1967 Jules Feiffer Yearbook Calendar
Political Cartoonist, Satirist, Author, Playwright & Screenwriter
Village Voice 1956–1997
Pulitzer Prize 1986
12.5” x 11.75”
The Feiffer Yearbook 1967
by Jules Feiffer
Calendar with Political Cartoons
NO WRITING
COMPLETE CALENDAR
1967 January, February, March, April, June, July, August, September, October, November, December, January 1968
Jules Ralph Feiffer (born January 26, 1929) is an American cartoonist and author, who was considered the most widely read satirist in the country. He won the Pulitzer Prize in 1986 as North-America's leading editorial cartoonist, and in 2004, he was inducted into the Comic Book Hall of Fame. He wrote the animated short Munro, which won an Academy Award for Best Animated Short Film in 1961. The Library of Congress has recognized his "remarkable legacy", from 1946 to the present, as a cartoonist, playwright, screenwriter, adult and children's book author, illustrator, and art instructor.
Jules Feiffer
Born
January 26, 1929 (age 93)
The Bronx, New York City, New York, United States
Cartoonist, author, playwright, screenwriter
Notable works
Feiffer (comic strip), Carnal Knowledge, Little Murders, Munro, The Phantom Tollbooth
Awards
Pulitzer Prize for Editorial Cartooning, 1986
Inkpot Award, 1989
Comic Book Hall of Fame, 2004
National Cartoonist Society Milton Caniff Lifetime Achievement Award, 2004
When Feiffer was 17 (in the mid-1940s) he became assistant to cartoonist Will Eisner. There he helped Eisner write and illustrate his comic strips, including The Spirit. He then became a staff cartoonist at The Village Voice beginning in 1956, where he produced the weekly comic strip titled Feiffer until 1997. His cartoons became nationally syndicated in 1959 and then appeared regularly in publications including the Los Angeles Times, the London Observer, The New Yorker, Playboy, Esquire, and The Nation. In 1997, he created the first op-ed page comic strip for the New York Times, which ran monthly until 2000.
He has written more than 35 books, plays and screenplays. His first of many collections of satirical cartoons, Sick, Sick, Sick, was published in 1958, and his first novel, Harry, the Rat With Women, in 1963. He wrote The Great Comic Book Heroes in 1965: the first history of the comic-book superheroes of the late 1930s and early 1940s and a tribute to their creators. In 1979, Feiffer created his first graphic novel, Tantrum. By 1993, he began writing and illustrating books aimed at young readers, with several of them winning awards.
Feiffer began writing for the theater and film in 1961, with plays including Little Murders (1967), Feiffer's People (1969), and Knock Knock (1976). He wrote the screenplay for Carnal Knowledge (1971), directed by Mike Nichols, and Popeye (1980), directed by Robert Altman. Besides writing, he is currently an instructor with the MFA program at Stony Brook Southampton.
Feiffer proofing Sick Sick Sick in 1958
After Feiffer graduated from high school at 16, he was desperate for a job, and went unannounced to the office of one of his favorite cartoonists, Will Eisner. Eisner was sympathetic to young Feiffer, as Eisner had been in a similar situation when he first started out. He asked Feiffer, "What can you do?" He answered, "I'll do anything. I'll do coloring, or clean-up, or anything, and I'd like to work for nothing." However, Eisner wasn't impressed by Feiffer's art abilities and didn't know how he could employ him. But then he decided to give him a low-paying job when he found out that Feiffer "knew more about him than anybody who had ever lived," said Feiffer. "He had no choice but to hire me as a groupie."
Eisner considered Feiffer a mediocre artist, but he "liked the kid's spunk and intensity", writes Eisner biographer Michael Schumacher. Eisner was also aware that they both came from similar backgrounds, despite his being twelve years older. They both had fathers who struggled to support their family, and both their mothers were strong figures who held the family together through hardships. "He had a hunger for comics that Eisner rarely saw in artists", notes Schumacher. "Eisner decided that there was something to this wisecracking kid." When Feiffer later asked for a raise, Eisner instead gave him his own page in The Spirit section, and let him do his own coloring. As Eisner recalled in 1978:
He began working as just a studio man – he would do erasing, cleanup ... Gradually it became very clear that he could write better than he could draw and preferred it, indeed – so he wound up doing balloons [i.e., dialog]. First he was doing balloons based on stories that I'd create. I would start a story off and say, 'Now here I want the Spirit to do the following things – you do the balloons, Jules.' Gradually, he would take over and do stories entirely on his own, generally based on ideas we'd talked about. I'd come in generally with the first page, then he would pick it up and carry it from there.
Our fights were always collegial. Never once did [Eisner] pull rank on me. I was always amazed by what he let me get away with. It shows how close and tight the relationship was, that he let me do that parody. He had great generosity of soul.
They collaborated well on The Spirit, sharing ideas, arguing points, and making changes when they agreed. In 1947, Feiffer also attended the Pratt Institute for a year to improve his art style.[13] Over time, Eisner valued Feiffer's opinions and judgments more often, appreciating his "uncanny knack" for capturing the way people talked, without using contrived dialogue. Eisner recalls that Feiffer "had a real ear for writing characters that lived and breathed. Jules was always attentive to nuances, such as sounds and expressions" which made stories seem more real.
At The Village Voice (1956–1997)
1976 candid
After working with Eisner for nearly a decade, he chose to start creating his own comic strips. In 1956, after again first proving his talent by working for free, he became a staff cartoonist at The Village Voice where he produced the weekly comic strip titled Feiffer. Feiffer's strips ran for 42 years, until 1997, at first titled Sick Sick Sick, then as Feiffer's Fables, and finally as simply Feiffer. After a year with the Voice, Feiffer compiled a collection of many of his satire cartoons into a best-selling book, Sick Sick Sick: A Guide to Non-Confident Living (1958), a dissection of popular social and political neuroses. The success of that collection led to his becoming a regular contributor to the London Observer and Playboy magazine. Director Stanley Kubrick, a fellow Bronx native, invited Feiffer to write a screenplay for Sick, Sick, Sick, although the film was never made. After first becoming aware of Feiffer's work, Kubrick wrote him in 1958:
The comic themes you weave are very close to my heart ... I must express unqualified admiration for the scenic structure of your "strips" and the eminently speakable and funny dialog ... I should be most interested in furthering our contact with an eye toward doing a film along the moods and themes you have so brilliantly accomplished.[16]
By April 1959, Feiffer was distributed nationally by the Hall Syndicate, initially in The Boston Globe, Minneapolis Star Tribune, Newark Star-Ledger and Long Island Press. Eventually, his strips covered the nation, including magazines, and were published regularly in major publications such as the Los Angeles Times, The New Yorker, Esquire, Playboy and The Nation. He was commissioned in 1997 by The New York Times to create its first op-ed page comic strip, which ran monthly until 2000.
Feiffer comic strip (1959)
Feiffer's cartoons were typically mini satires, where he portrayed ordinary people's thoughts about subjects such as sex, marriage, violence and politics. Writer Larry DuBois describes Feiffer's cartoon style:
Feiffer had no stories to tell. His main concern was to explore character. In a series of a dozen or so pictures, he would show the shifts of mood that flickered across the faces of men and women as they tried, often vainly, to explain themselves to the world, to their husbands and wives, to their mistresses and lovers, to their employers, to their rulers, or simply to the unseen adversaries at the other end of the telephone wires ... It would be no exaggeration to say that his dialog is as acute as any that is being written America today. Dialog aimed at sophisticated minds, usually with the purpose of shaking them out of sophistication into real awareness.
Feiffer's work is represented by R. Michelson Galleries, located in Northampton, Massachusetts.
Author
Feiffer published the hit Sick, Sick, Sick: A Guide to Non-Confident Living in 1958 (which featured a collection of cartoons from about 1950 to 1956), and followed up with More Sick, Sick, Sick and other strip collections, including The Explainers, Boy Girl, Boy Girl, Hold Me!, Feiffer's Album, The Unexpurgated Memoirs of Bernard Mergendeiler, Feiffer on Nixon, Jules Feiffer's America: From Eisenhower to Reagan, Marriage Is an Invasion of Privacy and Feiffer's Children. Passionella (1957) is a graphic narrative initially anthologized in Passionella and Other Stories, a variation on the story of Cinderella. The protagonist is Ella, a chimney sweep who is transformed into a Hollywood movie star. Passionella was used in a musical, The Apple Tree.
Feiffer's post-nomination Obama cartoon from The Village Voice (2008)
His cartoons, strips and illustrations have been reprinted by Fantagraphics as Feiffer: The Collected Works. Explainers (2008) reprints all of his strips from 1956 to 1966.
His strip, usually six to eight borderless panels, initially appeared under the title Sick Sick Sick, with the subtitle 'A Guide to Non-Confident Living'. As the Lenny Bruce-ish language suggests, the earliest strips are very much of their time, the postwar Age of Anxiety in the big city; you can practically smell the espresso, the unfiltered ciggies, the lanolin whiff of woolly jumpers.
Feiffer has written two novels (1963's Harry the Rat with Women, 1977's Ackroyd) and several children's books, including Bark, George; Henry, The Dog with No Tail; A Room with a Zoo; The Daddy Mountain and A Barrel of Laughs, a Vale of Tears. He partnered with The Walt Disney Company and writer Andrew Lippa to adapt his book The Man in the Ceiling into a musical.[20] He illustrated the children's books The Phantom Tollbooth and The Odious Ogre. His non-fiction includes the 1965 book The Great Comic Book Heroes.
I want to write about marriage. I think the most interesting story is how men and women get on with each other, the terms they accept to live together and survive together, the compromises they make, the betrayals of themselves and of each other, and how, despite the fact that over and over again they find that it can't possibly work, it still seems to be preferable to anything else they know about. In the end, it becomes rather heroic.
Feiffer also wrote and drew one of the earliest graphic novels, the hardcover Tantrum (Alfred A. Knopf, 1979), described on its dustjacket as a "novel-in-pictures". Like the trade paperback The Silver Surfer (Simon & Schuster/Fireside Books, August 1978), by Marvel Comics' Stan Lee and Jack Kirby, and the hardcover and trade paperback versions of Will Eisner's A Contract with God, and Other Tenement Stories (Baronet Books, October 1978), this was published by a traditional book publisher and distributed through bookstores, whereas other early graphic novels, such as Sabre (Eclipse Books, August 1978), were distributed through some of the first comic-book stores.
His account of hitchhiking cross-country invades Kerouac territory, while his ink-stained memories of the comics industry rival Michael Chabon's Pulitzer Prize–winning fictional portrait. Two years in the military gave Feiffer fodder for the trenchant Munro (about a child who is drafted). Such satirical social and political commentary became the turning point in his lust for fame, which finally happened, after many rejections, when acclaim for his anxiety-ridden Village Voice strips served as a springboard into other projects.
Feiffer's ad art for the Beat musical The Nervous Set (1959)
He has had retrospectives at the New York Historical Society, the Library of Congress and The School of Visual Arts. His artwork is exhibited at and represented by Chicago's Jean Albano Gallery. In 1996, Feiffer donated his papers and several hundred original cartoons and book illustrations to the Library of Congress.
In 2014, Feiffer published Kill My Mother: A Graphic Novel through Liveright Publishing. Kill My Mother was named a Vanity Fair Best Book of 2014 and a Kirkus Reviews Best Fiction Book of 2014. In 2016, Feiffer published Cousin Joseph: A Graphic Novel, a prequel to Kill My Mother. Cousin Joseph was also published through Liveright Publishing, and was a New York Times Bestseller, named one of The Washington Post's Best Graphic Novels of the Year, and was nominated for the Lynd Ward Graphic Novel Prize.
Feiffer's picture book for young readers, Rupert Can Dance, was published by FSG in 2014.
Playwright and screenwriter
Feiffer's plays include Little Murders (1967), Feiffer's People (1969), Knock Knock (1976), Elliot Loves (1990), The White House Murder Case, and Grown Ups. After Mike Nichols adapted Feiffer's unproduced play Carnal Knowledge as a 1971 film, Feiffer scripted Robert Altman's Popeye, Alain Resnais's I Want to Go Home, and the film adaptation of Little Murders.
The original production of Hold Me! was directed by Caymichael Patten and opened at The American Place Theatre, Subplot Cafe, as part of its American Humorist Series on January 13, 1977. The production ran on the Showtime cable network in 1981.
Feiffer moved to Shelter Island, New York in 2017. He wrote the book for a musical based on a story he wrote earlier "Man in the Ceiling" about a boy cartoonist who learned to pursue his dream despite pressures to conform. The musical was produced and directed by Jeffrey Seller in 2017 at the Bay Street Theatre in neighboring Sag Harbor, New York.
Art instructor
Feiffer is an adjunct professor at Stony Brook Southampton. Previously he taught at the Yale School of Drama and Northwestern University. He has been a Senior Fellow at the Columbia University National Arts Journalism Program. He was in residence at the Arizona State University Barrett Honors College from November 27 to December 2, 2006. In June–August 2009, Feiffer was in residence as a Montgomery Fellow at Dartmouth College, where he taught an undergraduate course on graphic humor in the 20th century.