Mike and Mike. By T. E. Powers
The best of the realists is Clare Briggs, who is an elusive creator, one who seems at times to feel the medium of the strip not exactly suited to him, and at others to find himself at home in it. His single pictures: The Days of Real Sport and When a Feller Needs a Friend, and the now rapidly disappearing Kelly Pool which was technically a strip, are notable recreations of simple life. Few of them are actively funny; some are sentimental. The children of The Days of Real Sport have an astonishing reality—and none are more real than the virtually unseen Skinnay, who is always being urged to “come over.” They are a gallery of country types, some of them borrowed from literature—the Huck Finn touch is visible—but all of them freshly observed and dryly recorded. Briggs’ line is distinctive; one could identify any square inch of his drawings. In Kelly Pool he worked close to Tad’s Indoor Sports, and did what Tad hasn’t done—created a character, the negro waiter George whom I shall be sorry to lose. George’s amateur interest in pool was continually being submerged in his professional interest: gettings tips, and his “Bad day ... ba-a-ad day” when tips were low is a little classic. Deserting that scene, Briggs has made a successful comedy of domestic life in Mr and Mrs. No one has come so near to the subject—the grumbling, helpless, assertive, modest, self-satisfied, self-deprecating male, in his contacts with his sensible, occasionally irritable, wife. As often as not these episodes end in quarrels—in utter blackness with harsh bedroom voices continuing a day’s exacerbations; again the reconciliations are mushy, again they are genuine sentiment. And around them plays the child whose one function is to say “Papa loves mamma” at the most appropriate time. It is quite an achievement, for Briggs has made the ungrateful material interesting, and I can recall not one of these strips in which he has cracked a joke. Tad here follows Briggs, respectfully. For Better or Worse is considerably more obvious, but it has Tad’s special value, in sharpness of caricature. The surrounding types are brilliantly drawn; only the central characters remain stock figures. Yet the touch of romance in Tad, continually overlaid by his sense of the ridiculous, is precious; he seems aware of the faint aspirations of his characters and recognizes the rôles which they think they are playing while he mercilessly shows up their actuality. The finest of the Indoor Sports are those in which two subordinate characters riddle with sarcasm the pretentions of the others—the clerk pretending to be at ease when the boss brings his son into the office, the lady of the house talking about the new motor car, the small-town braggart and the city swell—characters out of melodrama, some, and others so vividly taken from life that the very names Tad gives them pass into common speech. He is an inveterate creator and manipulator of slang; whatever phrase he makes or picks up has its vogue for months and his own variations are delightful. Slang is a part of their picture, and he and Walter Hoban are the only masters of it.
Ketten’s Day of Rest is another strip of this genre, interesting chiefly as a piece of draughtsmanship. He is the most economical of the comic-strip artists, and his flat characters, without contours or body, have a sort of jack-in-the-box energy and a sardonic obstinacy. The Chicago School I have frankly never been able to understand—a parochialism on my part, or a tribute to its exceptional privacy and sophistication. It pretends, of course, to be simple, but the fate of every metropolis is to enter its small-town period at one time or another, to call itself a village, to build a town hall and sink a town pump with a silver handle. The Gumps are common people and the residents of Gasoline Alley are just folks, but I have never been able to understand what they are doing; I suspect they do nothing. It seems to me I read columns of conversation daily, and have to continue to the next day to follow the story. The campaign of Andy Gump for election to the Senate gave a little body to the serial story—he was so abysmally the ignorant Congressman that he began to live. But apart from this, apart from the despairing cry of “Oh, Min,” one recalls nothing of the Chicago School except the amusing vocabulary of Syd Smith and that Andy has no chin. It is an excellent symbol; but it isn’t enough for daily food.
The small-town school of comic strip flourishes in the work of Briggs, already mentioned, in Webster’s swift sketches of a similar nature, and in Tom MacNamara’s Us Boys. The last of these is an exceptional fake as small-town, but an amusing and genuine strip. It is people by creation of fancy—the alarmingly fat, amiable Skinny, the truculent Eaglebeak Spruder, the little high-brow Van with his innocence and his spectacles, and Emily, if I recall the name, the village vampire at the age of seven. Little happens in Us Boys, but MacNamara has managed to convey a genuine emotion in tracing the complicated relations between his personages—there is actual childhood friendship, actual worry and pride and anger—all rather gently rendered, and with a recognizable language.
It is interesting to note that none of these strips make use of the projectile or the blow as a regular dénoûement. I have nothing against the solution by violence of delicate problems, but since the comic strip is supposed to be exclusively devoted to physical exploits I think it is well to remark how placid life is in at least one significant branch of the art. In effect all the themes of the comic strip are subjected to a great variety of treatments, and in each of them you will find, on occasions, the illustrated joke. This is the weakest of the strips, and, as if aware of its weakness, its creators give it the snap ending of a blow, or, failing that, show us one character in consternation at the brilliance of the other’s wit, flying out of the picture with the cry of “Zowie,” indicating his surcharge of emotion. This is not the same thing as the wilful violence of Mutt and Jeff, where the attack is due to the malice or stupidity of one character, the resentment or revenge of the other.
Mutt is a picaro, one of the few rogues created in America. There is nothing too dishonest for him, nor is there any chance so slim that he won’t take it. He has an object in life: he does not do mean or vicious things simply for the pleasure of doing them, and so is vastly superior to the Peck’s Bad Boy type of strip which has an apparently endless vogue—the type best known in The Katzenjammer Kids. This is the least ingenious, the least interesting as drawing, the sloppiest in colour, the weakest in conception and in execution, of all the strips, and it is the one which has determined the intellectual idea of what all strips are like. It is now divided into two—and they are equally bad. How happy one could be with neither! The other outstanding picaresque strip is Happy Hooligan—the type tramp—who with his brother, Gloomy Gus, had added to the gallery of our national mythology. Non est qualis erat—the spark has gone out of him in recent years.[17] Elsewhere you still find that exceptionally immoral and dishonest attitude toward the business standards of America. For the comic strip, especially after you leave the domestic-relations type which is itself realistic and unsentimental, is specifically more violent, more dishonest, more tricky and roguish, than America usually permits its serious arts to be. The strips of cleverness: Foxy Grandpa, the boy inventor, Hawkshaw the Detective, haven’t great vogue. Boob McNutt, without a brain in his head, beloved by the beautiful heiress, has a far greater following, although it is the least worthy of Rube Goldberg’s astonishing creations. But Mutt and Jiggs and Abie the Agent, and Barney Google and Eddie’s Friends have so little respect for law, order, the rights of property, the sanctity of money, the romance of marriage, and all the other foundations of American life, that if they were put into fiction the Society for the Suppression of Everything would hale them incontinently to court and our morals would be saved again.
The Hall-room Boys (now known as Percy and Ferdy, I think) are also picaresque; the indigent pretenders to social eminence who do anything to get on. They are great bores, not because one foresees the denunciation at the end, but because they somehow fail to come to life, and one doesn’t care whether they get away with it or not.
Abie and Jerry on the Job are good strips because they are self-contained, seldom crack jokes, and have each a significant touch of satire. Abie is the Jew of commerce and the man of common sense; you have seen him quarrel with a waiter because of an overcharge of ten cents, and, encouraged by his companion, replying, “Yes, and it ain’t the principle, either; it’s the ten cents.” You have seen a thousand tricks by which he once sold Complex motor cars and now promotes cinema shows or prize fights. He is the epitome of one side of his race, and his attractiveness is as remarkable as his jargon. Jerry’s chief fault is taking a stock situation and prolonging it; his chief virtue, at the moment, is his funny, hard-boiled attitude towards business. Mr Givney, the sloppy sentimentalist who is pleased because some one took him for Mr Taft (“Nice, clean fun,” says Jerry of that), is faced with the absurd Jerry, who demolishes efficiency systems and the romance of big business and similar nonsense with his devastating logic or his complete stupidity. The railway station at Ammonia hasn’t the immortal character of The Toonerville Trolley (that meets all the trains) because Fontaine Fox has a far more entertaining manner than Hoban, and because Fox is actually a caricaturist—all of his figures are grotesque, the powerful Katinka or Aunt Eppie not more so than the Skipper. Hoban and Hershfield both understate; Fox exaggerates grossly; but with his exaggeration he is so ingenious, so inventive that each strip is funny and the total effect is the creation of character in the Dickens sense. It is not the method of Mutt and Jeff nor of Barney Google in which Billy de Beck has done much with a luckless wight, a sentimentalist, and an endearing fool all rolled into one.
These are the strips which come to life each day, without forcing, and which stay long in memory. I am stating the case for the strip in general and have gone so far as to speak well of some I do not admire, nor read with animation. The continued existence of others remains a mystery to me; why they live beyond change, and presumably beyond accidental death, is one of the things no one can profitably speculate upon. I do not see why I should concede anything more to the enemies of the strip. In one of Life’s burlesque numbers there was a page of comics expertly done by j held in the manner of our most popular artists. Each of the half dozen strips illustrated the joke: “Who was that lady I seen you with on the street last night?” “That wasn’t a lady; that was my wife.” Like so many parodies, this arrived too late, for the current answer is, “That wasn’t a street; that was an alley.” Each picture ended in a slam and a cry—also belated. The actual demolition of the slam ending was accomplished by T. E. Powers, who touches the field of the comic strip rarely, and then with his usual ferocity. In a footnote to a cartoon he drew Mike and Mike. In six pictures four represented one man hitting the other; once to emphasize a pointless joke, twice thereafter for no reason at all, and finally to end the picture. It was destruction by exaggeration; and no comic strip artist missed the point.
At the extremes of the comic strip are the realistic school and the fantastic—and of fantasy there are but few practitioners. Tad has some of the quality in Judge Rummy, but for the most part the Judge and Fedink and the rest are human beings dressed up as dogs—they are out of Æsop, not out of LaFontaine. But the Judge is actually funny, and I recall an inhuman and undoglike episode in which he and Fedink each claimed to have the loudest voice, and so in midwinter, in a restaurant, each lifted up his voice and uttered and shouted and bellowed the word “Strawberries” until they were properly thrown into the street. This is the kind of madness which is required in fantasy, and Goldberg occasionally has it. He is the most versatile of the lot; he has created characters, and scenes, and continuous episodes—foolish questions and meetings of ladies’ clubs and inventions (not so good as Heath Robinson’s) and through them there has run a wild grotesquerie. The tortured statues of his décors are marvelous, the way he pushes stupidity and ugliness to their last possible point, and humour into everything, is amazing. Yet I feel he is manqué, because he has never found a perfect medium for his work.