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#707833 in Books 2016-01-05 2016-01-05Original language:EnglishPDF # 1 16.31 x .88 x 12.31l, 3.53 #File Name: 1631402447176 pages | File size: 57.Mb
Cliff Sterrett : Polly and Her Pals Vol. 2: 1928-1930 before purchasing it in order to gage whether or not it would be worth my time, and all praised Polly and Her Pals Vol. 2: 1928-1930:
8 of 8 people found the following review helpful. The best money you'll ever spendBy John ProvinceI long ago exhausted all possible adjectives praising the magnificent work LOAC, Dean Mullaney, and staff are doing to resurrect and preserve classic comic strips. Skillfully utilizing state of the art computer technology, they track down, scan, clean up, and meticulously restore aged Sunday sections; some well into their ninth decade, and they look infinately better than they ever have before. Sometimes it's one minute to midnight, or literally the only known example, making the results even more remarkable and important. I've no doubt these quality IDW collections will be enjoyed, and continue to appeal to yet unborn admirers well into in the 22nd century. If not, it will be the people, not the comics.Both Polly and Her Pals volumes are an utter joy to behold, and showcase the key requirement of truly great cartooning; the panels are stand alone funny apart from the dialogue and gags. Add the generous helpings of lively jazz age street slang, and Cliff Sterret has you chuckling along your path to the last panel. I often play compilations of 1920's music on YouTube while enjoying my editions. Sterrett was also a musician and made frequent references to popular songs, so I like to think it's a fitting artistic marriage.Sterrett whimsically played with every element of his feature, and was blissfully free of self-conciousness or restraint. Like all truly great comedians, he often recruits the reader, and lets them in on the gag as it plays out, while the actual characters are clueless. It's a deceptively complicated comedic gift. Other times its pure slapstick, with the unvarnished roughness and outrageous takes that characterized the period, but it's still out laugh loud funny, and honestly, when's the last time you really laughed at a comic strip? Sterrett stretched the limits of comics with the freedom that accompanied an art form yet to deigned respectable, and he produced one of the most personally stamped features in comic strip history. Small wonder he was the boyhood idol of the next generation including Al Capp, Gus Arriola, Jack Kent, and Hank Ketcham. I'm convinced Don Martin swiped Fonebone's walk from Polly and Her Pals. I won't presume to speechify about Sterrett's many levels of artistic creativity, sophistiction and appeal. He does quite well on his own, without ham handed explanations about why he merits a place on comic's Mt. Rushmore, and discovering him is a pleasure best enjoyed free from pre- digested analysis from others. Besides, dissection is for the lifeless and Polly is as vivid, young, fresh, entertaining, and graphically inspired as it was 85 years ago. This is a huge oversized edition, and pretty darned close to the size of the Sunday pages as they originally appeared. So make plenty of room on your bookshelf for Sterrett's totally uninhibited exhuberance. Joy needs room to move around.4 of 4 people found the following review helpful. ComicopiaBy Gord WilsonI can't add anything to the outstanding review by John Province, except to say read his last sentence first, "Joy needs room to move around". Here is the joy, the room, the movement. The first is the sheer ecstasy of this comic. The second is the gigantic, lavish, welcoming, roomy layout. The third is the visual, surrealistic swing in Sterrett's art, which is, as Jeet Heer says in the introduction, like music. It's from IDW Books, but in this case I would spell that IDWTH: "I Died (and) Went To Heaven" because that's what it feels like reading this book. This is the second volume, covering the full-color Sunday "strips" or "panels" from 1928- 1930 when comics were king, bringing a rosy glow and tang of adventure, a dazzling color wonderland on the day of rest.This is why Bill Watterson of Calvin and Hobbes so valiantly and passionately wanted to restore the comics to their former glory. Yes, they were this expansive, this free, this bright, this imaginative, each strip uniquely drawn, each scribble endowed with life. Even then, though, Polly always stood out, Sterrett was always in the creme de la creme of creators. What can one say but thanks to the IDW legion and Craig Yoe, the hidden hand behind the comics revival, except to say open this volume, and give joy room to move.1 of 1 people found the following review helpful. Amazing quality and a fitting tribute to one of the Masters of Comic Strip ArtBy Joseph PedotoThere's little I can add to what's already been written in praise of this outstanding book. I have the Remco and Kitchen Sink books from the 90s and while they were a delight at the time, these new LOAC versions are simply incredible. As a huge George Herriman fan I would urge anyone who delights in the Kat to check out the amazing work of Cliff Sterrett. I find some similarities in visual approach ndash;nbsp;dig those crazy trees and house plants! ndash; though Sterrett's humor is his alone. If you appreciate the early masters of comic strip art you NEED to buy these books, they are that good, seriously! Stop reading this and order them NOW!
Reprints all of Sterrett's Sunday pages from the height of his Surrealistic Period in a large 12" x 16" Champagne Edition format so they can be fully appreciated. The book also contains Sterrett's topper strips "Dot and Dash" and "Sweethearts and Wives." The majority of the Sundays have never before been reprinted. Polly Perkins is young, blonde, and the apple of many a young man's eye. Yet while Polly is out on the town or frolicking at the beach, it's her family that creates all the hubbub! Sensible Maw Perkins can never keep her husband Paw out of trouble, and towed along in Paw's wake are Polly's cousin Ashur; Neewah, the family's tart-tongued retainer; and Paw's cat, Kitty, the pantomime wonder of the comic strip world. Edited by Dean Mullaney and designed by two-time Emmy winner Lorraine Turner, the book contains the detailed background and biographic material that has made Library of American Comics the "gold standard" in strip reprints.
About the AuthorSamuel Clifford Sterrett was born on December 12, 1883, in Fergus Falls, Minnesota. When he was eighteen, an Anglican minister became his patron and helped send the future cartoonist to the Chase School in New York. After two years of study, he was hired at the New York Herald, where he became friends with fellow comic strip pioneers such as Winsor McCay. Sterrett created several stripsmdash;includingnbsp;Ventriloquial Vagnbsp;andnbsp;When A Man's Marriedmdash;before inventingnbsp;For This Have We Daughters, which along with George McManus'snbsp;The Newlyweds, founded a genre that would flourish for decades to come: the domestic situation comedy. Daughters is also the direct antecedent to his masterpiece,nbsp;Polly and Her Pals, which began as a daily on December 4, 1912, and as a Sunday a year later. The strip continued until the 1950s.
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