Donald Duck, Carl Barks and Cultural Identity

Over the weekend I posted my thoughts on the Wall St. Journal's lengthy article on Donald Duck in Germany. What struck me most: the stylistic contrast in relation to cultural identity:

The article ascribes the character’s popularity to the strip’s longtime translator, Erika Fuchs, an art history Ph.D. who rewrote Carl Barks’ dialogue to include references to German literature, myth and politics. . . .

Post-war Germany was in the process of restoring its identity after Nazi ideology raised serious questions as to the legitimacy of the country’s cultural heritage. A funny book provided a means for Fuchs to highlight the value of German traditions free from worrisome evocations of the Nazi’s use of German culture to establish ethnic supremacy.

Barks wrote in a radically different context. America’s literary heritage was not morally suspect; to have used Donald Duck to legitimize Melville or Dickinson would have seemed pretentious, if not bizarre. Barks’ visual and verbal rhetoric is instead far more pragmatic–Donald and his retinue are on a perpetual quest to succeed in a world full of baffling new tools and old ways.

As it happens, I'm in the middle of one of my periodic re-readings of Barks, so this stuff is fresh on my mind. Note particularly this observation

America’s literary heritage was not morally suspect; to have used Donald Duck to legitimize Melville or Dickinson would have seemed pretentious, if not bizarre. Barks’ visual and verbal rhetoric is instead far more pragmatic . . .

and compare it to the following scene from Barks' Snow Fun, a story in which Donald and his nephews raise money to buy one of the era's emblems of middle-class success, manufactured skis:

One of my pictures in the Barks post illustrates another dimension of Barks' examination of cultural identity. It's from Donald Duck and the Mummy's Ring, a brilliant (and funny) exploration of the question of whether the West should repatriate cultural objects to their country of origin. The kicker for me in the story is that it's more complex than a reductionistic tale of good natives and bad Americans--the Egyptians themselves are a blend of traditional believers and secular Westernizers, epitomized by a strategic nationalist educated at "Yarvard" in the States.

This may seem a bit goofy, but that's exactly why it works. As I concluded in my previous post,

What both the German and American versions of Barks’ work illustrate is the strategic value of junk media in remaking society. That so many people continue to view comics as little more than trash is not necessarily a bad thing–it frees the medium for creative expression outside the normative constraints of so-called high art, thereby retaining comics’ power as a cultural trojan horse.