smile, you imagine a cartoon of smiling, not the complete skin-and-nose-and-hair package. It’s precisely the simplicity and universality of cartoon faces, the absence of Otherly particulars, that invite us to love them as we love ourselves. The most widely loved (and profitable) faces in the modern world tend to be exceptionally basic and abstract cartoons: Mickey Mouse, the Simpsons, Tintin, and—simplest of all, barely more than a circle, two dots, and a horizontal line—Charlie Brown.
Charles Schulz only ever wanted to be a cartoonist. He was born in St. Paul in 1922, the only child of a German father and a mother of Norwegian extraction. Much of the existing Schulzian literature dwells on the Charlie Brownish traumas in his early life: his skinniness and pimples, his unpopularity with girls at school, the inexplicable rejection of a batch of his drawings by his high-school yearbook, and, some years later, the rejection of his marriage proposal by the real-life Little Red-Haired Girl, Donna Mae Johnson. Schulz himself spoke of his youth in a tone close to anger. “It took me a long time to become a human being,” he told an interviewer in 1987.
I was regarded by many as kind of sissyfied, which I resented because I really was not a sissy. I was not a tough guy, but … I was good at any sport where you threw things, or hit them, or caught them, or something like that. I hated things like swimming and tumbling and those kinds of things, so I was really not a sissy. [… But] the coaches were so intolerant and there was no program for all of us. So I never regarded myself as being much and I never regarded myself as good looking and I never had a date in high school, because I thought, who’d want to date me? So I didn’t bother.
Schulz “didn’t bother” going to art school, either—it would only have discouraged him, he said, to be around people who could draw better than he could.
On the eve of Schulz’s induction into the Army, his mother died of cancer. Schulz later described the loss as a catastrophe from which he almost did not recover. During basic training he was depressed, withdrawn, and grieving. In the long run, though, the Army was good for him. He entered the service, he recalled later, as a “nothing person” and came out as a staff sergeant in charge of a machine-gun squadron. “I thought, by golly, if that isn’t a man, I don’t know what is,” he said. “And I felt good about myself, and that lasted about eight minutes, and then I went back to where I am now.”
After the war, he returned to his childhood neighborhood, lived with his father, became intensely involved in a Christian youth group, and learned to draw kids. For the rest of his life, he virtually never drew adults. He avoided adult vices—didn’t drink, didn’t smoke, didn’t swear—and, in his work, he spent more and more time in the imagined yards and sandlots of his childhood. He was childlike, too, in the absoluteness of his scruples and inhibitions. Even after he became famous and powerful, he was reluctant to demand a more flexible layout for “Peanuts,” because he didn’t think it was fair to the papers that had been his loyal customers. He also thought it was unfair to draw caricatures. (“If somebody has a big nose,” he said, “I’m sure that they regret the fact they have a big nose and who am I to point it out in gross caricature?”) His resentment of the name “Peanuts,” which his editors had given the strip in 1950, was still fresh at the end of his life. “To label something that was going to be a life’s work with a name like ‘Peanuts’ was really insulting,” he told an interviewer in 1987. To the suggestion that thirty-seven years might have softened the insult, Schulz replied: “No, no. I hold a grudge, boy.”
Was Schulz’s comic genius the product of his psychic wounds? Certainly the middle-aged artist was a mass of resentments and phobias that seemed attributable, in turn, to early traumas. He was increasingly prone to attacks of depression and bitter loneliness (“Just the mention of a hotel makes me turn cold,” he told his biographer), and when he finally broke away from his native Minnesota he set about replicating its comforts in California, building himself an ice rink where the snack bar was called “Warm Puppy.” By the 1970s, he was reluctant even to get on an airplane unless someone from his family was with him. This would seem to be a classic instance of the pathology that produces great art: wounded in his adolescence, our hero took permanent refuge in the childhood world of “Peanuts.”
But what if Schulz had chosen to become a toy salesman, rather than an artist? Would he still have lived such a withdrawn and emotionally turbulent life? I suspect not. I suspect that Schulz the toy salesman would have gutted his way through a normal life the same way he’d gutted out his military service. He would have done whatever it took to support his family—begged a Valium prescription from his doctor, had a few drinks at the hotel bar.
Schulz wasn’t an artist because he suffered. He suffered because he was an artist. To keep choosing art over the comforts of a normal life—to grind out a strip every day for fifty years; to pay the very steep psychic price for this—is the opposite of damaged. It’s the sort of choice that only a tower of strength and sanity can make. The reason that Schulz’s early sorrows look like “sources” of his later brilliance is that he had the talent and resilience to find humor in them. Almost every young person experiences sorrows. What’s distinctive about Schulz’s childhood is not his suffering but the fact that he loved comics from an early age, was gifted at drawing, and had the undivided attention of two loving parents.
Every February, Schulz drew a strip about Charlie Brown’s failure to get any valentines. Schroeder, in one installment, chides Violet for trying to fob off a discarded valentine on Charlie Brown several days after Valentine’s Day, and Charlie Brown shoves Schroeder aside with the words “Don’t interfere—I’ll take it!” But the story Schulz told about his own childhood experience with valentines was very different. When he was in first grade, he said, his mother helped him make a valentine for each of his classmates, so that nobody would be offended by not getting one, but he felt too shy to put them in the box at the front of the classroom, and so he took them all home again to his mother. At first glance, this story recalls a 1957 strip in which Charlie Brown peers over a fence at a swimming pool full of happy kids and then trudges home by himself and sits in a bucket of water. But Schulz, unlike Charlie Brown, had a mother on duty—a mother to whom he chose to give his entire basket. A child deeply scarred by a failure to get valentines would probably not grow up to draw lovable strips about the pain of never getting valentines. A child like that—one thinks of R. Crumb—might instead draw a valentine box that morphs into a vulva that devours his valentines and then devours him, too.
This is not to say that the depressive and failure-ridden Charlie Brown, the selfish and sadistic Lucy, the philosophizing oddball Linus, and the obsessive Schroeder (whose Beethoven-sized ambitions are realized on a one-octave toy piano) aren’t all avatars of Schulz. But his true alter ego is clearly Snoopy: the protean trickster whose freedom is founded on his confidence that he’s lovable at heart, the quick-change artist who, for the sheer joy of it, can become a helicopter or a hockey player or Head Beagle and then again, in a flash, before his virtuosity has a chance to alienate you or diminish you, be the eager little dog who just wants dinner.
I never heard my father tell a joke. Sometimes he reminisced about a business colleague who ordered a “Scotch and Coke” and a “flander” fillet in a Dallas diner in July, and he could laugh at his own embarrassments, his impolitic remarks at the office, his foolish mistakes on home-improvement projects; but there wasn’t a silly bone in his body. He responded to other people’s jokes with a wince or a grimace. As a boy, I told him a story I’d made up about a trash-hauling company cited for “fragrant violations.” He shook his head, stone-faced, and said, “Not plausible.”
In another archetypical “Peanuts” strip, Violet and Patty are abusing Charlie Brown in vicious stereo: “GO ON HOME! WE DON’T WANT YOU AROUND HERE!” He trudges away with his eyes on the ground, and Violet remarks, “It’s a strange thing about Charlie Brown. You almost never see him laugh.”
The few times he ever played catch with me, my father threw the ball like a thing he wanted to get rid of, a piece of rotten fruit, and he snatched at my return throws with an awkward pawing motion. I never saw him touch a football or a Frisbee. His two main recreations were golf and bridge, and his enjoyment of them consisted in perpetually reconfirming that he was useless at the one and unlucky at the other.
He only ever wanted