"And, uh, I've got about six thousand cartoons up there, also books and papers"
About this Quote
The genius of Rube Goldberg is how casually he can undercut his own legend. "And, uh" is doing heavy lifting here: a verbal shrug that refuses the polished, self-mythologizing posture you might expect from a man whose name became shorthand for baroque ingenuity. He sounds less like a monument and more like a working pro caught mid-sentence, half-distracted by the clutter of his own output.
Then comes the number: "about six thousand cartoons". Not "thousands", not "a lifetime of work" - a specific, slightly unbelievable count that lands like a punchline. It hints at both pride and fatigue, the way mass production in early 20th-century newspaper culture demanded relentless novelty. Goldberg is quietly reminding you that his famous contraptions weren't rare lightning bolts; they were a daily grind, churned out on deadline, idea after idea after idea.
The kicker is the add-on: "also books and papers". It's an afterthought that functions like a protest. History flattened him into a single brand - the whimsical machine guy - but he insists, almost sheepishly, on the breadth of his intellectual life. The subtext is a creative person negotiating with the archive: what survives, what gets filed away, what gets remembered. Even the "up there" matters, gesturing toward a physical hoard of work, stacked somewhere out of sight, like proof that the cartoonist's real engine wasn't the contraption on the page but the labor behind it.
Then comes the number: "about six thousand cartoons". Not "thousands", not "a lifetime of work" - a specific, slightly unbelievable count that lands like a punchline. It hints at both pride and fatigue, the way mass production in early 20th-century newspaper culture demanded relentless novelty. Goldberg is quietly reminding you that his famous contraptions weren't rare lightning bolts; they were a daily grind, churned out on deadline, idea after idea after idea.
The kicker is the add-on: "also books and papers". It's an afterthought that functions like a protest. History flattened him into a single brand - the whimsical machine guy - but he insists, almost sheepishly, on the breadth of his intellectual life. The subtext is a creative person negotiating with the archive: what survives, what gets filed away, what gets remembered. Even the "up there" matters, gesturing toward a physical hoard of work, stacked somewhere out of sight, like proof that the cartoonist's real engine wasn't the contraption on the page but the labor behind it.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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