Joe Brainard, _The Nancy Book_

WHAT EXACTLY DREW the brilliant writer and visual artist Joe Brainard (1942-1994) to Ernie Bushmiller's comic Nancy? 

There have always been a few strips that attracted more educated and sophisticated readers (Krazy Kat in the 1920s, Pogo in the 1950s, Peanuts in the 1960s, Doonesbury in the 1970s, Calvin and Hobbes in the 1980s), but Nancy seems an unlikely candidate for that kind of attention. Its humor was broad, its drawing plain and reduced to essentials, its vision of the culture straight down the middle of the road. Yet Brainard is by no means the strip's only admirer: Scott McCloud, Art Spiegelman, and Bill Griffiths are also advocates.

That Nancy is a kind of apotheosis of ordinariness may be what fascinated Brainard. His astonishing "I Remember," among its other virtues, holds nothing back in its embrace of ordinariness. So when Brainard adds Nancy's face  to a De Kooning, or a Picasso, or a Goya, the juxtaposition of a drawing style meant to be infinitely reproducible with revered works of individual genius, there's a beauty in the sheer incongruity, masterpieces made cozy and homey by the bare-bones geometry of Nancy's face, Nancy elevated to the firmament by her placement in iconic paintings. 

Or, when Nancy and another comic character, the silent Henry, engage in athletic sex, we get a different effect, not unlike the détourné comics of the Situationists. The domesticated is re-wilded, the complacent surface of the family newspaper is ruffled by anarchic winds, the sanitized and safe rendered dirty and dangerous.

The Nancy Book is an homage that becomes a work in its own right. That one could not imagine such a project with, say, Blondie, may reveal in a roundabout way the nature of Bushmiller's idiosyncratic genius.