FFB: MY LIFE AS A CARTOONIST by Harvey Kurtzman as told to Howard Zimmerman (Pocket/Minstrel 1988)

Harvey Kurtzman, of course, is best remembered as the founding editor of Mad comics, and magazine that made a point of not being a standard comic book in the aftermath of anti-comics activism (to put it mildly) in the early-mid 1950s (mostly focused on horror and crime comics, and Mad's publisher EC was one of the leaders in the horror field, at least)(the ferocity of the anti-horror comics backlash was so strong that historian Les Daniels credits it with helping kill the original run of Weird Tales, a fiction rather than comics magazine, in 1954, which had been struggling particularly in its last few years as a digest-sized magazine). And this is his only book-length memoir to be published, as a book for YA readers (Marijane Meaker being the only other creator of work for young readers and adults whose YA autobiography, Me Me Me Me Me: Not a Novel, was the only one I was aware of without any adult counterpart, and indeed the only one written, for some years, but she eventually followed up with the rather focused Highsmith: A Romance of the 1950s). Howard Zimmerman conducted and edited a series of interviews into the prose text of this book, and the deal was packaged by Byron Preiss. 

So, while the more adult aspects of Kurtzman's life and career are glossed over (to the extent that citations of Hugh Hefner's support of Kurtzman's post-Mad magazines, as publisher of Trump and less-invested benefactor to Humbug!, make no mention of Hefner's name nor Playboy, and no reference is made to the long-running Playboy strip, with Will Elder,  "Little Annie Fanny"), Kurtzman does give, along the way, bits of instruction on how to cartoon, and advice to the kids on how to draw and what to consider in seeking to make a career in commercial art. (He does risk mentioning writing and cartooning for Esquire.) And there's a reasonably generous selection of Kurtzman's first notable contributions to professional comics, the humorous one-page strip-series "Hey, Look!" that appeared in the Timely Comics magazines edited by Stan Lee, before the line would be redubbed Marvel Comics. The book is digest-sized, and all the interiors are in black and white on relatively low-quality paper, so the reproduction is just Acceptable but nice to have, and along with the "Hey, Look!"s there are less copious samples of work from all of Kurtzman's magazines, including EC's 1950s war comics and  the 1960-65 project Help!, the two volumes of the 1980s Bantam Books/Preiss-packaged YA anthology series Nuts!, and a complete (if black and white) reprint of a 1950 humorous western story, "Pot-Shot Pete".

It's to be regretted that a fuller account, aimed at adults, hasn't been assembled, nor was attempted, even given a few impressive biographies have been offered, but this book is a useful gloss on Kurtzman's life and career, and does touch on a few items, such as Nuts!, or the annual produced by his students for several years, kar*tunz, which are given even less mention in the other references I've read about HK. At the bottom of most of the pages, one can see an animated excerpt of one of Kurtzman's segments for Sesame Street, when flipped correctly...

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Below, assistant editor Gloria Steinem writing for Help! magazine, a couple of years before her famous Playboy Club "bunny" piece. Steinem was succeeded as assistant editor by Terry Gilliam, before his emigration to the UK and hooking up with the Monty Python crew.

Front and back cover of Nuts 2 and the table of contents:

FFB: THE COMPLETE HUMBUG edited and originally published by Harvey Kurtzman, Will Elder, Arnold Roth, Al Jaffee and Jack Davis, with annotations and interviews conducted by John Benson and Gary Groth (Fantagraphics Books 2009)

Humbug was the 1957-58 magazine published by a quintet of parody-comics veterans...Harvey Kurtzman had been the founding editor of Mad the comic book, and had edited the first few issues of the larger-format Mad, the new format adopted after the Comics Code had been created by the larger publishers (except for Dell and EC itself) in the comics industry to keep governmental censorship from going any further than it had in the wake of the hysteria encouraged by Fredric Wertham's "exposé" Seduction of the Innocent. Will Elder, Al Jaffee and Jack Davis had worked with Kurtzman at Mad, and continued to work with Kurtzman when he moved on to a brief career with the well-funded, Hugh Hefner-published slick magazine Trump (decades before a certain eventual presidential candidate had even been mocked as a "short-fingered vulgarian" by the not quite as shortlived slick satire magazine Spy)...Arnold Roth, already doing jazz record sleeve illustration as well as magazine comics and art, joined with the crew at that second magazine. So, when Hefner pulled the plug on Trump after the second issue, the five decided to pool their money and produce a small-format magazine, slightly larger than a standard

comic book but not much, and priced at 15c an issue rather than the standard comic price of a dime and the rather typical quarter for a full-sized magazine. Under pressure to get the magazine out on a regular monthly basis (endless improvement noodling on Kurtzman's part, among others', had helped doom Trump) in part because their partner in Humbug was Charlton, at the height of its mobbed-up days...Charlton printed and distributed (as CDC) the magazine, and might consider kneecapping anyone who didn't have their paid-for product ready for their trucks to carry. The eleven issues they managed to produce before folding (atop all else, the odd format of all but the last, 8.5 x 11" issues, helped cause the magazine to be lost on newsstands, as it wouldn't quite stand out among comics nor certainly among most magazines of larger size) were notable, not least to the artists who put it together and those who, such as Ed Fisher and Larry Siegel and R. O. Blechman, also contributed, for the

the 7th issue

amount of freedom to do as they wanted the magazine afforded. There certainly was good and better work in Mad, Trump, and in the later Kurtzman magazine Help!, but the fact that (aside from shady business partners), the five staffers (if particularly Kurtzman as the default editor and chief publisher) had no one to answer to but themselves and each other resulted in a certain creative freedom. And the results were an interesting mixed bag...some very incisive prose as well as comics and advertisement-parody pieces, along with merely mildly humorous work.  John Benson provides some annotations and conducts a fine interview with Jaffee and Roth; he and Fantagraphics head Gary Groth offer a good introduction, and Groth and company's design work on the slipcased two volumes is good (restoration notes from the pages shot from are also included). Sadly, when I picked up the set when it was new and had a list price of $60; now it sets one back a C-note, making it less an impulse purchase than it might be for many of us, as well as not the easiest sell to most librarians. And, frankly, the freedom the artists had was not quite exploited to the fullest...perhaps because of the pressure of practicality hanging over the heads of not-business-minded artists suddenly finding themselves responsible for the business several borrowed money to create...and it is remarkable how frequently one is disappointed, however slightly at times, by these collections from the notable humor magazines of the past. 

For more of today's books, please see Patricia Abbott's blog...Friday's Forgotten Books celebrates eight years this Earth Day!