n but also through other expressions of childhood art When Miss Wormwood complains that he is wasting class time drawing incomprehensible things a Stegosaurus in a rocket ship, for example, Calvin proclaims himself "on the cutting edge of the avant-garde" He begins exploring the medium of snow when a warm day melts his snowman His next sculpture "speaks to the horror of our own mortality, inviting the viewer to contemplate the evanescence of life" In further strips, Calvin's creative instincts diversify to include sidewalk drawings or as he terms them, examples of "suburban postmodernism"
Watterson also lampooned the academic world In one example, Calvin writes a "revisionist autobiography", recruiting Hobbes to take pictures of him doing stereotypical kid activities like playing sports in order to make him seem more well-adjusted In another strip, he carefully crafts an "artist's statement," claiming that such essays convey more messages than artworks themselves ever do Hobbes blandly notes "You misspelled Weltanschauung" He indulges in what Watterson calls "pop psychobabble" to justify his destructive rampages and shift blame to his parents, citing "toxic codependency" In one instance, he pens a book report based on the theory that the purpose of academic scholarship is to "inflate weak ideas, obscure poor reasoning, and inhibit clarity," entitled The Dynamics of Interbeing and Monological Imperatives in Dick and Jane: A Study in Psychic Transrelational Gender Modes Displaying his creation to Hobbes, he remarks, "Academia, here I come!" Watterson explains that he adapted this jargon and simi
Overall, Watterson's satirical essays serve to attack both sides, criticizing both the commercial mainstream and the artists who are supposed to be "outside" it Not long after he began drawing his "Dinosaurs In Rocket Ships" series, Calvin tells Hobbes:
The hard part for us avant-garde post-modern artists is deciding whether or not to embrace commercialism Do we allow our work to be hyped and exploited by a market that's simply hungry for the next new thing Do we participate in a system that turns high art into low art so it's better suited for mass consumption Of course, when an artist goes commercial, he makes a mockery of his status as an outsider and free thinker He buys into the crass and shallow values art should transcend He trades the integrity of his art for riches and fame Oh, what the heck I'll do it
Social criticisms
In addition to his criticisms of art and academia, Watterson often used the strip to comment on American culture and society With rare exception, the strip avoids reference to actual people or events Watterson's commentary is therefore necessarily generalized He expresses frustration with public decadence and apathy, with commercialism, and with the pandering nature of the mass media Calvin is often seen "glued" to the television, while his father speaks with the voice of ascetic virtue, struggling to impart his values to Calvin
Watterson's vehicle for criticism is often Hobbes, who comments on Calvin's unwholesome habits from a more cynical perspective He is more likely to make a wry observation than actually intervene; he may merely watch as Calvin inadvertently makes the point himself In one instance, Calvin tells Hobbes about a science fiction story he has read in which machines turn humans into zombie slaves Hobbes makes a comment about the irony of machines controlling people instead of the other way around; Calvin then exclaims, "I'll say Hey! What time is it My TV show is on!" and sprints back inside to watch it
A Sunday, 21 June 1992 strip discussing the Big Bang coined the term "Horrendous Space Kablooie" for the event, a term which has achieved some tongue-in-cheek popularity among the scientific community, particularly in informal discussion and often shortened to "the HSK"
Visual distortions
On several occasions, Watterson drew strips with strange visual distortions: inverted colors, objects turning "neo-cubist", or fantasy environments with other unusual physical phenomena Only Calvin is able to perceive these alterations, which seem to illustrate both his own shifting point of view and a typical six-year-old's wild imagination
In the Tenth Anniversary Book, Watterson explains that some of these strips were metaphors for his own experiences, illustrating, for example, his conflicts with his syndicate: a 1989 Sunday strip, normally in color, was drawn almost entirely in an inverted monochrome Calvin is accused by his father of seeing issues "in black and white"
an accusation sometimes leveled at Watterson regarding his refusal to license the strip
to which Calvin, echoing Watterson's own retort, replies, "Sometimes that's the way things are!"
Passage of time
When the strips were originally published, Calvin's settings were seasonally appropriate for the Northern Hemisphere Calvin would be seen building snowmen or sledding during the period from November through February or so, and outside activities such as water balloon fights would replace school from June through August Christmas and Halloween strips were run during those times of year
Although Watterson depicts several years' worth of holidays, school years, summer vacations, and camping trips, and characters are aware of multiple "current" years such as "'94 model toboggans," "Vote Dad in '88," the '90s as the new decade, etc Calvin is never shown to age, pass to second grade, nor have any birthday celebrations The only birthday ever shown was that of Susie Derkins Such temporal distortions are fairly common among comic strips, as with the children in Peanuts, who existed without aging for decades Likewise, the characters in Krazy Kat celebrate the New Year but never grow old, and young characters like Ignatz Mouse's offspring never seem to grow up These uses of a floating timeline are very unlike series such as Gasoline Alley, Doonesbury and until 2007 For Better or For Worse, in which the characters age each year with their reading audience, get married, and have children
While Calvin does not grow older in the strip, reference is made in two strips
from November 17 and 18, 1995 ten years since the strip's debut
to Calvin having once been two and three years old and now feeling that "a lifetime of experience has left
Academic response
In her book When Toys Come Alive, Lois Rostow Kuznets discusses Calvin and Hobbes in the context of other literature featuring living toys She argues that these toys are examples of transitional objects that mediate childhood experience and the adult world, where Hobbes serves both as a figure of Calvin's childish fantasy life and as an outlet for the expression of libidinous desires more associated with adults She cites, for example, a strip where Hobbes expresses a fantasy of playing "saxophone for an all-girl cabaret in New Orleans" as an example where Hobbes expresses a desire that is more sophisticated and adult than Calvin's frame of reference usually allows Kuznets also looks at Calvin's other fantasies, suggesting that they are a second tier of fantasies utilized in places like school where transitional objects such as Hobbes would not be socially acceptable
A second line of argument comes from Philip Sandifer, who uses Calvin and Hobbes as the main example for a reading of comic strips based on the psychoanalytic theories of Jacques Lacan He draws parallel between Hobbes's status as an imaginary friend and the Lacanian concept of the Imaginary, suggesting that a given comic strip is an attempt to construct a momentary and ephemeral present that will be dismantled by the punchline which he allies with the Lacanian Real, wiping the slate and allowing the process to begin again the next day He suggests that the strip takes place in an eternal present with no real reference to its past, which is erased each day with the punchline so that a new present can be constructed He also looks at the later Sunday strips, which are known for the technical skill Watterson displayed when given a more unrestricted layout, arguing that his layouts are best read not in terms of their use of space but in terms of their depiction of time
Named after the 16th-century theologian, Calvin is an impulsive, sometimes overly creative, imaginative, energetic, curious, intelligent, and often selfish six-year-old, whose last name is never mentioned in the strip Despite his low grades, Calvin has a wide vocabulary range that rivals that of an adult as well as an emerging philosophical mind:
Calvin: "Dad, are you vicariously living through me in the hope that my accomplishments will validate your mediocre life and in some way compensate for all of the opportunities you botched"
Calvin's father: "If I were, you can bet I'd be re-evaluating my strategy"
Calvin later, to his mother: "Mom, Dad keeps insulting me"
He commonly wears his distinctive red-and-black striped shirt, black pants, magenta socks and white sneakers He is also a compulsive reader of comic books and has a tendency to order items marketed in comic books or on boxes of his favorite cereal, "Chocolate Frosted Sugar Bombs" Calvin chews gum regularly and subscribes to a magazine called Chewing Throughout the series, he is also revealed to be a "trial and error" sort of person Watterson has described Calvin thus:
"Calvin is pretty easy to do because he is outgoing and rambunctious and there's not much of a filter between his brain and his mouth"
"I guess he's a little too intelligent for his age The thing that I really enjoy about him is that he has no sense of restraint, he doesn't have the experience yet to know the things that you shouldn't do"
Hobbes
Main article: Hobbes Calvin and Hobbes
Hobbes
From everyone else's point of view, Hobbes is Calvin's stuffed tiger From Calvin's point of view, however, Hobbes is an anthropomorphic tiger, much larger than Calvin and full of independent attitudes and ideas But when the perspective shifts to any other character, readers again see merely a stuffed animal, usually seated at an off-kilter angle This is, of course, an odd dichotomy, and Watterson explains it thus:
When Hobbes is a stuffed toy in one panel and alive in the next, I'm juxtaposing the "grown-up" version of reality with Calvin's version, and inviting the reader to decide which is truer
Hobbes' true nature is made more ambiguous by episodes that seem to attribute real-life consequences to Hobbes's actions One example is his habit of pouncing on Calvin the moment he arrives home from school, an act which always leaves Calvin with bruises and scrapes that are evident to other characters In another incident, Hobbes manages to tie Calvin to a chair in such a way that Calvin's father is unable to understand how he could have done it himself Yet another incident features Hobbes leaving Calvin hanging by the seat of his pants from a tree branch above Calvin's head
Hobbes is named after the 17th-century philosopher Thomas Hobbes, who had what Watterson described as "a dim view of human nature"
Although the first strips clearly show Calvin capturing Hobbes by means of a snare with tuna fish sandwich as the bait, a later comic August 1, 1989 seems to imply that Hobbes is, in fact, older than Calvin, and has been around his whole life Watterson eventually decided that it was not important to establish how Calvin and Hobbes had first met
Supporting characters
Main article: Secondary characters in Calvin and Hobbes
Calvin's family
Calvin's parents, always referred to only as "Mom" and "Dad", or "Dear" to each other
Calvin's parents, always referred to only as "Mom" and "Dad", or "Dear" to each other
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ocks were too large, or the key was too small, but, at any rate, it would not open any of them. However, on the second time 'round, she came upon a low curtain she had not noticed before, and behind it was a little door about fifteen inches high. She tried the little golden key in the lock, and to her great delight, it fitted!
Alice opened the door and found that it led into a small passage, not much larger than a rat-hole; she knelt down and looked along the passage into the loveliest garden you ever saw. How she longed to get out of that dark hall and wander about among those beds of bright flowers and those cool fountains, but she could not even get her head through the doorway. "Oh," said Alice, "how I wish I could shut up like a telescope! I think I could, if I only knew how to begin."
Alice went back to the table, half hoping she might find another key on it, or at any rate, a book of rules for shutting people up like telescopes. This time she found a little bottle on it ("which certainly was not here before," said Alice), and tied 'round the neck of the bottle was a paper label, with the words "DRINK ME" beautifully printed on it in large letters.
"No, I'll look first," she said, "and see whether it's marked 'poison' or not," for she had never forgotten that, if you drink from a bottle marked "poison," it is almost certain to disagree with you, sooner or later. However, this bottle was not marked "poison," so Alice ventured to taste it, and, finding it very nice (it had a sort of mixed flavor of cherry-tart, custard, pineapple, roast turkey, toffy and hot buttered toast), she very soon finished it off.
"What a curious feeling!" said Alice. "I must be shutting up like a telescope!"
And so it was indeed! She was now only ten inches high, and her face brightened up at the thought that she was now the right size for going through the little door into that lovely garden.
After awhile, finding that nothing more happened, she decided on going into the garden at once; but, alas for poor Alice! When she got to the door, she found she had forgotten the little golden key, and when she went back to the table for it, she found she could not possibly reach it: she could see it quite plainly through the glass and she tried her best to climb up one of the legs of the table, but it was too slippery, and when she had tired herself out with trying, the poor little thing sat down and cried.
"Come, there's no use in crying like that!" said Alice to herself rather sharply. "I advise you to leave off this minute!" She generally gave herself very good advice (though she very seldom followed it), and sometimes she scolded herself so severely as to bring tears into her eyes.
Soon her eye fell on a little glass box that was lying under the table: she opened it and found in it a very small cake, on which the words "EAT ME" were beautifully marked in currants. "Well, I'll eat it," said Alice, "and if it makes me grow larger, I can reach the key; and if it makes me grow smaller, I can creep under the door: so either way I'll get into the garden, and I don't care which happens!"
She ate a little bit and said anxiously to herself, "Which way? Which way?" holding her hand on the top of her head to feel which way she was growing; and she was quite surprised to find that she remained the same size. So she set to work and very soon finished off the cake.
THE POOL OF TEARS
"Curiouser and curiouser!" cried Alice (she was so much surprised that for the moment she quite forgot how to speak good English). "Now I'm opening out like the largest telescope that ever was! Good-by, feet! Oh, my poor little feet, I wonder who will put on your shoes and stockings for you now, dears? I shall be a great deal too far off to trouble myself about you."
Just at this moment her head struck against the roof of the hall; in fact, she was now rather more than nine feet high, and she at once took up the little golden key, and when she went back to the table for it, she found she could not possibly reach it: she could see it quite plainly through the glass and she tried her best to climb up one of the legs of the table, but it was too slippery, and when she had tired herself out with trying, the poor little thing sat down and cried.
"Come, there's no use in crying like that!" said Alice to herself rather sharply. "I advise you to leave off this minute!" She generally gave herself very good advice (though she very seldom followed it), and sometimes she scolded herself so severely as to bring tears into her eyes.
Soon her eye fell on a little glass box that was lying under the table: she opened it and found in it a very small cake, on which the words "EAT ME" were beautifully marked in currants. "Well, I'll eat it," said Alice, "and if it makes me grow larger, I can reach the key; and if it makes me grow smaller, I can creep under the door: so either way I'll get into the garden, and I don't care which happens!"
She ate a little bit and said anxiously to herself, "Which way? Which way?" holding her hand on the top of her head to feel which way she was growing; and she was quite surprised to find that she remained the same size. So she set to work and very soon finished off the cake.
THE POOL OF TEARS
"Curiouser and curiouser!" cried Alice (she was so much surprised that for the moment she quite forgot how to speak good English). "Now I'm opening out like the largest telescope that ever was! Good-by, feet! Oh, my poor little feet, I wonder who will put on your shoes and stockings for you now, dears? I shall be a great deal too far off to trouble myself about you."
Just at this moment her head struck against the roof of the hall; in fact, she was now rather more than nine feet high, and she at once took up the little golden key and hurried off to the garden door.
Poor Alice! It was as much as she could do, lying down on one side, to look through into the garden with one eye; but to get through was more hopeless than ever. She sat down and began to cry again.
She went on shedding gallons of tears, until there was a large pool all 'round her and reaching half down the hall.
After a time, she heard a little pattering of feet in the distance and she hastily dried her eyes to see what was coming. It was the White Rabbit returning, splendidly dressed, with a pair of white kid-gloves in one hand and a large fan in the other. He came trotting along in a great hurry, muttering to himself, "Oh! the Duchess, the Duchess! Oh! won't she be savage if I've kept her waiting!"
When the Rabbit came near her, Alice began, in a low, timid voice, "If you please, sir
" The Rabbit started violently, dropped the white kid-gloves and she very good-naturedly began hunting about for them, but they were nowhere to be seen
everything seemed to have changed since her swim in the pool, and the great hall, with the glass table and the little door, had vanished completely.
Very soon the Rabbit noticed Alice, and called to her, in an angry tone, "Why, Mary Ann, what are you doing out here? Run home this moment and fetch me a pair of gloves and a fan! Quick, now!"
"He took me for his housemaid!" said Alice, as she ran off. "How surprised he'll be when he finds out who I am!" As she said this, she came upon a neat little house, on the door of which was a bright brass plate with the name "W. RABBIT" engraved upon it. She went in without knocking and hurried upstairs, in great fear lest she should meet the real Mary Ann and be turned out of the house before she had found the fan and gloves.
By this time, Alice had found her way into a tidy little room with a table in the window, and on it a fan and two or three pairs of tiny white kid-gloves; she took up the fan and a pair of the gloves and was just going to leave the room, when her eyes fell upon a little bottle that stood near the looking-glass. She uncorked it and put it to her lips, saying to herself, "I do hope it'll make me grow large again, for, really, I'm quite tired of being such a tiny little thing!"
Before she had drunk half the bottle, she found her head pressing against the ceiling, and had to stoop to save her neck from being broken. She hastily put down the bottle, remarking, "That's quite enough
I hope I sha'n't grow any more."
Alas! It was too late to wish that! She went on growing and growing and very soon she had to kneel down on the floor. Still she went on growing, and, as a last resource, she put one arm out of the window and one foot up the chimney, and said to herself, "Now I can do no more, whatever happens. What will become of me?"
Luckily for Alice, the little magic bottle had now had its full effect and she grew no larger. After a few minutes she heard a voice outside and stopped to listen.
"Mary Ann! Mary Ann!" said the voice. "Fetch me my gloves this moment!" Then came a little pattering of feet on the stairs. Alice knew it was the Rabbit coming to look for her and she trembled till she shook the house, quite forgetting that she was now about a thousand times as large as the Rabbit and had no reason to be afraid of it.
Presently the Rabbit came up to the door and tried to open it; but as the door opened inwards and Alice's elbow was pressed hard against it, that attempt proved a failure. Alice heard it say to itself, "Then I'll go 'round and get in at the window."
"That you won't!" thought Alice; and after waiting till she fancied she heard the Rabbit just under the window, she suddenly spread out her hand and made a snatch in the air. She did not get hold of anything, but she heard a little shriek and a fall and a crash of broken glass, from which she concluded that it was just possible it had fallen into a cucumber-frame or something of that sort.
Next came an angry voice
the Rabbit's
"Pat! Pat! Where are you?" And then a voice she had never heard before, "Sure then, I'm here! Digging for apples, yer honor!"
"Here! Come and help me out of this! Now tell me, Pat, what's that in the window?"
"Sure, it's an arm, yer honor!"
"Well, it's got no business there, at any rate; go and take it away!"
There was a long silence after this and Alice could only hear whispers now and then, and at last she spread out her hand again and made another snatch in the air. This time there were two little shrieks and more sounds of broken glass. "I wonder what they'll do next!" thought Alice. "As for pulling me out of the window, I only wish they could!"
She waited for some time without hearing anything more. At last came a rumbling of little cart-wheels and the sound of a good many voices all talking together. She made out the words: "Where's the other ladder? Bill's got the other
Bill! Here, Bill! Will the roof bear?
Who's to go down the chimney?
Nay, I sha'n't! You do it! Here, Bill! The master says you've got to go down the chimney!"
Alice drew her foot as far down the chimney as she could and waited till she heard a little animal scratching and scrambling about in the chimney close above her; then she gave one sharp kick and waited to see what would happen next.
The first thing she heard was a general chorus of "There goes Bill!" then the Rabbit's voice alone
"Catch him, you by the hedge!" Then silence and then another confusion of voices
"Hold up his head
Brandy now
Don't choke him
What happened to you?"
Last came a little feeble, squeaking voice, "Well, I hardly know
No more, thank ye. I'm better now
all I know is, something comes at me like a Jack-in-the-box and up I goes like a sky-rocket!"
After a minute or two of silence, they began moving about again, and Alice heard the Rabbit say, "A barrowful will do, to begin with."
"A barrowful of what?" thought Alice. But she had not long to doubt, for the next moment a shower of little pebbles came rattling in at the window and some of them hit her in the face. Alice noticed, with some surprise, that the pebbles were all turning into little cakes as they lay on the floor and a bright idea came into her head. "If I eat one of these cakes," she thought, "it's sure to make some change in my size."
So she swallowed one of the cakes and was delighted to find that she began shrinking directly. As soon as