4. Like all artists, Kelly was working with set inherited forms, which in his case he tried to transform/transcend, arguably unsuccessfully
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Replying to @HeerJeet
5. What early Pogo comic books show is Kelly's clear debt to Joel Chandler Harris's stories of Uncle Remus, Brer Rabbit, etc.
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Replying to @HeerJeet
6. Kelly's use of Southern folklore (or fakelore) to question racism brings up something missing in debate about Katznelson's "Fear Itself."
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7. Not sufficient to say that New Deal Liberalism was compromised by alliance with Jim Crow South. Flipside was progressive hope for South.
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Replying to @HeerJeet
8. Some 1940s progressives hoped South, hotbed of support for the New Deal, could overcome racism, it would be heartland of US left.
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9. Attempt to see South as having hopeful post-racial future evident in AFL-CIO's Operation Dixie & Woody Gutherie's recasting of folk music
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10. Kelly's Pogo -- a working class Irish guy from Connecticut imagining a post-racial funny animal southern utopia -- part of this story
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11. Funny animals are in the USA often a way of talking about race without talking about race: Brer Rabbit, Krazy Kat, Mickey Mouse, Pogo.
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Replying to @HeerJeet
12. Parallel phenomenon: in Britain, funny animals are a way of talking about class without talking about class. Say,Mr. Bull from Peppa Pig
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13. Felix the Cat & Mickey Mouse were way of keeping minstrel show heritage alive in age where being challenge:http://sanseverything.wordpress.com/2009/08/11/felix-the-cat-blackface/ …
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Replying to @HeerJeet
14. As against Mickey Mouse, I think Krazy Kat and Pogo are attempts to imagine post-racial world. not keep minstrelry alive.
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