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Book

The Complete Peanuts, 1950–1952
Bangumi reviews.pilvit.net
Charles M. Schulz publishing house: Fantagraphics 2004 - 5
The first volume in the bestselling archival series collecting the most beloved comic strip ever. Many of these formative strips have never been collected or reprinted anywhere else. Introduction by Garrison Keillor. This first volume, covering the first two and a quarter years of the strip, will be of particular fascination to Peanuts aficionados worldwide: Although there have been literally hundreds of Peanuts books published, many of the strips from the series' first two or three years have never been collected before—in large part because they showed a young Schulz working out the kinks in his new strip and include some characterizations and designs that are quite different from the cast we're all familiar with. (Among other things, three major cast members—Schroeder, Lucy, and Linus—initially show up as infants and only "grow" into their final "mature" selves as the months go by. Even Snoopy debuts as a puppy!) Thus The Complete Peanuts offers a unique chance to see a master of the art form refine his skills and solidify his universe, day by day, week by week, month by month. This volume is rounded out with Garrison Keillor's introduction, a biographical essay by David Michaelis (Schulz and Peanuts) and an in-depth interview with Schulz conducted in 1987 by Gary Groth and Rick Marschall, all wrapped in a gorgeous design by award-winning cartoonist Seth.

quer ler The Complete Peanuts, 1950–1952

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"the idea of innocence faces two ways. by refusing to enter a conspiracy, one remains innocent of that conspiracy. but to remain innocent may also be to remain ignorant. the issue is not between innocence and knowledge (or between the natural and the cultural) but between a total approach to art which attempts to relate it to every aspect of experience and the esoteric approach of a few specialized experts who are the clerks of the nostalgia of a ruling class in decline. [...] the real question is: to whom does the meaning of the art of the past properly belong? to those who can apply it to their own lives, or to a cultural hierarchy of relic specialists?"
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