Maps and Legends by Michael Chabon

Author:Michael Chabon [Chabon, Michael]
Language: eng
Format: epub, mobi
ISBN: 9781453234136
Publisher: Open Road Integrated Media
Published: 2011-11-10T05:00:00+00:00

LANDSMAN OF THE LOST

LIKE MANY PEOPLE, I was first apprised of the wistful and intrepid pilgrimage of Mr. Julius Knipl by Lawrence Weschler, in his 1993 New Yorker profile of Ben Katchor, creator of the last great American comic strip.

It is a sad duty to thus anoint Julius Knipl, Real Estate Photographer. Perhaps no art form has ever flourished so brilliantly only to decline into such utter debasement, in such a brief period of time, as the newspaper strip. Reading the comics page in 1996, exactly one hundred years after the debut of Outcault’s Yellow Kid, is, for those who still bother, half melancholy habit and half sentimental adherence to duty, a daily running up of a discredited flag in a forsaken outpost of an empire that collapsed.

Weschler’s article dwelt at length, as do most comments on Katchor, on the artist’s preoccupation with the sensuous residuum of the past, those unexpected revelators of the all-but-forgotten, encountered in the stairwell of a hard-luck office building or on the grimy shelves of a decrepit pharmacy, those stray remnants of an earlier time that are hinted at in the surname of his protagonist, the stoop-shouldered wanderer, meditative soul, and former dance instructor Mr. Julius Knipl. And it is true that celebration of the chance survival, the memory wrapped like a knipl, or nest egg, in a beaded purse of forgetfulness discovered in the back of a drawer, is the most immediately striking and perhaps the most accessible aspect of the strip. It was this aspect, initially, that led me to track down Katchor’s first collection of strips, Cheap Novelties, and—the spell was on me now—to take out a subscription to Forward, then the flagship paper of the scattershot and fluctuating Knipl syndicate. I’m a sucker, myself, for such chance survivals, because as I’ve confessed elsewhere I suffer intensely from bouts, at times almost disabling, of a limitless, all-encompassing nostalgia, extending well back into the years before I was born.

The mass synthesis, marketing, and distribution of versions and simulacra of an artificial past, perfected over the last thirty years or so, has ruined the reputation and driven a fatal stake through the heart of nostalgia. Those of us who cannot make it from one end of a street to another without being momentarily upended by some fragment of outmoded typography, curve of chrome fender, or whiff of lavender hair oil from the pate of a semiretired neighbor are compelled by the disrepute into which nostalgia has fallen to mourn secretly the passing of a million marvelous quotidian things.

The erasure of the past and its replacement by animatronic replicas, politicians’ narratives, and the fictions of advertisers, coupled with the explosive proliferation of new inventions and altered mores, ought to have produced a boom time for honest mourners of the vanished. Instead we find ourselves haunting the margins of a world loud with speculators in metal lunch boxes and Barbie dolls, postmodernists, and retro-rockers, quietly regretting the alternate chuckling and sighs of an old-style telephone when you dialed it.

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