The late, great cartoonist recalls his life and career, both as the creator of Li'l Abner and as a person who grew up with only one leg, in these hilarious essays written with gentle nostalgia and biting humor. 16-pages of cartoons.

LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.

LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.

A portrait of the cartoonist offers insight into his complicated character, covering such topics as the childhood accident that cost him his leg, his turbulent apprenticeship with Ham Fisher, and his conservative political views.

"Bride of The Funniest People in Religion and Families" contains such anecdotes as these: When Panamanian salsa singer Rubin Blades married Lisa Lebenzon, an Anglo (a white American not of Spanish descent) non-Spanish speaker, he asked her to learn Spanish so he could speak his native language at home. She finished in only seven months a Spanish course that normally took three years. Dr. Louis Finkelstein, chancellor of the Jewish Theological Seminary of America, kept a strictly kosher diet. While in Paris, he and a group of rabbis ate only in kosher restaurants. On leaving Paris, Dr. Finkelstein joked, "I can't understand all this fuss people make about French cooking. We have the same things at home." A Sufi teacher spoke about the virtue of patience. As he spoke, a scorpion stung his foot repeatedly. His followers eventually noticed the scorpion and asked the teacher why he had not moved his foot away from it. The teacher replied, "I was discussing the virtue of patience. I could hardly have spoken about patience without also setting an example of patience. I would have been ashamed before God."

In this collection of nonfiction pieces, John Updike gathers his responses to nearly two hundred invitations into print, each “an opportunity to make something beautiful, to find within oneself a treasure that would otherwise remain buried.” Introductions, reviews, and humorous essays, paragraphs on New York, religion, and lust—here is “more matter” commissioned by an age that, as the author remarks in his Preface, calls for “real stuff . . . not for the obliquities and tenuosities of fiction.” Still, the novelist’s shaping hand, his gift for telling detail, can be detected in many of these literary considerations. Books by Edith Wharton, Dawn Powell, John Cheever, and Vladimir Nabokov are incisively treated, as are biographies of Isaac Newton, Abraham Lincoln, Queen Elizabeth II, and Helen Keller. As George Steiner observed, Updike writes with a “solicitous, almost tender intelligence. The critic and the poet in him . . . are at no odds with the novelist; the same sharpness of apprehension bears on the object in each of Updike’s modes.”

One of the most popular comic strips of the 1950s and the first to reference politics of the day, Walt Kelly's Pogo took on Joe McCarthy before the controversial senator was a blip on Edward R. Murrow's radar. The strip's satire was so biting, it was often relegated to newspaper editorial sections at a time when artists in other media were blacklisted for far less. Pogo was the vanguard of today's political comic strips, such as Doonesbury and Pearls Before Swine, and a precursor of the modern political parody of late night television. This comprehensive biography of Kelly reveals the life of a conflicted man and unravels the symbolism and word-play of his art for modern readers. There are 241 original Pogo comic strips illustrated and 13 other Kelly artworks (as well as illustrations by other cartoonists).