
Despite my skepticism about the accepted wisdom in regard to the historical William Shakespeare, I do deeply love the body of work that is Shakespeare. My most favorite play is The Tempest, the final play in the canon. I also have read and loved As You Like It, Romeo and Juliet, Hamlet, A Midsummer Night’s Dream, The Merchant of Venice, Henry V, Richard III, Julius Caesar, Macbeth, Othello, and King Lear. I know that is not all of the plays, but that is probably more than most people have read. And of course, as an English major in college, and later as a teacher, I have actually analyzed, compared, studied, and taught some of these plays. So, the Shakespeare I know is the Shakespeare of the writer’s own mind, his communicated wit and wisdom, imagination and intellect.

And I do not have any disdain or disrespect to give the Stratford guy. To say that, in the Elizabethan world, the actor son of a tradesman with only a grammar school education could not have been the mind behind the literary masterworks is foolish. The Stratford guy owned and operated the Globe theater at a time when “the play was the thing”. All of London society, rich and poor, gloried in the theater, and Shakespeare did for Elizabethan plays what Babe Ruth did for baseball. He was a good enough business man to make himself a decent fortune. Although, apparently, this world-shaking author didn’t spend any of his money on owning books, which in my experience is extremely rare among writers. His life, bound up in an urban existence that never traveled outside of the country also somehow produced great works that were set in places in Europe, especially Italy, that described those settings in accurate detail. As a working actor, he also apparently had the time to study law and somehow learn the inner workings of the royal courts of more than one country. And the plots were not original. He took existing stories that already were a part of European literature and lore and wove them into rich tapestries of human striving, laughable foibles, and a deep understanding of basic human character. But I do have doubts that the businessman and actor from Stratford was the real writer of the plays.
I have already told you that I don’t believe Sir Francis Bacon was secretly Shakespeare. Christopher Marlowe wasn’t either. And I have unsuccessfully made a case against Shakspere, the Stratford guy. So who could possibly be the real William Shakespeare? Well, I am not going to be able to make a decent case for him in the 100 words that I have left to end this essay with. So there has to be more to come. (And stop screaming obscenities at the computer screen. I am going to reveal the name before the end of this essay. And I promise not to make my case for him in coming days too boring and horrible.) I have to show why I believe that the true heart of Shakespeare could only have beaten within the body of Edward deVere, the Earl of Oxford.


























Winsor McCay
One work of comic strip art stands alone as having earned the artist, Winsor McCay, a full-fledged exhibition at the Metropolitan Museum of Art in New York City. Little Nemo in Slumberland is a one-of-a-kind achievement in fantasy art.
Winsor McCay lived from his birth in Michigan in 1869 to his finale in Brooklyn in 1934. In that time he created volumes full of his fine-art pages of full-page color newspaper cartoons, most in the four-color process.
As a boy, he pursued art from very early on, before he was twenty creating paintings turned into advertising and circus posters. He spent his early manhood doing amazingly detailed half-page political cartoons built around the editorials of Arthur Brisbane, He then became a staff artist for the Cincinnati Times Star Newspaper, illustrating fires, accidents, meetings, and notable events. He worked in the newspaper business with American artists like Winslow Homer and Frederick Remington who also developed their art skills through newspaper illustration. He moved into newspaper comics with numerous series strips that included Dreams of the Rarebit Fiend and Little Nemo in Slumberland. And he followed that massive amount of work up by becoming the “Father of the Animated Cartoon” with Gertie the Dinosaur, with whom he toured the US giving public performances as illustrated in the silent film below;
The truly amazing thing about his great volume of work was the intricate detail of every single panel and page. It represents a fantastic amount of work hours poured into the creation of art with an intense love of drawing. You can see in the many pages of Little Nemo how great he was as a draftsman, doing architectural renderings that rivaled any gifted architect. His fantasy artwork rendered the totally unbelievable and the creatively absurd in ways that made them completely believable.
I bought my copy of Nostalgia Press’s Little Nemo collection in the middle 70’s and have studied it more than the Bible in the intervening years. Winsor McCay taught me many art tricks and design flourishes that I still copy and steal to this very day.
No amount of negative criticism could ever change my faith in the talents of McCay. But since I have never seen a harsh word written against him, I have to think that problem will never come up.
My only regret is that the wonders of Winsor McCay, being over a hundred years old, will not be appreciated by a more modern generation to whom these glorious cartoon artworks are not generally available.
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Tagged as Little Nemo in Slumberland, Winsor McCay