Mention Belgian artist Peyo (real name Pierre Culliford, 1928 -1992) and the first thing that comes to mind is his hugely popular Les Schtroumpfs, introduced within the pages of his strip Johan et Pirlouit. Les Schtroumpfs, of course, are Smurfs, those blue humanoid creatures living in mushroom-houses in the forest. When I was just starting tentative forays into comics during my shy youth, it’s the local library’s Smurf albums that first attracted my attention, alongside Uderzo and Goscinny’s Astérix le Gaulois and Roba and Rosy’s Boule et Bill.
Another strip I really liked, unaware that it was created by the artist responsible for the Smurfs, is Poussy. Despite competing with all the other cat adventures one can think of (although there are far more today than there were twenty years ago), it was its old-fashioned charm that drew me in. This was a world where rambunctious (but always well-meaning) boys roasted chestnuts in a fire, mothers in high heels burned their Sunday roast, and families always went to the beach for their vacation. I wasn’t interested in these (human) characters, but they made a perfect backdrop to cat antics, comforting like watching cartoons on a rainy day.
21-year old Peyo drew 26 black-and-white gags of Poussy for the humble youth section of Belgian daily newspaper Le Soir between 1949 and 1951. Here’s an example of one of these early manifestations of Poussy, a playful black-and-white cat, up to very normal cat mischief:
When Le Soir decided to revamp its youth section into a more ambitious version titled Le Soir Jeunesse, Peyo, who had been concentrating on his Johan series (later to become Johan et Pirlouit, or Johan and Peewit in English) for Journal de Spirou, revived Poussy, and this frisky kitten frolicked once again between Le Soir‘s pages from 1955 to 1960. Set aside again to make room for more ambitious endeavours (namely, Peyo’s Benoît Brisefer series) at the behest of publisher Charles Dupuis, for whom Peyo was working concurrently, Poussy tiptoed back into life in 1965, this time in Journal de Spirou, in colourised re-runs of previous Le Soir material, published quite out of any chronological order.
Here are a few favourites from these re-runs — I mostly chose mute strips, both because Poussy’s expressive meowing needs no translation, and because I by far prefer jokes centered on his behaviour without too much human interference.
It was only in 1969 that Peyo resumed the production of new strips, starting with gag no. 222… and by no. 233, he had a collaborator, Lucien De Gieter, who soon took over entirely as Peyo had far too many other series on his hands to be able to continue Poussy. De Gieter continued the strip until 1974.
There have been three albums collecting Poussy material, published in 1976 and 1977 – and last year, Dupuis published a very handsome and very complete collection of all Poussy strips (a painstaking and impeccable chronological presentation, accompanied by exhaustive publishing information) which I purchased at the excellent comic-and-book store Débédé in Montréal, Québec. One doesn’t always feel like revisiting books from one’s childhood (for instance, I have little desire to ever reread Boule et Bill), but in this case I spent a few warm moments smiling at the strips I remembered surprisingly well.