the author's ruminations about his comic collections and memories. Most unfortunate is what the author refers to as "the finale." Yes, a member of the Watterson family does finally come forward, but the encounter, rare as it is, reveals as much as the other encounters. The family respects the cartoonist's privacy. And the cartoonist himself seems extremely uninterested in further talk about "Calvin and Hobbes." Further, he seems to subscribe to the Sartrean notion of genius, namely, that genius resides in creative works rather than in the people that create them.

Though Martell does not find Calvin, Hobbes, or Watterson, "Looking for Calvin and Hobbes" nonetheless provides a good overview for the uninitiated. Those interested in Watterson's pre-"Calvin and Hobbes" work will find adequate information here, but unfortunately only in narrative form. The book sadly contains no pictures. Doubtless anyone who reads this book will learn something from it, though the sections that read more like memoir could have withstood extensive reduction. One thing remains certain, this is no "Schulz and Peanuts," the massive 2007 Charles Schulz biography that Watterson actually reviewed for The Wall Street Journal. This reads more like a memoir of an attempt to write a book as in-depth as David Michaelis' magnum opus. But to be fair, Schulz frolicked in the limelight relative to Watterson's hermetically sealed public attitude. In the end, Martell asks the question many fans have likely asked: will Bill Watterson appear again? Will he change his vow of silence towards his cartoon masterpiece? Though he supposedly now paints (though some in the book say he's not too satisfied with the results yet) many forsee the artist's potential "second coming" in this medium. Maybe. Maybe not. If he does come out again and speak openly, this book will instantly become obsolete except as a documentary of the thick shell the cartoonist maintained in "retirement." And this begs one big, nagging question that undergirds the book. Obviously Watterson doesn't want attention. This book hammers that point in like a suspension bridge rivet. Obviously the time isn't ripe for a resurgence. So why, given the evidence available, even prior to this book's publication, was this project undertaken? Skipping the obvious answer, Martell and the publishers sort of got what they deserved. If anything, this book should stand as a warning to those who want to seek out Watterson. He will only appear when he's ready and he will appear on his terms. And if he doesn't, then his amazing strip remains. And isn't that enough? Those who voraciously covet a Hobbes doll may protest. But Watterson doesn't owe us anything. He's living his life the way he wants and maybe we should just leave him alone until he's good and ready.

I was not a die-hard Calvin and Hobbes fan, mostly as a result of not being a serious comics fan but I did occasionally read and enjoy the strip. Despite this, I was pleasantly surprised to find out how much I enjoyed the book- regardless of my lack of knowledge for the subject matter.

Watterson's work and life comes alive on the page by the authors own appreciation for the subject matter and it is filled with interesting anecdotes about Watterson. Although, the author's own admiration of Watterson's work and ethics comes shining through, it never feels biased. The author presents an objective lens on Watterson's character and actions, many of which were not received well by the general public or his colleagues.

Yet, this book literally hums with an irrepressible enjoyment of Watterson and his craft. It is truly an engaging and entertaining book and brings out a strong respect for the hard choices Watterson made in his career, and the integrity with which he approached it.

I grew up in the 1980s and 1990s and have been reading comic strips my entire life. My two favorite strips of all time are "Peanuts" and "Calvin and Hobbes" ("Pearls Before Swine" is my favorite currently running strip and "FoxTrot" would be my fourth). For a brief span of about six years, I received one or two "Calvin and Hobbes" books a year. I, like many people, loved "Calvin and Hobbes". It was the smartest strip to run in the comics. In some ways it changed the industry, for instance I don't think Stephan Pastis could get away with some of the stuff he has in "Pearls Before Swine" if it hadn't been because of "Calvin and Hobbes". "Calvin and Hobbes" had a glorious ten-year run and then it disappeared off the funny papers forever. I can't quite remember what I was doing when I learned that the strip was coming to an end, but I remember being disheartened. I was having a rough time at my first year in college and the strip was one of the things that helped keep me focused. I remember talking to my Mom about it and making the comment, "Well, at least "Peanuts" is still here."

There are a lot of people that feel the same way about "Calvin and Hobbes" as I do. Nevin Martell is one of them. He went on a journey in an attempt to unravel the story about "Calvin and Hobbes" and shed some light on the strip's creator, Bill Watterson. LOOKING FOR CALVIN AND HOBBES is that story.

Through a series of interviews with family and friends of Watterson and some very detailed personal research, Martell pieces together a mini-biography of Watterson's life and the ten-year run of "Calvin and Hobbes". I learned some things about the strip that I never knew before, such as how it had evolved and how long it took Watterson to get the ingredients for the strip correct.
I enjoyed the book and felt it a worthwhile read.

However, it does have a few faults. The first is that the author was unable to actually get an interview with Watterson. Martell gets lots of interviews with other comic strip artists and creators, friends of Watterson, and even an interview with his mother. Yet, there's nothing actually from Watterson himself. I understand how difficult it would be to get an interview with Watterson. Watterson is one of the most private artists on the planet. He's devoted to his art, but he has no desire for accolades and fame. Instead, he's used his celebrity to build privacy. Still, if you're going to write a biography about a person who is still alive, the critical part of the search is to get an interview with your subject. Martell realizes this and tries to incorporate it into the story of the book, but it's still kind of a downer.

Martell also seems a little too-in-love with the subject he's writing about. Author's should be passionate about their projects, but you should try to avoid letting that come through too strongly when writing a book of this length. Since none of the strips themselves could be copied in the book, Martell spends a lot of time discussing various comic strips. That's not a bad thing. However, he tends to gush when it's not necessary. I admire the passion, but in places, it's a little too much. For example, I found the part of the book when he describes the day he actually got to look at the original drawn strips a bit overzealous. It was more like reading about a religious epiphany than anything else.

Despite these faults, LOOKING FOR CALVIN AND HOBBES is a worthwhile read. There are tidbits that even the most devout "Calvin and Hobbes" fan had probably never heard of before. There's also a fairly lengthy section where Martell gives the impressions about Calvin and Hobbes from a large number of comic strip artists, including Stephan Pastis, Lynn Johnston, Berkeley Breathed, and Harvey Pekar.

Recommended for those who enjoy "Calvin and Hobbes", anyone interested in what Bill Watterson has been doing the past fifteen years, and comic strip enthusiasts.

Looking for Calvin and Hobbes is a wonderful book--a cliffhanger, a quest, the fulfillment of an impossible dream, and what I detect may be a realization of two fictional characters made flesh. Does Bill watterson become that hilarious brat Calvin and does his biographer Nevin Martell become that adoraable Hobbes? Crazy? Full disclosure, I taught Bill Watterson briefly at Kenyon College and then he was nothing like Calvin, and his family would attest to that. But when you read how Bill becomes the Mr. No of all the great comic creators of all time, you have to wonder. And Martell? When you read about his love for Bill's characters, his dogged research to find Bill out, his tact, his loyalty to an unrelenting subject, his final triumph--you must think, this guy is Hobbes to the core. Oh read this! If you are an aspiring journalist, learn how Martell handles a story no one else has been able to tell. If you intend to invent a comic strip, you need this. If you love a quest, you will enjoy this. Nevin--next,I suggest the elusive Greta Garbo.

"Looking for Calvin and Hobbes: The Unconventional Story of Bill Watterson and His Revolutionary Comic Strip" is a fun, fast-paced book that any fan of the tousle-headed cartoon boy and his anthropomorphic stuffed tiger should read. Perhaps, as some reviewers say, it's not especially deep. Perhaps it doesn't offer many new earthshaking revelations about the life of publicity-shy "Calvin and Hobbes" creator Bill Watterson. And it's true, as other reviewers note, that it doesn't even include any Calvin and Hobbes strips--author Nevin Martell describes strips in words in order to make his points. Even so, I found it to be a very interesting look at the genesis and evolution of one of the most popular comic strips of all time. "Calvin and Hobbes" set extremely high standards of excellence for artistry, storytelling, relevance and humor, and gained millions of fans throughout the world during its ten-year run that ended in 1995, when Mr. Watterson retired his beloved characters with nary a look back.

Much of Mr. Martell's book is based on the few precious interviews and speeches that Mr. Watterson gave many years ago, and on the introductions and commentaries in his series of "Calvin and Hobbes" books. Mr. Martell did manage to score interviews with some of Mr. Watterson's classmates, friends, associates and other cartoonists, but most of the interviewees revealed few new insights into the strip's reclusive creator. Nevertheless, I found "Looking for Calvin and Hobbes" to be an informative and valuable resource. Even though I own all of the individual "Calvin and Hobbes" books that were some of his main sources, Mr. Martell collects the available information into a meaningful, coherent (if ultimately incomplete) package. He does a great job of chronicling the story of Mr. Watterson's unforgettable comic creation in an enthusiastic, highly readable way.

I enjoyed "Looking for Calvin and Hobbes" immensely. And now, even though I've probably read all of them a half-dozen times or more, I think I'll start to work my way through my "Calvin and Hobbes" collection again. It's a great way to hook up with some old friends.