I’ve been reading G.B. Trudeau’s Doonesbury since I was in eighth grade; I’m turning fifty this year. Doonesbury is, aside from my family, the thing that has been a consistent part of my life longer than anything else. I’ve grown up, and grown older, learning about American politics, society and culture through the eyes of Mike Doonesbury, Joanie Caucus, Zonker Harris, Mark Slackmeyer, and B.D.
I recently decided to re-read Doonesbury from its first published strip. A few days into reading, I realised that I had ideas about the strip and what it had to say about the world that I wanted to explore; hence, this blog.
My plan is to offer a running commentary on Doonesbury as it unfolded and write about the strip’s development and what it had to say (and continues to say) about its times. Alongside individual strips and arcs, I’ll be zooming out to see how Trudeau’s take on particular themes evolved over the years. What sets Trudeau’s work apart from every other English-language mass-market comic strip is how he has remained insightful and relevant for nearly half a century. Most comic strip creators have a fairly limited repertoire and end up repeating themselves over the years; Charles Schultz was still writing Citizen Cane/Rosebud gags in the 1980s. Trudeau’s work has always been in tune with its times, and while he may be sometimes be guilty of the kind of anti-Millennial bashing that is increasingly common, especially from among his own Boomer generation, he’s largely managed to keep up with changing social and cultural dynamics and address new ideas and practices on their own terms.
I also hope to offer critical commentary on any Doonesbury scholarship I run into as I set out to learn more about the strip, and to also write about comics theory more generally. While I’ve been reading comics my whole life, I’ve never really studied their history and how they work; I’m hoping this project will force me to learn more about something that has been an important touchstone for so long.
Thanks for stopping by.