Jules Feiffer’s lifelong fascination with the art of sequential storytelling began in the 1930s, a period when radio dramas and newspaper comic strips reigned supreme as popular entertainment. These early influences profoundly shaped his artistic sensibilities and ignited a passion that would eventually lead him to become a celebrated cartoonist, playwright, and screenwriter. He immersed himself in the vibrant world of comic strips, devouring the works of masters like E.C. Segar, creator of the iconic Popeye, Al Capp, known for the satirical humor of Li’l Abner, and Milton Caniff, whose Terry and the Pirates captivated readers with its exotic adventures. This early exposure laid the foundation for Feiffer’s own unique style, blending social commentary with a keen sense of humor. The advent of comic books, initially collections of popular newspaper strips, further fueled his artistic aspirations, and the arrival of Superman in 1938 introduced him to the exciting new genre of superhero comics.
Feiffer’s passion for comics transcended mere appreciation; he yearned to create his own. At the age of 16, armed with a portfolio of his high school work and a deep admiration for Will Eisner, the creator of The Spirit, a masked crime-fighter featured in a Sunday newspaper comic book insert, Feiffer boldly approached his idol. His encyclopedic knowledge of Eisner’s work impressed the established artist, leading to a position as a studio gofer. Though initially relegated to menial tasks like inking, erasing, and drawing panel borders and word balloons, Feiffer’s talent and dedication soon earned him greater responsibilities. He gradually progressed to writing dialogue and eventually crafting entire Spirit stories, demonstrating his burgeoning skills as both a writer and a visual storyteller. This apprenticeship under Eisner proved invaluable, providing him with practical experience and honing his craft. It culminated in Feiffer being given his own humor strip, “Clifford,” which ran at the back of The Spirit section from 1947 to around 1950, marking his first foray into creating his own independent work.
The Korean War interrupted Feiffer’s burgeoning career. Drafted into the Army in 1951, he found the experience deeply disillusioning. The rigid hierarchy, the impersonal nature of military life, and the inherent absurdities of war fueled a growing sense of anger and distrust of authority. This period of enforced conformity and exposure to the realities of power dynamics profoundly impacted his worldview and would become a recurring theme in his later work. The army provided him with a wealth of material, as he observed firsthand the human condition under pressure, the clash between individual conscience and institutional demands, and the often-comical disconnect between official pronouncements and the messy realities on the ground. This formative experience shaped his perspective and provided him with a unique lens through which to examine the social and political landscape of the time.
Upon his return to civilian life, Feiffer was eager to re-engage with his artistic pursuits. In 1956, he approached The Village Voice, a newly established alternative weekly newspaper, with a bold proposition: he would draw a regular strip for free. The publication, recognizing the potential of Feiffer’s unique voice, accepted his offer. His strip, initially titled “Sick, Sick, Sick” and later simply “Feiffer,” became a defining feature of The Village Voice, offering a satirical and often poignant commentary on contemporary life. Though unpaid for nearly a decade, Feiffer persevered, driven by his passion and a deep-seated need to express his observations about the world around him. The strip quickly gained a loyal following, resonating with readers who appreciated his sharp wit, his willingness to tackle controversial subjects, and his ability to capture the anxieties and absurdities of modern existence.
Feiffer’s work in The Village Voice was groundbreaking. He eschewed the traditional gag-a-day format of most comic strips, opting instead for extended narratives that explored complex themes and delved into the psychological nuances of his characters. His strips often featured stream-of-consciousness monologues, capturing the inner turmoil and self-doubt that plagued his characters, many of whom were grappling with the pressures of urban life, the complexities of relationships, and the existential angst of the Cold War era. He satirized political hypocrisy, dissected social conventions, and championed the underdog, giving voice to the marginalized and the disaffected. His work resonated with a generation grappling with a rapidly changing world, offering both a cathartic release and a critical lens through which to examine the prevailing social and political climate.
The success of his comic strip propelled Feiffer into the cultural spotlight. He became a prominent voice of his generation, a chronicler of the anxieties and aspirations of a society undergoing profound transformation. His work transcended the boundaries of the comic strip format, influencing not only other cartoonists but also playwrights, screenwriters, and novelists. He demonstrated the potential of the comic strip as a medium for serious social commentary and paved the way for a new generation of artists who would use the form to explore complex themes and challenge conventional narratives. His legacy extends beyond his individual body of work, inspiring countless others to use their creative voices to engage with the world and to speak truth to power.
