How “Peanuts” Created a Space for Thinking

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How “Peanuts” Created a Space for Thinking
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Through “Peanuts,” Charles Schulz wanted to tell hard truths about, as he said, “intelligent things.” But the main truth he tells is that there are no answers to the big questions.

In “The Storyteller,” an essay from 1936, the German-Jewish philosopher and critic Walter Benjamin describes what he sees as the beginning of the end of the oral tradition in the West. The collective trauma of the First World War and its aftereffects were making the communication of shared experiences through the telling of tales a thing of the past.

That rhythmic deliberateness—specifically its leisurely meter—is essential to the way that “Peanuts” functions as a space for thought. A “Peanuts” strip, even one seemingly packed with goings-on, unfolds patiently. The strip from Sunday, April 18, 1965, depicts a disagreement on the pitcher’s mound. Lucy wants Charlie Brown, who’s pitching, to “brush this guy back,” but Charlie Brown refuses, and an argument about morality ensues.

One can easily forget how unlikely this cultural ascendency might have seemed when “Peanuts” débuted. Schulz created an oddly shaped boy, an anthropomorphized dog, and a host of children who don’t behave or speak as children do, and he placed them in an efficient, nondescript setting—only on theof reality, you might say. The reader should be skeptical of this setup. And yet Charlie Brown’s emotional struggle is familiar, and the reader is roused by it.

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