"It seemed to me you could do anything in comics. So I started doing my thing, which is mainly influenced by novelists, stand-up comedians, that sort of thing"
About this Quote
Pekar is sneaking a manifesto into a shrug. The line hinges on a radical claim disguised as personal anecdote: comics aren’t a genre, they’re a container. “You could do anything” isn’t boosterism so much as a correction to the way comics were long treated in American culture as either kid stuff or capes-and-pow. Pekar’s intent is to widen the aperture: if the medium can hold anything, then it can hold his particular “thing” too - the unglamorous rhythms of work, irritation, loneliness, petty joys, the moral weather of everyday life.
The subtext sits in his list of influences. By invoking novelists and stand-up comedians, Pekar quietly rejects the idea that comics must be driven by draftsmanship or spectacle. He’s staking comics’ legitimacy on voice: the novelist’s patience for interiority and structure, the comic’s ear for timing, sting, and confession. That’s also a class-coded move. Stand-up is the art of making a room listen to the mundane and the humiliating; Pekar does that on the page, turning small talk and small defeats into narrative units that land like punchlines without the safety net of charm.
Context matters: Pekar came up in a moment before “graphic novel” prestige became a marketing category. American Splendor’s whole project was to prove that autobiography and social observation weren’t borrowed from literature so much as native to comics when someone used the form seriously. He’s not asking permission. He’s pointing to the loophole he found - and then walking through it with groceries in hand.
The subtext sits in his list of influences. By invoking novelists and stand-up comedians, Pekar quietly rejects the idea that comics must be driven by draftsmanship or spectacle. He’s staking comics’ legitimacy on voice: the novelist’s patience for interiority and structure, the comic’s ear for timing, sting, and confession. That’s also a class-coded move. Stand-up is the art of making a room listen to the mundane and the humiliating; Pekar does that on the page, turning small talk and small defeats into narrative units that land like punchlines without the safety net of charm.
Context matters: Pekar came up in a moment before “graphic novel” prestige became a marketing category. American Splendor’s whole project was to prove that autobiography and social observation weren’t borrowed from literature so much as native to comics when someone used the form seriously. He’s not asking permission. He’s pointing to the loophole he found - and then walking through it with groceries in hand.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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