Word: draws
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Dates: during 2000-2000
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...This was something new in the newspaper comic strip. At mid-century the comics were dominated by action and adventure, vaudeville and melodrama, slapstick and gags. Schulz dared to use his own quirks - a lifelong sense of alienation, insecurity and inferiority - to draw the real feelings of his life and time. He brought a spare pen line, Jack Benny timing and a subtle sense of humor to taboo themes such as faith, intolerance, depression, loneliness, cruelty and despair. His characters were contemplative. They spoke with simplicity and force. They made smart observations about literature, art, classical music, theology, medicine, psychiatry...
...three decades. He always worked alone, without a team of assistants. For a self-doubting perfectionist - Schulz referred to himself as a fanatic - the strip cartoon was an ideal form: the cartoonist's relationship to the world is self-limiting. The strip cartoonist can get up, go to work, draw his daily panels, and go to bed at night feeling he's done his bit. At the same time, Schulz had a conflicted sense of duty. The unprecedented obligations of his new role as world-famous cartoonist kept him in a state of constant anxiety and dread. He loved...
...wanted only to exist in the extreme bottom right-hand corner of his own panels - where it said "Schulz." He wanted to limit himself to being that little scribble. If he could draw his four panels a day, sign himself "Schulz," close up shop and go home, all would be well...
...kept on drawing as he always had. He often said, "My main job is to draw funny comic strips for the newspapers." He didn't set himself up as a chaplain or philosopher or therapist to the millions. He made no statements about important issues. He sat on no commissions. He went straight on with his work, even though the world begged him to change from being a commentator for a minor constituency in the 1950s to a national observer who had a great deal to say to the world at large. He wanted to be no different than anyone...
...artist's voice] could draw a word out into a long cello note or quaver like the lead fiddle in the pit of a Victorian melodrama...