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Krazy’s gender, to the consternation of many readers, was never stable. In an era when books depicting homosexuality and gender nonconformity could lead to charges of obscenity, “Krazy Kat,” Tisserand notes, featured a gender-shifting protagonist who was in love with a male character. When Herriman worked at the Los Angeles Examiner, as a staff artist, the paper published multiple articles about light-skinned African-Americans who had tried to pass as white and were subsequently “exposed.” But “Krazy” also helps to expand the meaning of the comic’s subversive play with identity beyond race. As Michael Tisserand points out in his new biography, “Krazy,” Herriman might have lost his job as a cartoonist had he been outed as black. “In the comics page no less than in social life, the opposition between black and white can be redefined but not abolished,” the journalist and comics scholar Jeet Heer has written. In the years following Berger’s initial reporting, a number of writers have grappled with this aspect of Herriman’s work. Sometimes he claimed that his ancestors were French or Irish-anything that might sow confusion.
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(Creoles who could pass but did not try to were called passé blanc.) In adulthood, Herriman frequently covered his tight curls with a hat, and invented fanciful origin stories that attributed his light brown skin to years living under the sun of Greece. George Herriman was one of the class of Louisianans known as blanc fo’cé_:_ Creoles who actively tried to pass as white. Herriman was born in New Orleans, in 1880, to a mixed-race family his great-grandfather, Stephen Herriman, was a white New Yorker who had children with a “free woman of color,” Justine Olivier, in what was then a common social arrangement in New Orleans called plaçage.
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The certificate described Herriman’s race as “colored,” Berger revealed, to the astonishment of many readers (Ralph Ellison among them). That last detail took on additional resonance, in 1971, when Arthur Asa Berger published a story about Herriman’s birth certificate. The structure of the strip was built on reversals: a cat loves a mouse, a dog protects a feline, and, at a time when anti-miscegenation laws held sway in most of the United States, a black animal yearns for a white one. Krazy interprets the bricks as “love letters.” Meanwhile, a police-officer dog, Offisa Pup, tries to protect Krazy, with whom he is smitten. It is set in a dreamlike place called Coconino County, where a black cat named Krazy loves a white mouse named Ignatz, who throws bricks at Krazy’s head. The strip ran from 1913 until 1944, the year that Herriman died. Wodehouse compared it favorably to Wagner’s “Parsifal” Jack Kerouac later said it influenced the Beats. From the beginning, though, it found fans among writers and artists. “Krazy Kat,” George Herriman’s exuberant and idiosyncratic newspaper comic, was never broadly popular.