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Growing up on the Lower East Side shaped his life and his work which, combined with a robust imagination and seemingly inexhaustible energy, substantially shaped the trajectory of the American commercial comic book. I got sick of chasing people all over rooftops and having them chase me over rooftops. Everybody who lived on Norfolk Street would be the Norfolk Street Gang.
A dubious contribution to the American comic book, you may think, until you realized that it wasn’t Kirby’s fault that hacks and no talents, aided and abetted by opportunistic publishers, have been ripping off his work and plagiarizing him wholesale for decades. I knew that there was something better, and instinct told me that it was uptown, and I’d walk every day from my block to 42nd Street where the the Hearst newspapers. My boss was playing golf [in the office], and he was shooting golf balls through an upturned telephone book, see?
I’d say, “What happens to this guy while Cap fights the other four? ” And I told him I know a gangster when I see one, see? GROTH: What was your relationship with your parents like? “Where does a young squirt like you,” he says, “get the nerve to do an editorial cartoon on Chamberlain and Hitler? So comics is an American form of art that anyone can do with a pencil and paper. GROTH: Don’t you think you achieved a sort of perfection in your own work? I achieved perfection, my type of perfection — visual storytelling. I was an artist, but not a self-proclaimed great artist, just a common man who was working in a form of art which is now universal. KIRBY: I was a good student in the subjects that I wanted to be good in. So I pick up this pulp magazine, and it’s and it’s got a rocket-ship on the cover, and I’d never seen a rocket-ship. ” I took it home and hid it under the pillow so nobody should know I was reading it. KIRBY: I taught myself how to draw, and I soon found out it was what I really wanted to do. GROTH: What artists did you admire in your teen years? I admired anybody who could make a buck with his drawing. GROTH; Now, can you tell me what your family life was like? It was a rainy day, and it was floating toward the sewer in the gutter. GROTH: So, after Pratt you taught yourself how to draw. I’m trying to find out how you actually learned to draw, how you learned anatomy. Some artists may take it from other illustrations or duplicate what you’ve drawn, but it will never have that gut reality that’s instinctive in the artist.
GROTH: Do you feel that your immersion in this violent world as a kid shaped these themes in your drawing and moved you in that direction? So I was drawing reality, and if you look through all my drawings.