Calvin And Hobbes embodied the voice of the lonely child

Calvin And Hobbes embodied the voice of the lonely child

There is a mythic Calvin And Hobbes strip that’s been bouncing around the internet for years. No one’s quite sure where it came from or who’s responsible for it. Part of its mystery is likely because it’s purported to be the lost final installment of the series, drawn by Bill Watterson himself. In it, a serious looking Calvin toils away at his schoolwork while Hobbes looks on. The tiger is curious that his friend is being so diligent about his studies, and the boy responds that “the pills” he’s taking have started working. Hobbes then asks Calvin to go play, but Calvin is too absorbed in his project to take notice. The final panel is the tiger as “just” a stuffed animal, with Calvin indifferent to the change. It is, in every sense of the word, an abomination.

This is not an actual installment of Calvin And Hobbes, and is instead a repurposed strip with a preachy message warning against the dangers of medicating children and ruining their creativity forever. There are any number of ways that this goes against the inherent spirit of the comic, but I will focus my disdain to a single point. Calvin And Hobbes was never about hyperactivity and Hobbes himself was never a manifestation of undiagnosed mania: He was a manifestation of pure, unadulterated loneliness.

Loneliness is a funny thing because generally it has less to do with being alone and more to do with not having other people around. That sounds paradoxical, but being alone and being isolated from your peers are two very different things. The former is a choice, the latter a decree. In truth, it’s even more complicated than that, as loneliness can strike at any time, even when surrounded by people. That niggling sense that maybe you don’t belong is all it needs to gain a foothold.

For as much as the brain of a child is growing and changing and maturing, for as many distractions as the world provides to developing minds, kids aren’t stupid, particularly children as highly sensitive and attuned to the world around them as Calvin. Disappearing into his own world is a coping mechanism for dealing with a world that seems to have little patience or place for him. His isolation breeds fantasy, which breeds isolation, which does him no favors at school or at home. To be a lonely child in the world means creating your own fun, your own friends, your own magic.

There was a linen closet across from my childhood bedroom. It was filled with old sheets and blankets, more than we’d ever need, even with five beds in the house. The old sleeping bags (green nylon, with a red interior, and yellow cotton, with the black interior, which was obviously superior) would be folded and placed on the floor. And there was never enough room in the house, that’s important to note. It was three stories, but steam heat, extreme seasons, and a half-finished basement meant that usually we were all grouped into the same two stories. It meant constant bedroom rearrangement, as people graduated or were born or just couldn’t stand living with each other anymore. But no matter where I was, I didn’t fit. I searched that house high and low, even braved the attic full of cobwebs and crap and maybe bats, looking for the hidden door.

I wanted a wardrobe to take me to another land or a boxcar set up in the backyard (minus all the dead parents.) I wanted adventure to find me because I was sure that being misunderstood meant that I was special and destined for something magical. I tried to make the linen closet my secret place, where I could hide away with a flashlight and read, confident that if I fully committed, the magic would find me. But what found me instead were the realizations that the closet of a 100-year-old house is largely unventilated and oxygen becomes a luxury, not a privilege, and that there’s never any peace in a five-child household.

I’d pore over Calvin And Hobbes time and again, finding renewed joy with every reread, despite being Susie Derkins, stuffed rabbit and all, despite being constantly plagued by a little brother who often seemed like the human incarnation of Calvin himself, despite skipping over most of the Spaceman Spiff fantasies because I just couldn’t understand using your imagination that way. What brought me back, even though I didn’t understand it at the time, was seeing a child—one who didn’t really fit in at school and who had a vague antipathy for almost everyone he met—struggle with the world he inhabited and find a way to make the best of it.

Calvin didn’t have trouble focusing on the world around him, he had trouble reconciling himself to the fact that the world around him was such a disappointment. The reason the strip appealed to people both young and old is because Calvin was feeling underwhelmed at a college graduate level. It’s not unheard of for children to experience this, particularly those who are more sensitive to their surroundings, and for many it was a relief to know that seeing the world without the luster and facade constantly created for us wasn’t so unusual. Calvin made it okay to be disheartened and disappointed by life and normalized the inherent loneliness that childhood can bring. He was there for us as we grew up and while we learned that things were capable of getting so much better and so much worse as we experienced puberty and beyond, he was still mired in the first grade, raging against the machine.

It’s quite the thing to sit down and read 10 years of a comic strip at once. It’s a comfort, like going home, the jokes warm and familiar. You grin when you come across the Sunday strips that served as the inspiration for the book collection titles, “Something Under The Bed is Drooling,” “Homicidal Psycho Jungle Cat.” And though the strips are the same as they’ve ever been, you’ve come to them as a different person. Reading Calvin And Hobbes when you’re 33 is different from reading it when you’re 13. Now you’re struck by the struggle Calvin’s parents must have had keeping their child in line and loving him even as he drove them out of their minds, and you wonder if their single-income home would still be feasible in the current economic climate. But more than anything, you notice the sorrow buried in the strips, and you wonder how you missed how sad the children in the strips were the whole time.

Loneliness and sadness aren’t new fare for comic strips. If anything, Watterson’s characters are merely carrying on in the grand tradition of Charles Schultz’s Peanuts, where preternaturally clever children are nevertheless stymied by the world they live in. Like Peanuts, Calvin And Hobbes is timeless for the exact same reason: It appealed to adults just as much as it appealed to children. It spoke of things not always acknowledged in polite company, how people are mean, how we wish we had more friends, how being grown up seems weird and being a child even weirder, how the world doesn’t make sense, and how it’s hard to believe in things even though we desperately want to believe in them.

Calvin was a lot of things, just like every child. He was a budding inventor, a gifted artist, an enterprising entrepreneur, and a self-taught pundit. He was a good friend, an annoying neighbor, clever and conniving, lonely and loyal and, yeah, maybe a little hyperactive. But whatever he was, he taught an entire generation of children that though sadness and disappointment and loneliness may come prepackaged in life, that all could be weathered, so long as you had hope and a really good friend to see you through. For Calvin, that was Hobbes. For us, it was Calvin And Hobbes. And when the strip ended its 10 year run in 1995, it left in its wake a generation of children who, though now grown, could move forward in life confident that their magical friend would be with them always.