John Updike on what he wanted to be before he decided to become a writer. NewYorkerArchive
. Together, from chewable Disney artifact to decipherable Thurber scrawl, they formed a world that was realer to me than all but a few patches of the substantial world that had not been conjured up by cartoonists.
I loved cartoons—almost any cartoon that met a modest standard of professional crispness—and studied them as if my salvation lay somewhere in their particularities of shading and penmanship. V. T. Hamlin, for instance, who drew the syndicated strip “,” had a deliberate, gridlike style of cross-hatching that, mixed with the peculiar inverted proportions of his cavemen’s legs and arms, signalled a special solidity in the progress of his dinosaur-studded panels.
”-ish slapstick, kept saying “Foo” apropos of nothing and drove vehicles that were endlessly shedding their nuts and bolts. God—the heat, the quest, the bliss of it—was in the details.
I drew not for the sake of drawing but to get into metal—to have the work of my hand be turned into zinc cuts and by this means printed. The first cuts made from a drawing of mine—a Christmas card, perhaps, portraying the family dog, or a caricature done for the class-play program—were to me potent objects, a purchase on power.
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