Jules Feiffer

At 95 years old, Jules Feiffer physical status not available right now. We will update Jules Feiffer's height, weight, eye color, hair color, build, and measurements.

After Feiffer graduated from high school at 16, he was desperate for a job, and went unannounced to the office of one of his favorite cartoonists, Will Eisner. Eisner was sympathetic to young Feiffer, as Eisner had been in a similar situation when he first started out. He asked Feiffer, "What can you do?" He answered, "I'll do anything. I'll do coloring, or clean-up, or anything, and I'd like to work for nothing." However, Eisner wasn't impressed by Feiffer's art abilities and didn't know how he could employ him. But then he decided to give him a low-paying job when he found out that Feiffer "knew more about him than anybody who had ever lived," said Feiffer. "He had no choice but to hire me as a groupie."

Eisner considered Feiffer a mediocre artist, but he "liked the kid's spunk and intensity", writes Eisner biographer Michael Schumacher. Eisner was also aware that they both came from similar backgrounds, despite his being twelve years older. They both had fathers who struggled to support their family, and both their mothers were strong figures who held the family together through hardships. "He had a hunger for comics that Eisner rarely saw in artists", notes Schumacher. "Eisner decided that there was something to this wisecracking kid." When Feiffer later asked for a raise, Eisner instead gave him his own page in The Spirit section, and let him do his own coloring. As Eisner recalled in 1978:

They collaborated well on The Spirit, sharing ideas, arguing points, and making changes when they agreed. In 1947, Feiffer also attended the Pratt Institute for a year to improve his art style. Over time, Eisner valued Feiffer's opinions and judgments more often, appreciating his "uncanny knack" for capturing the way people talked, without using contrived dialogue. Eisner recalls that Feiffer "had a real ear for writing characters that lived and breathed. Jules was always attentive to nuances, such as sounds and expressions" which made stories seem more real.

After working with Eisner for nearly a decade, he chose to start creating his own comic strips. In 1956, after again first proving his talent by working for free, he became a staff cartoonist at The Village Voice where he produced the weekly comic strip titled Feiffer. Feiffer's strips ran for 42 years, until 1997, at first titled Sick Sick Sick, then as Feiffer's Fables, and finally as simply Feiffer. After a year with the Voice, Feiffer compiled a collection of many of his satire cartoons into a best-selling book, Sick Sick Sick: A Guide to Non-Confident Living (1958), a dissection of popular social and political neuroses. The success of that collection led to his becoming a regular contributor to the London Observer and Playboy magazine. Director Stanley Kubrick, a fellow Bronx native, invited Feiffer to write a screenplay for Sick, Sick, Sick, although the film was never made. After first becoming aware of Feiffer's work, Kubrick wrote him in 1958:

By April 1959, Feiffer was distributed nationally by the Hall Syndicate, initially in The Boston Globe, Minneapolis Star Tribune, Newark Star-Ledger and Long Island Press. Eventually, his strips covered the nation, including magazines, and were published regularly in major publications such as the Los Angeles Times, The New Yorker, Esquire, Playboy and The Nation. He was commissioned in 1997 by The New York Times to create its first op-ed page comic strip, which ran monthly until 2000.

Feiffer's cartoons were typically mini satires, where he portrayed ordinary people's thoughts about subjects such as sex, marriage, violence and politics. Writer Larry DuBois describes Feiffer's cartoon style:

Feiffer's work is represented by R. Michelson Galleries, located in Northampton, Massachusetts.

Feiffer published the hit Sick, Sick, Sick: A Guide to Non-Confident Living in 1958 (which featured a collection of cartoons from about 1950 to 1956), and followed up with More Sick, Sick, Sick and other strip collections, including The Explainers, Boy Girl, Boy Girl, Hold Me!, Feiffer's Album, The Unexpurgated Memoirs of Bernard Mergendeiler, Feiffer on Nixon, Jules Feiffer's America: From Eisenhower to Reagan, Marriage Is an Invasion of Privacy and Feiffer's Children. Passionella (1957) is a graphic narrative initially anthologized in Passionella and Other Stories, a variation on the story of Cinderella. The protagonist is Ella, a chimney sweep who is transformed into a Hollywood movie star. Passionella was used as one part of the 1966 Sheldon Harnick and Jerry Bock Broadway musical The Apple Tree

His cartoons, strips and illustrations have been reprinted by Fantagraphics as Feiffer: The Collected Works. Explainers (2008) reprints all of his strips from 1956 to 1966. David Kamp reviewed the book in The New York Times:

Feiffer has written two novels (1963's Harry the Rat with Women, 1977's Ackroyd) and several children's books, including Bark, George; Henry, The Dog with No Tail; A Room with a Zoo; The Daddy Mountain and A Barrel of Laughs, a Vale of Tears. He partnered with The Walt Disney Company and writer Andrew Lippa to adapt his book The Man in the Ceiling into a musical. He illustrated the children's books The Phantom Tollbooth and The Odious Ogre. His non-fiction includes the 1965 book The Great Comic Book Heroes.

Feiffer also wrote and drew one of the earliest graphic novels, the hardcover Tantrum (Alfred A. Knopf, 1979), described on its dustjacket as a "novel-in-pictures". Like the trade paperback The Silver Surfer (Simon & Schuster/Fireside Books, August 1978), by Marvel Comics' Stan Lee and Jack Kirby, and the hardcover and trade paperback versions of Will Eisner's A Contract with God, and Other Tenement Stories (Baronet Books, October 1978), this was published by a traditional book publisher and distributed through bookstores, whereas other early graphic novels, such as Sabre (Eclipse Books, August 1978), were distributed through some of the first comic-book stores.

His autobiography, Backing into Forward: A Memoir (Doubleday, 2010), received positive reviews from The New York Times and Publishers Weekly, which wrote:

He has had retrospectives at the New York Historical Society, the Library of Congress and The School of Visual Arts. His artwork is exhibited at and represented by Chicago's Jean Albano Gallery. In 1996, Feiffer donated his papers and several hundred original cartoons and book illustrations to the Library of Congress.

In 2014, Feiffer published Kill My Mother: A Graphic Novel through Liveright Publishing. Kill My Mother was named a Vanity Fair Best Book of 2014 and a Kirkus Reviews Best Fiction Book of 2014. In 2016, Feiffer published Cousin Joseph: A Graphic Novel, a prequel to Kill My Mother. Cousin Joseph was also published through Liveright Publishing, and was a New York Times Bestseller, named one of The Washington Post's Best Graphic Novels of the Year, and was nominated for the Lynd Ward Graphic Novel Prize. A third book in the series, The Ghost Script: A Graphic Novel, was published by Liveright in 2018.

Feiffer's picture book for young readers, Rupert Can Dance, was published by FSG in 2014.

Feiffer's plays include Little Murders (1967), Feiffer's People (1969), Knock Knock (1976), Elliot Loves (1990), The White House Murder Case, and Grown Ups. After Mike Nichols adapted Feiffer's unproduced play Carnal Knowledge as a 1971 film, Feiffer scripted Robert Altman's Popeye, Alain Resnais's I Want to Go Home, and the film adaptation of Little Murders.

The original production of Hold Me! was directed by Caymichael Patten and opened at The American Place Theatre, Subplot Cafe, as part of its American Humorist Series on January 13, 1977. The production ran on the Showtime cable network in 1981.

Feiffer moved to Shelter Island, New York in 2017. He wrote the book for a musical based on a story he wrote earlier "Man in the Ceiling" about a boy cartoonist who learned to pursue his dream despite pressures to conform. The musical was produced and directed by Jeffrey Seller in 2017 at the Bay Street Theatre in neighboring Sag Harbor, New York.

Feiffer is an adjunct professor at Stony Brook Southampton. Previously he taught at the Yale School of Drama and Northwestern University. He has been a Senior Fellow at the Columbia University National Arts Journalism Program. He was in residence at the Arizona State University Barrett Honors College from November 27 to December 2, 2006. In June–August 2009, Feiffer was in residence as a Montgomery Fellow at Dartmouth College, where he taught an undergraduate course on graphic humor in the 20th century.

Source

• 1961, recipient of a George Polk Awards for his cartoons;
• 1961, film Munro won Academy Award for animated short;
• 1969 and 1970, won Obie Award and Outer Circle Critics Award for plays Little Murders and The White House Murder Case;
• 1986, awarded the Pulitzer Prize for political cartoons
• 1995, elected to the American Academy of Arts and Letters;
• 2004, inducted into the Comic Book Hall of Fame; a
• 2004, received the National Cartoonists Society's Milton Caniff Lifetime Achievement Award;
• 2006, received the Creativity Foundation's Laureate
• 2010, won a Lifetime Achievement Award from the Writers Guild of America.