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Herge: The Man Who Created Tintin, by Pierre Assouline
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One of the most beloved characters in all of comics, Tintin won an enormous international following. Translated into dozens of languages, Tintin's adventures have sold millions of copies. Yet, despite Tintin's enduring popularity, Americans know almost nothing about his gifted creator, Georges Remi--better known as Hergé.
Timed to coincide with Steven Spielberg's long-awaited film The Adventures of Tin Tin: Secret of the Unicorn, here is the first full biography of Hergé available for an English-speaking audience, offering a captivating portrait of a man who revolutionized the art of comics. Granted unprecedented access to thousands of the cartoonist's unpublished letters, Assouline gets behind the genial public mask to take full measure of Hergé's life and art and the fascinating ways in which the two intertwine. Neither sugarcoating nor sensationalizing his subject, he weighs such controversial issues as Hergé's support for Belgian imperialism in the Congo and his alleged collaboration with the Nazis. He also analyzes the underpinnings of Tintin--how the conception of the character as an asexual adventurer reflected Hergé's love for the Boy Scouts as well as his Catholic mentor's anti-Soviet ideology--and relates the comic strip to Hergé's own place within the Belgian middle class.
For all his huge success--achieved with almost no formal training--Hergé would say unassumingly of his art, "I was just happy drawing little guys, that's all." A profound influence on a generation of artists such as Andy Warhol and Roy Lichtenstein, the elusive figure of Hergé comes to life in this illuminating biography--a deeply nuanced account that unveils the man and his career as never before.
"Highlights yet again that all-too-common divide between the flawed private man and the admirable creative genius.... Those fascinated by the strange lives of creative geniuses may want to read Assouline's fine, if somewhat disillusioning, biography."
--Michael Dirda, Washington Post
"Will inform and edify America's Tintin devotees."
--San Francisco Chronicle
- Sales Rank: #1609365 in Books
- Published on: 2011-11-04
- Released on: 2011-11-04
- Original language: English
- Number of items: 1
- Dimensions: 6.10" h x .80" w x 9.20" l, .75 pounds
- Binding: Paperback
- 288 pages
Review
"Highlights yet again that all-too-common divide between the flawed private man and the admirable creative genius.... Those fascinated by the strange lives of creative geniuses may want to read Assouline's fine, if somewhat disillusioning, biography." --Michael Dirda, Washington Post
"Will inform and edify America's Tintin devotees." --San Francisco Chronicle
About the Author
Pierre Assouline is a prominent French journalist and writer. His has written several novels as well as acclaimed biographies of photographer Henri Cartier-Bresson and detective novelist Georges Simenon. He is also a film producer and was the 2007 winner of the prestigious Prix de la Langue Française.
Charles Ruas is the author of Conversations with American Writers and a frequent contributor to ArtNews and Art in America.
From The Washington Post
From The Washington Post's Book World/washingtonpost.com Reviewed by by Michael Dirda Some years ago I was teaching English in a lycee -- a French high school -- in a poor, working-class district of Marseille. One afternoon I asked my class to tell me the names of their favorite writers. Would they, I wondered, pick Stendhal or Boris Vian or maybe Françoise Sagan or even the pulp detective writer San-Antonio? To my surprise, many of these 16-year-olds sang out "René Goscinny" and "Hergé." They laughed when I failed to recognize either name. Goscinny, I soon learned, was the co-creator of the comic-book hero Astérix, whose witty, pun-filled and sometimes anachronistic adventures are set during the Roman occupation of ancient Gaul. In effect, Goscinny wrote what we now call graphic novels. I soon bought and read most of them. As for Hergé: Not knowing his name revealed to everyone that I was but a callow, provincial American, a mere aspirant to European culture. For Hergé was, of course, the Belgian writer and artist who, between 1930 and 1976, chronicled the Indiana Jones-like adventures of the immortal boy reporter Tintin and his dog, Snowy. Just this past June, an Hergé Museum opened near Brussels, with considerable fanfare. Nowadays, the 23 canonical Tintin albums, translated into English, can usually be found in the children's section of most public libraries. Yet fans range from philosopher Michel Serres to novelist Marguerite Duras to filmmaker Steven Spielberg, who is at work on a series of Tintin movies, starting with "The Secret of the Unicorn" (1943). Moreover, there are scores of scholarly books and articles about the young reporter, including that foundational work of Tintinology, the 1984 study by Jean-Marie Apostolidès, which has now been translated as "The Metamorphoses of Tintin." This last is a labor of love but also of sophisticated analysis, examining the evolution and changing character of the Tintinesque universe. A new Hergé biography by Pierre Assouline highlights yet again that all-too-common divide between the flawed private man and the admirable creative genius. Tintin was originally conceived as the ideal Boy Scout: virtuous, brave, resourceful and (in his earliest days) religious, as well as eternally 15 years old. Children were virtually encouraged to practice the imitation of Tintin. After all, Hergé -- born Georges Remi -- himself grew up a devout Catholic conservative. He invented his hero for the juvenile section of a Catholic publication called Le Vingtième Siècle (The Twentieth Century), and for years followed closely the spiritual and artistic direction of its charismatic editor, Father Norbert Wallez. It's especially deplorable, then, that the initial versions of "Tintin in the Land of the Soviets" (1930), "Tintin in the Congo" (1931) and "Tintin in America" (1932) were spattered with crude political caricatures, fanatical Belgian nationalism, colonialist attitudes, anti-Semitism and racism. Villains, for instance, bore Jewish names and exaggerated features. Good Africans loyally pledged their allegiance to their homeland, Belgium. Tintin's friend, the short-tempered, moody and alcoholic Captain Haddock, spluttered racially offensive epithets in his colorful bouts of cursing. Still, one might excuse such things as being period prejudices, typical of the time. It's an argument that Hergé later made himself. But the artist's behavior during the Nazi occupation of Belgium is another matter. In order to keep working and, quite callously, to advance his career, Hergé agreed to supply Tintin strips to Le Soir, a collaborationist newspaper whose editors toed the Nazi line. So, while other writers and artists chose an honorable silence, Hergé blithely earned pots of money as a valued member of the Le Soir team. After the war, Hergé barely escaped prosecution as a collaborator, largely because he opportunely accepted a chance to collaborate again -- this time by starting Tintin magazine with the very men in a position to save him from indictment. For a long time, he was nonetheless widely considered a traitor or "incivique" (noncitizen). Little wonder that by the late 1940s, the once highly energetic Hergé began to suffer from severe depression, sought escape in casual love affairs and grew increasingly absolutist in his business arrangements and artistic views. To produce the postwar Tintin adventures, Hergé established an almost medieval-style workshop, relying on talented employees for historical research, story development and a fair amount of drawing and coloring. Yet he always took sole credit. In his art, at least, there could be no hint of collaboration. Still, the mature Hergé never found real contentment. In his later years he divorced his wife and married a woman nearly 30 years his junior, studied the quietist "Tao Te Ching" for spiritual solace and published nothing new after 1976. He died in 1983 at the age of 75. Most readers of the Tintin albums generally agree that those produced in the late 1950s and early '60s were Hergé's most heartfelt, deepest or funniest: "The Calculus Affair" (1956), "The Red Sea Sharks" (1958) and "The Castafiore Emerald" (1963) are often mentioned as his best, while Hergé's own favorite was "Tintin in Tibet" (1960). In the first I ever read, "The Crab With the Golden Claws" (1941), a discarded tin can leads our hero to a ring of opium smugglers. In short order, Tintin and Snowy meet Captain Haddock for the first time, suffer near drowning, and almost die of thirst in the Sahara, where they eventually fight a pitched battle straight out of "Beau Geste." I know that Hergé eliminated some objectionable elements in the original story, but what now remains is clear, fast-moving and surprisingly sweet. Tintinatics of a scholarly turn will certainly want to acquire Jean-Marie Apostolidès's "The Metamorphoses of Tintin," while those fascinated by the strange lives of creative geniuses may want to read Assouline's fine, if somewhat disillusioning, biography. But, "blistering barnacles!," as Captain Haddock would say: All that really matters are those 23 albums, perennial classics of reposeful adventure. bookworld@washpost.com
Copyright 2009, The Washington Post. All Rights Reserved.
Most helpful customer reviews
10 of 10 people found the following review helpful.
Herge The Man Who Created Tintin Book Review
By Monkey
This is a book about Georges Remi, lovingly known as Herge to generations of kids and parents. I am a huge fan of Tintin, so the opportunity to read the life of Georges Remi was a treat for me that was both weird, wonderful, and at points an odd comparison between the characters in comic books and the man who drew them. A person is complex and often at odds with the public versus private personas that they have and Georges Remi was no different. This book highlights those differences between the man, the copious body of work, and the public and hidden histories that all people have. Pierre Assouline has done an incredible job in helping to separate the public and the private. While we always want to know more, to lay the entire life of Georges open for inspection, Pierre has taken a more conservative approach, there are things we can know, but there are also issues that are simply voyeurism and not worth talking about, let alone printing.
The book is set in three major divisions, the early years up until 1944 where he was working and developing his craft. The second division in the book is the World War II period where he was accused of collaboration for working on a tightly controlled paper during the war years. And then the final years of his life post 1950 where he continued with personal growth and the explosion of Tintin related materials that cemented his Herge persona and reconciliation with family, friends, and his work under German occupation during the war years. This is where the book gets interesting; the stark contrasts between the personality of Herge and Georges Remi stand out throughout this book daring the reader to draw conclusions between the public and the private. As a public person Herge/Remi had every reason to control that image, as a private person we know almost nothing, but Remi does come off as somewhat of a control freak as discussed in his later 1970's interviews.
Overall, this is a fantastic view of the man Georges Remi and the complex personality that he had. This is not a book about Tintin; rather this is a book about the creator of one of the coolest comic series written. People who are fascinated by people and the complexity of people will love this book. People who are looking for another Tintin comic might be interested in this one. I am very happy I got this book, and it is well worth reading. Rated 5 of 5 stars - I hope there is another book that explores more of Herge in depth.
8 of 8 people found the following review helpful.
Interesting Insight into Herge's Life
By Ganapathy Subramaniam
For anyone who is a fan of Herge's works, be it the evergreen reporter Tintin and his adventures, or his funny Quick and Flupke, or the more familial Jo, Zette and Jocko , there is no such thing as enough when it comes to any literature related to the artist or his art.
Last few years has seen a surge in books on Herge and Tintin, Michale Farr's works in particular, and the newly translated Art of Herge series have given new insights into the working of Herge. How he went about creating the stories, what he used for his ever so detailed art work as reference, etc.
This book by Pierre Assouline is a refreshingly new look at the life and times of Herge. The focus is now on the happenings in the background as Herge went about spinning tale after tale of adventure and fun. It gives a very balanced and unbiased view on Herge, his political social situation, his views and attitudes, and how the political situation in Europe during the early twentieth century was shaping the creativity of Herge and others like him.
It talks about interesting things that artists, readers and anyone interested in Tintin, French/Belgian, European art/journalism in that part of history, will find very informative. This also gives a good coverage on some controversial aspects such as racial stereotyping and such. And how Herge was simply being himself, in tune with the times, plain and straight and not worrying about "political correctness" or being a hero. Those were indeed strange times, to learn that Herge was imprisoned for alleged 'collaboration' with the German occupation and some even thought he should be hanged!!
The book is full of little stories that give answers to so many questions that we might have, artistically and otherwise, for instance, here is a story about how Herge hired a very talented Jacob who influenced Herge in bringing in meticulous details to the mechanical drawings of cars and airplanes. Numerous such stories fill the book. How people, events and situations influenced the artist in his creation are a very interesting read.
The book takes the reader through the life of Herge during his creative professional years, evolution of the stories, evolution of the formats, how it all started as political journalism, as newspaper strip with the journalist investigating communist Russia, colonial Africa etc., and how the Tintin series itself matures and became more sophisticated as time progressed, with adventurous stories such as the Red Rackham's treasure and the The Destination Moon sequels. We also learn about how the series was revised, reformatted, colored and transformed into a uniform series, and how much of time and labour went into it.
The book is very well paced, like that of an exciting novel, that you want to finish it all in one go. but being a great fan of Herge and his works, one wants to sip it in ever so slowly, enjoying every bit of it as we enjoy Herge's works.
1 of 1 people found the following review helpful.
Good bio, but no photos or graphics
By Randy R.
I agree with the comments about this book. It's well researched and provides glimpses into the man behind Hergé, Georges Remi. While I somewhat agree that the book does not provide a lot of insight into what made the man tick, I think this is partly a reflection of the subject himself who appeared to be distant and impenetrable. For those not very familiar with the artist, his work during the war years and, particularly, the controversy surrounding the question whether he "collaborated" during the Nazi occupation will be a revelation. I believe this book was shortened somewhat from the French version, which may have played a role.
I think the one shortcoming of this book is the lack of photos or samples of Tintin art. A bit of a major oversight given this is about an artist! I know this is a biography about the man, but a little more insight into what made his work so unique and effective would have enhanced the readers' appreciation and understanding of the artist.
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