Télécharger le fichier PDF The Complete Peanuts : Vol. 2, by Charles-M. Schulz
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The Complete Peanuts : Vol. 2, by Charles-M. Schulz
Télécharger le fichier PDF The Complete Peanuts : Vol. 2, by Charles-M. Schulz
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Détails sur le produit
Relié: 320 pages
Editeur : Canongate Books Ltd; Édition : Main (27 juin 2007)
Langue : Anglais
ISBN-10: 1847670326
ISBN-13: 978-1847670328
Dimensions du produit:
21,8 x 3,2 x 17 cm
Moyenne des commentaires client :
5.0 étoiles sur 5
2 commentaires client
Classement des meilleures ventes d'Amazon:
363.110 en Livres (Voir les 100 premiers en Livres)
Un très grand moment d'humour teinté d'une certaine poésie. Excellente lecture à recommander sans hésiter aux petits et aux grands.
Deuxieme tome de l'intégral de Peanuts. Un pur moment de plaisir. Une fois le livre refermé on a qu'une hate ouvrir le tome 3. Schulz disèque avec génie le quotidien d'une banlieu type de l'Amérique des année 50. Il donne à ses petits personnages des problèmes et des reflexions d'adultes qui nous font réflechir sur notre vie. Quelle merveille, et au milieu de ces petits humains, ce sont les animaux menés par Snoopy qui relativisent et nous font sourir. A lire au plus vite et à garder dans sa bibliothèque.
Peanuts overall is pretty funny. There are some comic strips that are just like mini stories but not that funny. I personally like the continuing ones where the storyline lasts more than one comic strip. I like how Charles Shultz introduced the characters one by one. Patty, Shermy, Violet, and of course, Charlie Brown were always there, but Lucy and Linus were introduced in the first volume, Pig-Pen and Charlotte Brawn in the second volume, and so on. That’s my review.
In this second volume of the Peanuts collection, we continue to see Schulz's world as it evolved towards what became its glory years (late 1950s to late 1960s). Charlie Brown is still a smart aleck, but gradually his professional victimhood is taking form. Lucy is still sweet and babyish at the beginning of this volume, but by the end she is definitely moving towards her loud mouth, abrasive, loveable self. Snoopy is becoming less doggy and more human (we get to imagine the inside of his doghouse for the first time), and Linus is showing signs of genius even though he can't speak yet. We also see some favorite characters for the first time, noteably Pig Pen, and get to see some failed experiments, such as Charlotte Braun, a loud mouth who moved into the neighborhood for awhile but obviously didn't work out.I was also interested to see some indirect allusions to the real world of the mid 1950s in these early strips, such as one character's refusing to incriminate himself (he must have been watching the McCarthy hearings on those old TV sets!).This is a fun volume which presages some of the finest Peanut moments, which we'll be able to see again in coming years, thanks to this series' creators.
Growing up, I saw the introduction of Rerun to the Van Pelt family. Being able to go back, and see the introduction of Linus, Pigpen and Charlotte was very cool. Lucy begging Charlie Brown to make her a sandwich. Linus blowing up square balloons before he could walk. The only time I can recall Pigpen without dirt is in this volume!You will enjoy it. It is a critical book in the evolution of Peanuts!
Maybe in its latter days Peanuts became more of a cute kids strip, but in its early days it epitomized childhood cruelty. Sandcastles are cheerfully kicked and smashed to the ground, kids constantly discuss why they hate each other, they manipulate each other for personal gain, they yell, scream, throw things, hit each other, kick other people's possessions and on and on. It's an onslaught of bare raw human nature in the form of little human blobs. Pure Id reigns in this domain.Lucy comes of age in this volume. Nowhere is this more apparent than on the January 24th, 1954 Sunday page (pg. 167). She kicks everyone's prized possessions across the room while yelling "That's what I think of your 'ol stamp collection!!" and "That's what I think of your ol' stupid marbles!!" The last panel has all of the kids running after her mob-style as she pleads "I'm frustrated and inhibited. And nobody understands me." Another strip has Lucy whacking poor baby Linus on the head. When Charlie Brown pleads "What did you hit him for?" Lucy replies "Because he was there!" (May 24th, 1954, pg. 219). She's pretty nasty throughout to pretty much everyone. But she also has a whimsical side such as when she's counting stars or raindrops.Charlie Brown's metamorphosis into the loser we all know starts to gain momentum. Early on he could be defiant, obnoxious, loud, or cunning. By the end of the volume he's more depressive and shunned than ever.Linus is still a baby throughout, but some words emerge, usually in defiance of Lucy's nasty schemes to get him in trouble. The security blanket shows up also for the first time. Even Charlie Brown experiments with it.Schulz also took some risks in May, 1954. He introduced visible adults into the strip for the first (and probably the last) time. A series of Sunday strips finds Charlie Brown and Lucy playing in a golf tournament. They are surrounded by adults. The juxtaposition of very realistically drawn adults and little abstract circular kids makes for a disorientating visual experience.Pig-Pen appears for the first time in 1954. He's more of a one-gag character and not as strong as the rest of the crew. The same can be said for Charlotte Braun. She appeared then disappeared forever in late 1954. Her gag? She talks too loud.And of course Snoopy. There's loads of great Snoopy strips in this volume. Many are purely sight gags, but Snoopy does begin to "talk" around this time. One of the best Snoopy strips is October 11th, 1954 (pg. 279) where Charlie Brown tries to take Snoopy's picture. It's purely visual but a sure sign of things to come.It's amazing that strips featuring old cathedral televisions and radios, and Brownie-style cameras can still evoke outloud laughter. The humor strikes at many different places, and works on many levels, from the physical to the intellectual and thus appeals to many kinds of people. Something lurks here for almost everyone. Some people could even find parts of the strip depressing. After all, kids get socially shamed, shunned, physically hurt, abused, and abandoned over and over. But depicting the entire cast as cute children somehow turns these situations into comedy. They all seem innocent, but they are anything but. In fact, part of Schulz's contribution was revealing the underside of the cute and innocent. These strips seem to tell us: just because something IS cute doesn't mean that it's incapable of cruelty. He helped expand the possibilities of the cute 'lil cartoon character.Even though the strip later fell headfirst into rampant commercialism, these early strips reveal an energy and edge unmatched in most mainstream comics (even today, especially today). When the golden age of newspaper comics gets a historical review sometime in the future, Peanuts will likely stand out as the exemplar of the medium.Lastly, Fantagraphics comes through again as the champion of classic comics. This volume continues the great design and layout of the first volume (though arguably the strips could be bigger and the Sunday strips could be in color). Walter Cronkite introduces and a short Schulz biography closes. Keep them coming.
It is such a pleasure to read through these early Peanuts comic strips. There are so many things to discover: the first appearance of Linus, Lucy as a champion golfer, the brief first appearance of the security blanket.Admittedly, some of the discoveries are real surprises: adults speak, Snoopy verbalizes (albeit in his head) and Charlie Brown does always lose. Still, it is a joy to see how Schultz developed in these early years and began to find his voice.This series of books is turning into one of the great collections of all time.
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