"I don't like hawking 'round other people's memories. That wasn't part of the deal when I was born"
About this Quote
There’s a hustler’s verb at the center of Pratt’s complaint: “hawking.” It turns memory into merchandise, a street-level trade in nostalgia where the seller’s charm matters more than the truth. Coming from a cartoonist who built whole worlds out of borrowed textures - colonial ports, wartime shadows, half-remembered myths - the line isn’t a denial of influence so much as a refusal to become a curator-for-hire. Pratt is drawing a moral border between using the past as material and selling the past as someone else’s property.
The second sentence lands like a shrug with teeth: “That wasn’t part of the deal when I was born.” It’s fatalistic and funny, implying a contract nobody signed. Subtext: he rejects the expectation that an artist must serve as a public archivist, endlessly explaining, packaging, and monetizing personal or collective trauma. This reads like a jab at the late-career trap: interviews, memoir-adjacent anecdotes, authorized retrospectives, the industry’s hunger for origin stories. Audiences don’t just want the work; they want the backstage pass to inherited suffering.
In Pratt’s case, it also brushes against Europe’s 20th-century memory economy: war, empire, resistance, collaboration - legacies that are constantly narrated, contested, resold. His characters often drift through history without belonging to it; Pratt’s voice here insists on the same freedom. Make art from the past, yes. Don’t become its peddler.
The second sentence lands like a shrug with teeth: “That wasn’t part of the deal when I was born.” It’s fatalistic and funny, implying a contract nobody signed. Subtext: he rejects the expectation that an artist must serve as a public archivist, endlessly explaining, packaging, and monetizing personal or collective trauma. This reads like a jab at the late-career trap: interviews, memoir-adjacent anecdotes, authorized retrospectives, the industry’s hunger for origin stories. Audiences don’t just want the work; they want the backstage pass to inherited suffering.
In Pratt’s case, it also brushes against Europe’s 20th-century memory economy: war, empire, resistance, collaboration - legacies that are constantly narrated, contested, resold. His characters often drift through history without belonging to it; Pratt’s voice here insists on the same freedom. Make art from the past, yes. Don’t become its peddler.
Quote Details
| Topic | Respect |
|---|---|
| Source | Help us find the source |
More Quotes by Hugo
Add to List






