Snoopy Duper
The Complete Peanuts
Volumes 1 - 26
by Charles M Schulz
The Peanuts Dell Archive
by Schulz and Various
Charlie Brown’s sister Sally is a Harry Potter fan.
I didn’t know that but it kinda makes sense since anybody who has done a lot for getting a new generation of children into reading would surely have appealed to Peanuts creator Charles M. Schulz... or Sparky, as his friends and family knew him.
The reason I didn’t know this is because I pretty much hadn’t read any of the Peanuts strips after around the mid-1980s. I’d read quite a few of them from the years before that but Schulz was knocking these things out for around 50 years, from 1950 - 2000, on a daily basis so, you know, there was a lot there I hadn’t read. So, sometime towards the end of last year, I decided to remedy that and started reading the entire run in the few spare minutes I had left over each day, getting through a year roughly every few days.
Peanuts has always been in my life in one form or another and it’s also one of the things me and my late best friend Kerry also bonded over quite often.
When I was a kid my parents had a subscription to the Sunday magazine edition of The Observer. I used to mostly only read one thing in this, the full colour Sunday edition of Peanuts which had extra panels than the usual three on the regular daily strips. Then, years later when I was in my mid to late teens at school, I discovered a weird little second hand bookshop off the beaten track about twenty minutes walk away. It was only open on a Thursday afternoon and on a Saturday morning. I used to go there almost every Thursday after school to spend my Saturday job money there (in the days when a second hand book would be priced somewhere between 20p and 30p). I read a lot of things which have stayed with me from this shop over the few years it was still open... almost the entire run of Philip K. Dick novels, around 60 or so of the original Doc Savage novels, the Bond books, the Quiller books, the Modesty Blaise novels, 60 or more Michael Moorcock novels... this shop was a magical gateway to fantasy worlds I still inhabit to this day.
And, of course, I grabbed around 40 or so of the paperback Charlie Brown/Peanuts collections from them. They reprinted the strips in chopped up vertical displays and I just adored them. And, yes, thank you... I was the kind of kid who kept a little book of lists of required titles on me to make sure I didn’t buy any doubles. I used to lend them to my friend Kerry too and my favourite Peanuts memory must be the time when I discovered some new reprint books which were slightly thinner but which were maybe an inch taller and wider than the other Peanuts books. So I took it to school the next day and showed my friend the cover of the one I’d bought the night before... Thompson Is In Trouble Charlie Brown! I knew my friend knew all the Peanuts characters as well as I did, possibly better, so I waited the second or so and then, sure enough, Kerry looked at me and said... “Thompson? Who’s Thompson?” I looked at him nonchalantly as I slowly turned the book around to reveal the back cover. This was a depiction of the character Woodstock holding up a sign and, on that sign it said... “Thompson? Who’s Thompson?” Kerry saw this, groaned to himself and started grinning. I don’t know why I still remember this incident but it was one of the few highlights of my school period.
I fondly remember our last collective run in with the Peanuts gang, as it was literally a few months before Kerry’s death. We went into London one Saturday for a big gallery show on the history of Charles Schulz and his iconic strip. We had a good time walking around those galleries and I am very grateful, in hindsight, that we took the time to go around that thing.
So The Complete Peanuts is a 26 volume collection of all of the Peanuts strips from 1950 to 2000 in chronological order, two years per tome. It also includes Schulz’s earliest versions of the characters from the Li'l Folks cartoons, both at the start and the end of the run here and, also, various comic book and advertisement appearances. These are all reprinted in black and white, as the majority of the strips were. They are handsome hardbacked volumes and each has an introduction from a different, famous personality... so Hal Hartley, Wes Anderson, Barack Obama, Garrison Keiller, Whoopi Goldberg... lots of people have been gathered to sing the praises of the man and talk about his influences on them. The Peanuts Dell Archive takes some (not all) of the various Dell Four Colour Comics from the 1950s and 60s and reproduces them in their original full colour. The interesting thing is that it doesn’t reprint just the few Schulz stories from these comics but also a huge amount of the other writers and artists who worked on these.
From the start, Schulz’s strip had something magical and was addressing things in ways which other newspaper strip characters couldn’t even get near. Schulz’s understated stabs of humour peppered with truisms are also often quite surreal at times and have an almost world weary feel to them at others... which is interesting when you are dealing with characters who are perpetually no older than about six years of age (of course, they always seem to know what year it is too... which is hard for continuity conscious people like myself, who can’t work out why these kids don’t grow up in these panels from year to year).
Although it sets a tone with its lead character Charlie Brown (although it’s true that his dog Snoopy could also be considered the lead character too), things are mostly unchanging for him over the years. For instance, one of the very early strips has Charlie Brown walking along towards a group of kids. One of the kids says... “Here comes Charlie Brown.” Then, when he has passed them by and is out of earshot, the same kid finishes off with... “How I hate him.” So yes, the eternal misfortunes of Charlie Brown start here but, especially in the early days, he’s not always the loser he’s sometime made out to be. A lot of the first few years, for instance, regularly has a strip where Charlie Brown ‘winds up’ one of the other kids and the last panel is often of him being chased away from a scene smiling as he says something along the lines of... “I get my kicks.” Much later in the run Charlie even gets a girlfriend, of sorts and does have some good things happening to him from time to time.
In November 1951, we have the first of what would be the annual tradition of Lucy holding the football for Charlie Brown to kick and then pulling it away at the last moment. However, the first time this is done, it’s not Lucy who holds the ball at all but Violet...Lucy came into the strip as a toddler in early 1952. The same month as the first ball kick we get the first sighting of Snoopy’s kennel when a TV aerial is bought for it although, like pretty much all of the characters, Snoopy is drawn a little differently to the way he evolved... he’s not a million miles off from where he would later end up visually but, of all the characters, he’s probably the one who changed the most.
And then, in October of ‘52, a character breaks the fourth wall for the first time, although what with the surreal moments in the strip over the years, this is probably the least subtle it’s ever been done. After getting a stupid answer from Charlie Brown, Beethoven fanatic Schroeder walks off saying... “Sometimes I think I should put in for a transfer to a new comic strip.”
Getting back to Snoopy though, its hard to keep a track of just who owns him in the strip in the early days. It seems almost as if he lives with whichever kid seems to take Schulz’s fancy at the start. Somewhere around late 1955 though, he’s finally and positively identified as being Charlie Brown’s dog. In the early days, Snoopy’s kennel is rarely seen except for having that TV aerial installed and then, a little later, to show an air conditioning unit fitted to the side. After a while, though, we get into the iconic idea that he sleeps on top of his kennel. That being said, during his last few years working on the strip, Schulz began to depict him sleeping in bed with Charlie Brown on a number of occasions. In 1993, however, it’s revealed that Snoopy mostly sleeps on top of his kennel because he has claustrophobia... which is a shame but Peanuts does seem to get a little darker and more cynical as Schulz got older, I think. Lots of famous firsts for this character though, as the years go by including a 1964 reference to him as being a ‘Beagle’, which is something we hadn’t known for the 13 years prior to this. In March 1969 he was also ‘the first Beagle on the moon’ and I remember as a kid I used to have a Snoopy figure in his Apollo Mission outfit. At that exhibition last year, we saw a whole bunch of those in very slightly different variations from various manufacturing runs. In June 1970, as the punchline to a joke, Snoopy is seen wearing sunglasses for the first time, which would later become his Joe Cool alter ego’s signature trademark.
In an interesting use of composition and comic strip semiotics, which was something Schulz was continually experimenting with, in February 1961, Snoopy kicks his dog dish through three consecutive panels, thus exploring the idea of linear time over multiple static moments... something which is probably taken for granted in modern times. Another load of surreal turns include various gags of Snoopy interacting in various ways with the depiction of Schroeder's music, manifest in the air as notes on a set of staves but somehow also a tangible force once Snoopy is in a scene. There’s also a sequence in the strip where Snoopy is promoted to Head Beagle and it’s bizarre in that his whole inauguration is televised. And, of course, there are his various flights of fancy from the troubled First World War fighter pilot who is constantly being attacked by The Red Baron to a surreal version of the Foreign Legion as he leads a group of the bird Woodstock’s friends through the imagined desert.
Talking of Woodstock, this character was in it for quite a few years hanging out with Snoopy until he finally reveals his name in June 1970. Other firsts include the 1966 first appearance of Peppermint Patty and the August 1968 arrival of Franklin.
The strip is often whimsical and understated but it always feels right and you sometimes get the feeling that the worlds problems are being debated in this parallel universe of Schulz’s work. And, as I said, the strip does get quite surreal, quite a lot... and that’s not just used for Snoopy’s character. For instance, there’s a running joke starting in 1974, which carries on in subsequent years, of Sally developing a kind of conversational relationship with the bricks that make up the school building. Or there’s that time when Peppermint Patty is held back a year but her old desk in the other class is haunted by the sound of her snores. And, considering that the Peanuts gang were on practically every greetings card you could find in the 70s and 80s, it’s interesting that, when Snoopy wants to send The Red Baron a greetings card, he considers buying a Garfield Birthday card for him.
Another thing I like is the constant stream of movie references that make their way into the strip from time to time. There’s many a mention for Citizen Kane, for example but there are also some great throwaway lines like this one in reference to Alfred Hitchcock...”I don’t trust birds anymore since I saw that movie.”
As I read these beloved strips I realised that it was also a microcosm for the way the world has grown and the attitudes of people over the years. I mean, there’s something really jarring when you get a Harry Potter reference in a Peanuts cartoon and, frankly, realise that in 1993, Lucy is using a mobile phone. And the metatextual nature of the strips can sometimes creep up on you without you knowing it, such as the three daily strips in 1997 promoting a real life concert of Peanuts music at Carnegie Hall. And, considering my profession as a graphic designer, why did it take Schulz to clue me in with a very in-your-face reference, about Etaoin shrdlu? No... you google it the same as I had to.
The Dell Comic Archives are interesting in that they show people and artists who weren’t always 100% in step with Schulz’ style and even the one that Schulz worked on himself for the comic books were somewhat different to the meanderings of his daily strip. I don’t think it’s necessary the extended stories that brought about this change in this material... after all, Schulz had a lot of running stories going on for a few weeks when he got into an idea... I just think that a different version of the medium for a specific audience obviously had different needs and this changes the tone somewhat.
I’d never realised, for instance, that Schulz’ daily Peanuts newspaper strips also quite often delved into the realm of political satire like other newspaper cartoonists often do. My favourite one was a running strip in the... I think... 1970s where Charlie Brown is trying to get a dog license from his local post office for Snoopy. Each day he ends up being given the wrong thing like a fishing license until, on the last day, he gets the right one. On the last day he says something to an ‘out of frame’ Snoopy along the lines of... “No, she says you don’t need a license for that.” The last panel shows Snoopy walking out with some kind of assault rifle. I think that Schulz, who served in the Second World War, made pretty clear his sentiment on the foolish notion that anybody had the right to bear arms in his country and I’m really pleased he did this.
On February 13th 2000 a special strip appeared. The last one. Charlie Brown is seen talking on a phone with the phrase, “I think he’s writing.” Panel two is Snoopy on his kennel typing “Dear Friends...” The third panel is also him writing and a heartfelt message from Schulz which I’ll quote here fully...
“Dear Friends,
I have been fortunate to draw Charlie Brown and his friends for almost 50 years.
It has been the fulfilment of my childhood ambition.
Unfortunately, I am no longer able to maintain the schedule demanded by a daily comic strip, therefore I am announcing my retirement.
I have been grateful over the years for the loyalty of our editors and the support and love expressed to me by fans of the comic strip.
Charlie Brown, Snoopy, Linus, Lucy... how can I ever forget them...
Charles M. Schulz”
Charlie Schulz passed away the day before this strip ran... and if you’ve just spent months reading his entire run, well... trust me, it’s a very moving moment.
The last volume in the series of The Complete Peanuts contains a long afterword by his widow, Jean Schulz, which talks a lot about their time together and, as you can imagine, it’s very touching. I couldn’t think of a nicer way to finish up this series and I found the whole experience both joyful and sometimes very sad. The Complete Peanuts is, as far as I am concerned, worth its weight in gold and if anyone is a budding strip cartoonist, I think you can learn a lot from reading through some of these volumes... strong lines, brevity, not over reaching but teasing out an idea... this is all good stuff. An absolute recommendation from me to anyone who wants to read something often gentle but never unswerving or dodging the bullets... a strip that tackles issues head on and with the right balance to make sure some of these insights really stab home. As well, of course, as being a whole lot of fun. I’ll aim to read through these again in my remaining lifetime, for sure.
