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Krazy Kat, a critically acclaimed comic strip by George Herriman, was published in American newspapers between 1913 and 1944. It first appeared in William Randolph Hearst's New York Evening Journal, and Hearst was a major booster for the strip throughout its run. The characters were seen earlier in a side strip with Herriman's The Family Upstairs, where the phrase "Krazy Kat" is said by the mouse toward the said cat.

Set in a dreamlike portrayal of Herriman's vacation home of Coconino County, Arizonamarker, Krazy Kat's mixture of [[surrealism]], innocent playfulness and [[poetic]] language have made it a favorite of comics aficionados and [[art critic]]s for more than 80 years.Shannon.McDonnell/O'Connell/De Havenon 26. [[Image:Ignatzoffisapuppkrazy.jpg|thumb|left|180px|''Krazy Kat'''s three central characters: Ignatz Mouse, Officer Pupp, Krazy Kat.]] The strip focuses on the curious [[love triangle|"love" triangle]] between its title character, a carefree and innocent [[cat]] of indeterminate gender (referred to as [[bigender|both male and female]]); the cat's [[antagonist]], Ignatz Mouse; and the protective police dog, Officer Bull Pupp. Krazy nurses an [[unrequited love]] for the mouse; however, Ignatz despises Krazy and constantly schemes to throw a [[brick]] at Krazy's head, which Krazy takes as a sign of affection. Officer Pupp, as Coconino County's administrator of law and order, makes it his unwavering mission to interfere with Ignatz's brick-tossing plans and lock the mouse in the county jail. Despite the [[slapstick]] simplicity of the general premise, it was the detailed characterization, combined with Herriman's visual and verbal creativity, that made ''Krazy Kat'' one of the first comics to be widely praised by intellectuals and treated as serious art.Kramer. Art critic [[Gilbert Seldes]] wrote a lengthy [[panegyric]] to the strip in 1924, calling it "the most amusing and fantastic and satisfactory work of art produced in America today."Seldes, Gilbert. "The Krazy Kat That Walks By Himself." The Seven Lively Arts. New York: Harper and Brothers, 1924, p. 231, []. Poet [[E. E. Cummings]], as another Herriman admirer, wrote the introduction to the first collection of the strip in book form. Though only a modest success during its initial run, in more recent years, many modern cartoonists [[#Legacy|have cited ''Krazy Kat'']] as a major influence. ==Overview== [[Image:1922 0121 krazykat det 650.jpg|thumb|400px|right|Note the ever-changing backgrounds in this January 21, 1922 page as Krazy tries to understand why Door Mouse is carrying a door.]] ''Krazy Kat'' takes place in a heavily stylized version of [[Coconino County, Arizona]], with Herriman filling the page with landscapes typical of the [[Painted Desert, Arizona|Painted Desert]].Heer 41–45. These backgrounds tend to change dramatically between panels even while the characters remain stationary. A Southwestern visual style is evident throughout, with clay-shingled rooftops, trees planted in pots with designs imitating [[Navajo people|Navajo]] art, along with references to Mexican-American culture. The descriptive passages mix whimsical and often [[alliteration|alliterative]] language with phonetically-spelled dialogue and a strong poetic sensibility ("[[El Capitan (Arizona)|Agathla]], centuries aslumber, shivers in its sleep with splenetic splendor, and spreads abroad a seismic spasm with the supreme suavity of a vagabond volcano.").''A Mice, A Brick, A Lovely Night'' 71. Herriman was fond of experimenting with unconventional page layouts in his Sunday strips, including panels of various shapes and sizes, arranged in whatever fashion he thought would best tell the story. Though the basic concept of the strip is straightforward, Herriman always found ways to tweak the formula. Ignatz's plans to surreptitiously lob a brick at Krazy's head sometimes succeed; other times Officer Pupp outsmarts the wily mouse and imprisons him. The interventions of Coconino County's other anthropomorphic animal residents, and even forces of nature, occasionally change the dynamic in unexpected ways. Other strips have Krazy's simple-minded or gnomic pronouncements irritating the mouse so much that he goes to seek out a brick in the final panel. Even [[self-referential humor]] is evident — in one strip, Officer Pupp, having arrested Ignatz, berates the cartoonist for not having finished drawing the jail.''Krazy Kat: The Comic Art of George Herriman'' 97. Public reaction at the time was mixed; many were puzzled by its iconoclastic refusal to conform to comic strip conventions and simple gags. But publishing magnate [[William Randolph Hearst]] loved ''Krazy Kat'', and it continued to appear in his papers throughout its run, sometimes only by his direct order.Schwartz 8–10. ==Characters== ===Krazy Kat=== Simple-minded and curious, the strip's title character drifts through life in Coconino County without a care. Krazy's dialogue is a highly stylized [[argot]] ("A fowl konspirissy — is it pussible?")''Pilgrims on the Road to Nowhere'', 47. phonetically evoking a mixture of English, French, Spanish, [[Yiddish language|Yiddish]] and other dialects, often identified as George Herriman's own native [[New Orleans, Louisiana|New Orleans]] dialect, [[Yat (New Orleans)|Yat]]. Often singing and dancing to express the Kat's eternal joy, Krazy is hopelessly in love with Ignatz and thinks that the mouse's brick-tossing is his way of returning that love. Krazy is also completely unaware of the bitter rivalry between Ignatz and Officer Pupp and mistakes the dog's frequent imprisonment of the mouse for an innocent game of [[tag (game)|tag]] ("Ever times I see them two playing games togedda, Ignatz seems to be It").''There is a Heppy Lend, Fur, Fur Awa-a-ay-'', 62. On those occasions when Ignatz is caught before he can launch his brick, Krazy is left pining for the "l'il ainjil" and wonders where the beloved mouse has gone. Krazy's own gender is never made clear and appears to be fluid, varying from strip to strip. Most authors post-Herriman (beginning with Cummings) have mistakenly referred to Krazy only as female,Crocker. but Krazy's creator was more ambiguous and even published several strips poking fun at this uncertainty.''Necromancy By the Blue Bean Bush'', 16–17.''A Katnip Kantata in the Key of K'', 71. When filmmaker [[Frank Capra]], a fan of the strip, asked Herriman to straightforwardly define the character's sex, the cartoonist admitted that Krazy was "something like a sprite, an elf. They have no sex. So that Kat can't be a he or a she. The Kat's a spirit — a pixie — free to butt into anything."Schwartz 9. Most characters inside the strip use "he" and "him" to refer to Krazy, likely as a gender-neutral "he". ===Ignatz=== [[Image:Krazypanel-4-16-1922.jpg|thumb|right|200px|Ignatz being marched off by Officer Pupp for trying to throw a brick (lower-right) at Krazy Kat. Behind the newspaper, Krazy is reading and describing aloud the very same cartoon in which they're all appearing.]] Ignatz Mouse is driven to distraction by Krazy's naïveté, and nothing gives him greater joy than to toss a brick at the Kat's head. To shield his plans from the ever-vigilant (and ever-suspecting) Officer Pupp, Ignatz hides his bricks, disguises himself, or enlists the aid of willing Coconino County denizens (without making his intentions clear). Easing Ignatz's task is Krazy Kat's willingness to meet him anywhere at any appointed time, eager to receive a token of affection in the form of a brick to the head. Ignatz is married with three children, though they are rarely seen. Ironically, although Ignatz seems to generally dislike Krazy, and is always throwing bricks at the cat, one strip shows his ancestor, Mark Antony Mouse, fall in love with Krazy's ancestor, an Egyptian cat princess (calling her his "Star of the Nile"), and pay a sculptor to carve a brick with a love message. When he throws it at her, he is arrested, but she announces her love for him, and from that day on, he throws bricks at her to show his love for her (which would explain why Krazy believes that Ignatz throwing bricks is a sign of love). In another strip, Krazy kisses a sleeping Ignatz, and hearts appear above the mouse's head. In the last five (or so) years of the strip, Ignatz's dislike for Krazy seems to be noticeably downplayed. While earlier, one got the sense of his taking advantage of Krazy's willingness to be bricked, now one gets the sense of Ignatz and Krazy as chummy co-conspirators against Pupp, with Ignatz at times quite aware of the positive way Krazy interprets his missiles. ===Officer Pupp=== "Limb of Law and Arm of Order", Officer Bull Pupp (also called "Offissa" and "Offisa") always tries — and sometimes succeeds — to thwart Ignatz's designs to pelt bricks at Krazy Kat. Officer Pupp and Ignatz often try to get the better of each other even when Krazy is not directly involved, as they both enjoy seeing the other played for a fool. ===Minor characters=== Beyond these three, Coconino County is populated with an assortment of characters. Kolin Kelly, a dog, is a brickmaker and often Ignatz's source for projectiles, although he distrusts the mouse. Mrs. Kwakk Wakk, a duck in a [[pillbox hat]], is a [[scold]] who frequently notices Ignatz in the course of his plotting and then informs Officer Pupp. Joe [[Stork]], "purveyor of progeny to prince & [[proletariat|proletarian]]",''A Mice, A Brick, A Lovely Night'' 67, et al. often makes unwanted baby deliveries to various characters (in one strip, Ignatz tries to trick him into dropping a brick onto Krazy's head from above). Other characters who make semi-frequent appearances are Walter Cephus [[Ostrich|Austrige]]; Bum Bill Bee, a transient insect; Don Kiyote, a dignified and aristocratic Mexican [[coyote]]; Mock Duck, a clairvoyant fowl of Chinese descent who resembles a [[coolie]] and operates a cleaning establishment, Gooseberry Sprig, the Duck Duke, who briefly starred in his own strip before Krazy Kat was created; and Krazy's cousins, Krazy Katbird and Krazy Katfish. ==History== ''Krazy Kat'' evolved from an earlier comic strip of Herriman's, ''The Dingbat Family'', which started in 1910 and would later be renamed "[[The Family Upstairs]]." This comic chronicled the Dingbats' attempts to avoid the mischief of the mysterious unseen family living in the apartment above theirs and to unmask that family. Herriman would complete the cartoons about the Dingbats, and finding himself with time left over in his 8-hour work day, filled the bottom of the strip with slapstick drawings of the upstairs family's mouse preying upon the Dingbats' cat.McDonnell/O'Connell/De Havenon 52. [[Image:Krazykat.jpg|thumb|250px|left|Ignatz Mouse resolves not to throw any more bricks at Krazy. Temptation follows him at every turn, and ultimately he finds a loophole to indulge his passion. (January 6, 1918)]] This "basement strip" grew into something much larger than the original cartoon. It became a daily comic strip with a title (running vertically down the side of the page) on October 28, 1913 and a black and white full-page Sunday cartoon on April 23, 1916. Due to the objections of editors, who didn't think it was suitable for the comics sections, ''Krazy Kat'' originally appeared in the Hearst papers' art and drama sections.McDonnell, O'Connell and De Havenon 58. Hearst himself, however, enjoyed the strip so much that he gave Herriman a lifetime contract and guaranteed the cartoonist complete creative freedom. Despite its low popularity among the general public, ''Krazy Kat'' gained a wide following among intellectuals. In 1922, a [[jazz]] [[ballet]] based on the comic was produced and scored by [[John Alden Carpenter]]; though the performance played to sold-out crowds on two nightsBlackbeard 1–3. and was given positive reviews in ''[[The New York Times]]'' and ''[[The New Republic]]'',McDonnell, O'Connell and De Havenon 66–67. it failed to boost the strip's popularity as Hearst had hoped. In addition to Seldes and Cummings, contemporary admirers of ''Krazy Kat'' included [[Willem de Kooning]], [[H. L. Mencken]], and [[Jack Kerouac]]. More recent scholars and authors have seen the strip as reflecting the [[Dada]] movementInge. and prefiguring [[Postmodernism]].Bloom. Beginning in 1935, ''Krazy Kat'''s Sunday edition was published in full color. Though the number of newspapers carrying it dwindled in its last decade, Herriman continued to draw ''Krazy Kat'' — creating roughly 3,000 cartoons — until his death in April 1944 (the final page was published exactly two months later, on June 25th). Hearst promptly canceled the strip after the artist died, because, contrary to the common practice of the time, he did not want to see a new cartoonist take over.Schwartz 9–10. ===Animated adaptations=== [[Image:mintz-krazy.jpg|thumb|200px|right|A scene from the 1930 Charles Mintz Krazy Kat cartoon, ''[[Lambs Will Gambol]]''.]] The comic strip was animated several times. The earliest ''Krazy Kat'' shorts were produced by [[William Randolph Hearst]] in 1916. They were produced under [[Hearst-Vitagraph News Pictorial]] and later the [[International Film Service]] (IFS), though Herriman was not involved. In 1920, after a two-year hiatus, the [[Bray Productions|John R. Bray studio]] began producing a series of ''Krazy Kat'' shorts.Crafton. In 1925, animation pioneer [[Bill Nolan]] decided to bring Krazy to the screen again. Nolan intended to produce the series under Associated Animators, but when it dissolved, he sought distribution from [[Margaret J. Winkler]]. Unlike earlier adaptations, Nolan did not base his shorts on the characters and setting of the Herriman comic strip. Instead, the feline in Nolan's cartoons was an explicitly male cat whose design and personality both reflected [[Felix the Cat]]. This is probably due to the fact that Nolan himself was a former employee of the [[Pat Sullivan (film producer)|Pat Sullivan]] studio.Maltin 205–06. Winkler's husband, [[Charles B. Mintz]], slowly began assuming control of the operation. Mintz and his studio began producing the cartoons in sound beginning with 1929's ''Ratskin.'' In 1930, he moved the staff to [[California]] and ultimately changed the design of Krazy Kat. The new character bore even less resemblance to the one in the newspapers. Mintz's Krazy Kat was, like many other early 1930s cartoon characters, imitative of [[Mickey Mouse]], and usually engaged in slapstick comic adventures with his look-alike girlfriend and loyal pet dog.Maltin 207. In 1936, animator [[Isadore Klein]], with the blessing of Mintz, set to work creating the short, ''Lil' Ainjil'', the only Mintz work that was intended to reflect Herriman's comic strip. However, Klein was "terribly disappointed" with the resulting cartoon, and the Mickey-derivative Krazy returned.Maltin 210–11. In 1939, Mintz became indebted to his distributor, [[Columbia Pictures]], and subsequently sold his studio to them.Maltin 213. Under the name [[Screen Gems]], the studio produced only one more Krazy Kat cartoon, ''The Mouse Exterminator'' in 1940.[ Screen Gems], The Columbia Crow's Nest — Columbia Cartoon History. [[Gene Deitch]]'s [[Rembrandt Films]] in [[Prague]], [[Czechoslovakia]] (now the [[Czech Republic]]) produced ''Krazy Kat'' cartoons for King Features from 1962 to 1964, helping to introduce Herriman's cat to the [[Post-World War II baby boom|baby boom generation]]. The Deitch shorts were made for television and have a closer connection to the comic strip; the backgrounds are drawn in a similar style, and Ignatz and Officer Pupp are both present. However, this incarnation of Krazy was made explicitly female. Penny Phillips voiced Krazy while Paul Frees voiced Ignatz and Offisa Pupp. Jerky animation and poorly-synchronized voices are common in these ''Krazy Kat'' shorts. [[Jay Livingston]] and [[Ray Evans]] did the music for most of the episodes. Most of the episodes are available on DVD. ==Legacy== In 1999, ''Krazy Kat'' was rated #1 in a ''[[Comics Journal]]'' list of the best American comics of the 20th century; the list included both [[comic book]]s and comic strips. [ "Kreem of the Komics!"], Detroit Metrotimes. Retrieved on January 13, 2005. In 1995, the strip was one of 20 included in the [[Comic Strip Classics]] series of [[commemorative stamp|commemorative]] [[Postage stamps and postal history of the United States|U.S. postage stamps]]. While [[Chuck Jones]]' [[Wile E. Coyote and Road Runner]] shorts, set in a similar visual pastiche of the American Southwest, are among the most famous cartoons to draw upon Herriman's work, ''Krazy Kat'' has continued to inspire artists and cartoonists to the present day. [[Patrick McDonnell]], creator of the current strip ''[[Mutts]]'' and co-author of ''Krazy Kat: The Comic Art of George Herriman'', cites it as his "foremost influence."[ comic masters]. Retrieved on January 13, 2005. [[Bill Watterson]] of ''[[Calvin and Hobbes]]'' fame named ''Krazy Kat'' among his three major influences (along with ''[[Peanuts]]'' and ''[[Pogo (comics)|Pogo]]'').Watterson 17–18. Watterson would revive Herriman's practice of employing varied, unpredictable panel layouts in his Sunday strips. [[Charles M. Schulz]]Charles Schulz, interviewed by Rick Marschall and Gary Groth in ''Nemo'' 31, January 1992. Cited at [] (URL retrieved January 13, 2005). and [[Will Eisner]][ The Onion AV Club interview with Will Eisner], September 27, 2000. Retrieved on January 13, 2005. both said that they were drawn towards cartooning partly because of the impact ''Krazy Kat'' made on them in their formative years. [[Jules Feiffer]],[ Comics in Context #20: This Belongs in a Museum]. Retrieved on January 13, 2005. [[Philip Guston]], and [[Hunt Emerson]][ The artsnet interview: Hunt EMERSON]. Retrieved January 13, 2005. have all had ''Krazy Kat'''s imprint recognized in their work. [[Larry Gonick]]'s comic strip ''[[Kokopelli & Company]]'' is set in "Kokonino County", an homage to Herriman's exotic locale. [[Chris Ware]] admires the strip, and his frequent publisher, [[Fantagraphics]], is currently reissuing its entire run in volumes designed by Ware (which also include reproduction of Herriman miscellanea, some of it donated by Ware) . In the 1980s, Sam Hurt's syndicated strip Eyebeam shows a clear Herriman influence, particularly in its continually morphing backgrounds. Among non-cartoonists, Jay Cantor's 1987 novel Krazy Kat uses Herriman's characters to analyze humanity's reaction to nuclear weapons, while Michael Stipe of the rock band R.E.M. has a tattoo of Ignatz and Krazy.


For many decades, Herriman's strip was only sporadically available. The first Krazy Kat collection, published by Henry Holt & Co. in 1946, just two years after Herriman's death, gathered 200 selected strips. In Europe, the cartoons were first reprinted in 1965 by the Italian magazine Linus, and appeared in the pages of the French monthly Charlie Mensuel starting in 1970. In 1969, Grosset & Dunlap produced a single hardcover collection of selected episodes and sequences spanning the entire length of the strip's run. The Netherlands' Real Free Press published five issues of "Krazy Kat Komix" in 1975, containing a few hundred strips apiece; each of the issues' covers was designed by Joost Swarte. However, owing to the difficulty of tracking down high-quality copies of the original newspapers, no plans for a comprehensive collection of Krazy Kat strips surfaced until the 1980s.

All of the Sunday strips from 1916 to 1924 were reprinted by Eclipse Comics in cooperation with Turtle Island Press. The intent was to eventually reprint every Sunday Krazy Kat, but this planned series was aborted when Eclipse ceased business in 1992. Beginning in 2002, Fantagraphics resumed reprinting Sunday Krazy Kats where Eclipse left off; in 2008, their tenth release completed the run with 1944. Fantagraphics' future plans involve reissuing in the same format the strips previously printed in Eclipse's now out-of-print volumes. Both the Eclipse and Fantagraphics reprints include additional rarities such as older George Herriman cartoons predating Krazy Kat.

Kitchen Sink Press, in association with Remco Worldservice Books, reprinted two volumes of color Sunday strips dating from 1935 to 1937; but like Eclipse, they collapsed before they could continue the series.

The daily strips for 1921 to 1923 were reprinted by Pacific Comics Club. The 1922 and 1923 books skipped a small number of strips, which have now been reprinted by Comics Revue. Comics Revue has also published all of the daily strips from September 8, 1930 through December 31, 1934. Fantagraphics come out with a one-shot reprint of daily strips from 1910s and 1920s in 2007, and plans a more complete reprinting of the daily strip in the future.

Scattered Sundays and dailies have appeared in several collections, including the Grosset & Dunlap book reprinted by Nostalgia Press, but the most readily available sampling of Sundays and dailies from throughout the strip's run is Krazy Kat: The Comic Art of George Herriman, published by Harry N. Abrams, Inc. in 1986. It includes a detailed biography of Herriman and was, for a long time, the only in-print book to republish Krazy Kat strips from after 1940. Although it contains over 200 strips, including many color Sundays, it is light on material from 1923 to 1937.


Henry Holt & Co

  • Krazy Kat, 1946 (introduction by ee cummings.)

Grosset & Dunlap/Nostalgia Press

  • Krazy Kat - A Classic from the Golden Age of Comic 1969, 1975 and/or 1977. (This may or may not be a redesigned reprint of the content of the 1946 book. it does include the ee cummings piece along with newer writings.)

Harry N. Abrams, Inc. editions

  • Krazy Kat: The Comic Art of George Herriman. Various strips. Patrick McDonnell, Karen O'Connell, eds, 1986 ISBN 0-8109-8152-1 (hardcover) ISBN 0-8109-9185-3 (softcover)

Morning Star Publications edition

  • Coconino Chronicle (130 strips from 1927-1928) Alec Finlay, ed., 1988

Full Page Sunday Strips

Eclipse Comics editions

Series: "Krazy and Ignatz: The Komplete Kat Komics"

Each of these volumes reprints a year of Sunday strips. Bill Blackbeard, editor.
  • Vol 1: Krazy & Ignatz (1916 strips) ISBN 0-913035-49-1, 1988
  • Vol 2: The Other Side To the Shore Of Here (1917 strips) ISBN 0-913035-74-2, 1989
  • Vol 3: The Limbo of Useless Unconsciousness (1918 strips) ISBN 0-913035-76-9, 1989
  • Vol 4: Howling Among the Halls of Night (1919 strips) ISBN 1-56060-019-5, 1989
  • Vol 5: Pilgrims on the Road to Nowhere (1920 strips) ISBN 1-56060-023-3, 1990
  • Vol 6: Sure As Moons is Cheeses (1921 strips) ISBN 1-56060-034-9,1990, 1990
  • Vol 7: A Katnip Kantata in the Key of K (1922 strips) ISBN 1-56060-063-2, 1991
  • Vol 8: Inna Yott On the Muddy Geranium (1923 strips) ISBN 1560600667, 1991
  • Vol 9: Shed a Soft Mongolian Tear (1924 strips) ISBN 1-56060-102-7, 1992
  • Vol 10: Honeysuckil Love is Doubly Swit (1925 strips) ISBN 1-56060-203-1 (unpublished)

Kitchen Sink Press editions

Series: "The Komplete Kolor Krazy Kat"

Each volume reprinted two years of Sunday comics. The publisher dissolved before the series' aim of completeness could be achieved.
  • Vol 1: 1935–36 (Rick Marshall, Bill Watterson, contributors) ISBN 0-924359-06-4, 1990
  • Vol 2: 1936–37 (Rick Marshall, ed.) ISBN 0-924359-07-2 limited distribution, 1991

Fantagraphics Books editions

Series: "Krazy and Ignatz: The Complete Full Page Comic Strips"

  • Krazy & Ignatz in "Love in a Kestle or Love in a Hut" (1916-1918) ISBN 1-60699-316-X, 2010

Picking up where Eclipse left off, each of these volumes reprints 2 years of Sunday strips. Bill Blackbeard, Editor.

(The first five volumes are in black & white, as originally printed.)
  • Krazy & Ignatz in "There Is A Heppy Lend Furfur A-Waay" (1925–1926) ISBN 1-56097-386-2, 2002
  • Krazy & Ignatz in "Love Letters In Ancient Brick" (1927–1928) ISBN 1-56097-507-5, 2002
  • Krazy & Ignatz in "A Mice, A Brick, A Lovely Night" (1929–1930) ISBN 1-56097-529-6
  • Krazy & Ignatz in "A Kat Alilt with Song" (1931–1932) ISBN 1-56097-594-6
  • Krazy & Ignatz in "Necromancy by the Blue Bean Bush" (1933–1934) ISBN 1-56097-620-9
    • Krazy & Ignatz: The Complete Sunday Strips 1925–1934 Collects the five paperback volumes 1925–1934 in a single hardcover volume. Only 1000 copies printed, and only available by direct order from the publisher. ISBN 1-56097-522-9.
(The remaining volumes are in color, reflecting the shift to color in the newspaper version.)

  • Krazy & Ignatz in "A Wild Warmth of Chromatic Gravy" (1935–1936) ISBN 1-56097-690-X, 2005
  • Krazy & Ignatz in "Shifting Sands Dusts its Cheeks in Powdered Beauty" (1937–1938) ISBN 1-56097-734-5, 2006
  • Krazy & Ignatz in "A Brick Stuffed with Moom-bins" (1939–1940) ISBN 1-56097-789-2, 2007
  • Krazy & Ignatz in "A Ragout of Raspberries" (1941–42) ISBN 1-56097-887-2, 2007
  • Krazy & Ignatz in "He Nods in Quiescent Siesta" (1943-44) ISBN 1-56097-932-1, 2008
    • Krazy & Ignatz: The Complete Sunday Strips 1935–1944. Collects the five paperback volumes 1935–1944 in a single hardcover volume. Only 1000 copies printed, and only available by direct order from the publisher. ISBN na.

Daily Strips

Hyperion Press

  • The Family Upstairs: Introducing Krazy Kat: The Complete Strip, 1910-1912, Bill Blackbeard, introduction. 1977 (reprinted 1992) ISBN 0-88355-643-X (hardcover), ISBN 0-88355-642-1 (softcover)

Stinging Monkey/BookSurge

Gregory Fink, ed., Bill Blackbeard, introduction.
  • Krazy & Ignatz, The Dailies. Vol 1. 1918 -1919
    Stinging Monkey edition in large format, ISBN 978-0-9688676-0-0, 2001.

    BookSurge reprint in smaller 7.9 x 6 inch format, ISBN 1591099757, ISBN 978-1591099758, 2003.

Fantagraphics Books editions

  • Krazy & Ignatz: The Kat Who Walked in Beauty: The Panoramic Dailies of 1920 (dailies from 1911-12, 1914, 1921, 9 months of large-format dailies from 1920, and 1922 pantomime ballet artwork) ISBN 1-56097-854-6 (11" x 15" horizontal hardcover), 2007

Pacific Comics Club

Series: "All the Daily Strips...."

6 1/4 by 6 1/4 inches
  • Krazy Kat vol 1: 1921, 2003
  • Krazy Kat vol 2: 1922, 2004
  • Krazy Kat Vol 3: 1923, 2005

Series: "Presents Krazy and Ignatz"

Four tiny (3 1/4 inch by 4 inch) volumes reproducing the 1921 strips in miniature.



  • Blackbeard, Bill. "A Kat of Many Kolors: Jazz pantomime and the funny papers in 1922." (1991). Printed in A Katnip Kantata in the Key of K (q.v.)
  • Bloom, John. "Krazy Kat keeps kracking." United Press International, June 23, 2003.
  • Crafton, Donald (1993). Before Mickey: The Animated Film, 1898–1928. University of Chicago Press. ISBN 0-226-11667-0.
  • Crocker, Elisabeth. "' To He, I Am For Evva True': Krazy Kat's Indeterminate Gender." Postmodern Culture, January 1995. January 12, 2006.
  • Heer, Jeet. "Cartoonists in Navajo Country." Comic Art, Summer 2006. 40–47.
  • Herriman, George (1990). Pilgrims on the Road to Nowhere. Forestville: Turtle Island, Eclipse Books. ISBN 1-56060-024-1.
  • Herriman, George (1991). A Katnip Kantata in the Key of K. Forestville: Turtle Island/Eclipse Books. ISBN 1-56060-064-0.
  • Herriman, George (2002). Krazy & Ignatz 1925–1926: "There Is A Heppy Land, Fur, Far Awa-a-ay -". Seattle: Fantagraphics Books. ISBN 1-56097-386-2.
  • Herriman, George (2003). Krazy & Ignatz 1929–1930: "A Mice, A Brick, A Lovely Night". Seattle: Fantagraphics Books. ISBN 1-56097-529-6.
  • Herriman, George (2004). Krazy & Ignatz 1933–1934: "Necromancy by the Blue Bean Bush". Seattle: Fantagraphics Books. ISBN 1-56097-620-9.
  • Inge, Thomas (1990). "Krazy Kat as American Dada Art" Comics as Culture, Jackson: University Press of Mississippi. ISBN 0-87805-408-1.
  • Kramer, Hilton. Untitled review of Herriman art exhibition. The New York Times, January 17, 1982.
  • Maltin, Leonard (1987). Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. ISBN 0-452-25993-2.
  • McDonnell, Patrick; O'Connell, Karen; de Havenon, Georgia Riley (1986) Krazy Kat: The Comic Art of George Herriman. New York: Harry N. Abrams, Inc. ISBN 0-8109-2313-0.
  • Schwartz, Ben (2003). "Hearst, Herriman, and the Death of Nonsense." Printed in Krazy & Ignatz 1929–1930: "A Mice, A Brick, A Lovely Night." (q.v.)
  • Shannon, Edward A. "'That we may mis-unda-stend each udda': The Rhetoric of Krazy Kat." Journal of Popular Culture, Fall 1995, vol. 29, issue 2.
  • Tashlin, Frank. "In Coconino County." The New York Times, November 3, 1946, p. 161.
  • Watterson, Bill (1995). The Calvin and Hobbes Tenth Anniversary Book. Kansas City: Andrews and McMeel. ISBN 0-8362-0438-7

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