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Billions of bilious blue blistering barnacles! In a
thundering typhoon! This is the 100th birthday of Belgian author/artist
Hergé. The complete Tintin isn’t the book you’ve all been waiting for,
though it should be.
Right now there’s a lot of hype about graphic
novels, stories told pictorially, with balloon conversations. But these
aren’t new — note the doors of the Duomo in Florence, the comic
books of our childhood. In 1929, Hergé (Georges Remi’s
reversed initials, French pronunciation) invented the boy reporter Tintin
and his dog, Snowy. The popular newspaper strip found its way into books;
the first translated into English was in the early ’40s.
My kids were raised on Tintin: two, at 4 years,
learned to read by the compelling dialogue and pictures. Not that these are
kids’ books — they transcend age, and are found in 55
languages, including Hindi, Latin, and Esperanto. Hergé was a
visionary anchored in fact: Destination Moon and Explorers on the Moon preceded our moon landing by 20 years. His technology is
amazingly accurate, for Hergé sought out scientific expertise for
all his books, in addition to keeping voluminous archives of everything he
might want to draw or use in plots. Most books deal with politics of the
day (he anticipated the war with Japan), and often the villains, and
heroes, are obvious. One can recognize also in his impeccable drawings
exact landscapes, planes, trains, autos. (The kidnap car in The Seven Crystal Balls is a
black salon, an Opel Olympia.) There’s danger aplenty; the
hair-raising situations make Indiana Jones a piker. Humor ranges from
subtle to slapstick. Tintin is the indispensable character, along with the
irascible, voluble Captain Archibald Haddock, who doesn’t arrive till
the ninth book, The Crab with the Golden Claws, but never leaves again. The detectives, Thomson and
Thompson, continually mess up with blunders (to be precise, the blunders
make a mess), while Professor Cuthbert Calculus — vague, wispy, hard
of hearing, and eternally wandering off because of absorption in
tangentials — is the Einstein who provides scientific know-how. The
only woman is wealthy diva Bianca Castafiore, modeled on Maria Callas, who
always steals the show.
This book weaves a history of Hergé and the
years from World War I through 1983 with the writing and publishing of each
book, not sparing Hergé’s illnesses occasioned by the physical
and emotional demands of a daily strip plus life under Nazi occupation,
where he was later unjustly accused of collaboration. A central fascination
is the juxtaposition of drawings with their photographic sources. Today
statues of Tintin and Snowy grace the center of Brussels, seven enameled
copies of Hergé drawings are displayed alongside their photo
prototypes on a Belgian quayside, while observances are going on world
wide, including a huge show at Paris’ Pompidou. The book itself
merits a stronger index and timeline. But these, and much other lore, can
be found by Googling “Tintin.” Blistering barnacles, you
bashi-bazooks, you freshwater swabs, ectoplasms, coelacanths (as the
Captain, and my kids, swear frequently) — buy the Tintin companion,
and then, of course, you’ll soon be into all 24 of these unique
novels — every one in print. You can’t help yourself.
Jacqueline Jackson, books and poetry editor of Illinois Times, is professor
emerita of English at the University of Illinois at Springfield.
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